Podcast appearances and mentions of judy weinstein

Pour des millions de téléspectateurs américains, les mots Twilight Zone sont synonyme de mystère, d'étrange et d'épouvante et leur rappellent l'excellente série anthologique du même nom, lancé en 1959 et qui depuis inspire l'imaginaire horrifique étasunien. Pourtant, pour les habitants de Toronto, ces deux mots évoque des bonnes vibrations, et désigne le club qui a amené un renouveau dans la fête de la ville. Lancé en 1980 par 4 frères d'une famille trinidadienne, le Twilight Zone a suivi dans ses 9 années d'activités les évolutions de la musique populaire, la mort du disco, l'ascension du hip-hop, l'invasion new-wave et de la dance musicbritannique, l'arrivée de la house et les balbutiements de la techno, en devançant parfois de plusieurs années les autres points d'écoute de Toronto, grâce à un réseau de circulation de vinyles mis en place par la new-yorkaise Judy Weinstein. À sa disparition, le club est rasé comme aspiré vers une quatrième dimension. En preuve de son existence reste des souvenirs imprimés dans les rétines des Twilight Zoners, et un habitat métamorphosé, renommé Entertainement District, le "quartier du divertissement", où l'on peut, depuis 2016, marcher sur la Twilight Zone Lane. 

David's introduction to the New York club scene began in 1968 with his first job in 1970 at Club Sanctuary, one of New York's premiere underground after-hour clubs. David's friendship with Larry Levan began at Reade Street, owned by Michael Brody and where Larry was the DJ. After Reade Street closed, David took Larry and Michael to an empty space at 84 King Street. When Michael and Larry entered the building and saw the ramp to the second level Larry turned to David and said, “thank you, this will be our new home.” And so began the 10-year reign of the Paradise Garage. From the beginning David worked a variety of jobs at The Paradise Garage, including monitoring the door of the VIP room/DJ Booth. A few years later he added For The Record with Judy Weinstein to his resumé. This was New York's largest record pool, which consisted of 125 top DJs. In 1985 David began opening for Larry at The Garage which in turn was the beginning of his own prolific DJ career.

TRUE HOUSE STORIES W/ MARK RILEY # 052 - PART 2 Mark Riley in this episode explains the formation of David Mancuso's New York Record Pool and his duties working with David and The Loft. From there he becomes good friends with Judy Weinstein and together they help form For the Record Pool in February 1978. During his tenure in New York as a journalist he shares different stories, and one the most important highlights of his career was interviewing Nelson Mandela right after he was released from prison in South Africa. He also explains the code of dealing with and frequenting clubs such as The Loft and Paradise Garage. Even today he is currently running a podcast interviewing different celebrities and bringing awareness forward.

TRUE HOUSE STORIES W/ VICTOR SIMONELLI #032 - PART 1 Check out this amazing 'True House Stories' show with special guest Victor Simonelli. Discover how Victor find his way into music? From a very young age his father was where Victor became so passionate about music. In addition, Victor was classically trained and was able to experience the Brooklyn and NYC club scene in the early 80s. Victor explains how radio was key to hearing the music he loved. Moving out west, Victor missed NYC, feeling totally isolated from the music scene, and was why Victor became so fixated on moving back to NYC in 1986 to enjoy the music and hit the coolest night clubs around NYC. Hear about Victor's connection to Arthur Baker who took Victor under his wing and helped develop his career in the music industry. Working at Quad alongside David Morales, Frankie Knuckles to name just a few, editing was something Victor was really interested in. Will Downing SOS - was the 1st of many tracks he edited as Arthur recognized Victor's talents. In 1991 - Victor produced his very 1st track. Learn how hard Victor had to work to get to this point. Judy Weinstein and Larry Levan broke his 1st track which catapulted Victor to a whole new level in the industry. Todd Terry was a great advisor too. By this time, Victor was really starting to find his position in the industry and how his career completely blew up!! Watch as lenny and Victor discuss the loss of their dear friend Angel Moraes and hear about their special times with Angel. Listen to the pitfalls in Victor's career with contracts and licensing. Discover how Victor felt about the UK scene. Victor was literally the man to go to in sending music demos, hear how he helped producers including Traxsource's Brian Tappert. Having been mentored by the legend Arthur Baker, this became part of Victor's passion too - mentoring other artists he recognized had talent. Death of vinyl - how did Victor transition to digital production. How is Victor coping during lockdown and what are his plans for the future? An amazing interview with some amazing advice on succeeding in the music industry for over 5 decades.

DJ GANT JOHNSON (Deep Club / Los Angeles) DJ Gant Johnson (@dj-gant-johnson) is a veteran DJ originally from Chicago. Gant moved to New York City in 1991 where he soon met Frankie Knuckles and Judy Weinstein, who swiftly inducted him into the legendary record pool, For The Record. In additional to DJing full-time throughout NYC for 20 years, Gant co-founded Captivating Records and ran long-running club nights like Salon Wednesdays, Cock & Soul, and several other weekly parties. In 2012 he moved to Denver, where he connected and vibed with the Deep Club collective, and he now resides in Los Angeles. Gant always stays true to his roots and DJ heroes, especially Frankie Knuckles, Farley "Jackmaster" Funk, Ron Hardy, & Tony Humphries. Gant still fills in for occasional resident duties with Deep Club and he DJs regularly in Los Angeles. This mix takes us on a musical journey through many styles and even closes with a classic TV theme show song. Artwork by Chris Cole Stream / download all Deep Club Podcasts here: soundcloud.com/deepclubdenver/sets/deep-club-podcasts TRACKLIST: 1. Mr. Fingers - Children at Play 2. First Choice - Let No Man Put Asunder (Ron Hardy Re-edit) 3. DJ Pierre - Atom Bomb 4. Fonda Rae - Living in Ecstasy 5. MANDY & Booka Shade - Oh Superman 6. 808 State - Pacific State (Derek Martin Remix) 7. Mission Control - Outta Limits 8. Smoke City - Mr. Gorgeous (Mood II Swing Remix) 9. The Originals - Down to Love Town 10. Anambra - Ozo 12. Soul II Soul - Back to Life (Bonus Beats) 12. Lil Louis - Nyce & Slo (Love Bug Remix) 13. PM Dawn - Set Adrift on Memory Bliss 14. Corniche - Theme From CHIPs (7" 45 RPM Version)

A quintessential dance music insider goes on the record.

A quintessential dance music insider goes on the record.

A quintessential dance music insider goes on the record. For more, visit Resident Advisor: http://www.residentadvisor.net/podcast-episode.aspx?exchange=247

Track List: 01-Time (Frankie Feliciano Classic Vocal Mix) by The Realm feat. Tony Momrelle 02-Hangin' On ( Frankie Feliciano Vocal Mix) by Ananda Project 03-Every Breath (Director's Cut Classic Mix) by Inaya Day 04-Conqueror (Frankie Feliciano Vocal Mix) 05-Lose My Worries (Ralf Gumm Mix) by Inaya Day 06-Let Yourself Go (A Director's Cut Master) by Frankie Knuckles presents Director's Cut feat. Sybil 07-Fable (Director's Cut Classic Dub Reprise) by Lil Louis 08-Get Over U (Rober Gaez Moustache Mix) by Frankie Knuckles presents Director's Cut feat. B.Slade 09-Love Forever More (UBP Dub Mix) by Bobby D'Ambrosio 10-He Is The Joy (UBP Prime-Time Dub) by Donna Allen 11-About Love by Groove Assassins feat. Kenny Bobien 12-Someone Like You by Soulmagic 13-Golden Era (Director's Cut Golden Episodic Mix) by David Morales feat Roisin Murphy Biography: “When you're as fortunate as most of us working DJs to be able to share our creative blessings with the rest of the world, no matter how great or small, wouldn't you agree that it's best to give the world the best of who you are?” – Frankie Knuckles Nicknamed “The Godfather of House,” Frankie Knuckles is known as a true originator of the House Music genre. Some of his numerous accomplishments as a DJ, artist and remixer over the last 30+ years are as follows: • In the early 70’s Knuckles DJ’d at the infamous Continental Baths in New York City. • Moving to Chicago in the late 70’s he became the resident DJ at The Warehouse until it closed in 1983 • Along with contributing to the birth of House Music in the mid 80’s, Knuckles began his production career with remixed versions of “LET NO MAN PUT ASUNDER” by First Choice. • While on tour in Japan, Knuckles met DJ Satoshi Tomiie. The pair collaborated on the track “Tears” which was released on ffrr / Polygram UK. The song has since become a classic. • After moving back to New York, Frankie Knuckles joined Def Mix Productions in 1988 and formed a partnership with David Morales and Judy Weinstein. • While signed to Virgin Records Frankie Knuckles released the album Beyond The Mix. The album’s first release, “The Whistle Song,” reached #1 on the Billboard Dance chart and Top 5 on the UK Pop Chart. This success led to a performance on the infamous Top of the Pops TV show. The track was also featured in a Lipton Iced Tea ad campaign produced for 1992 Summer Gay Games in New York City. • Sophomore album, “Welcome to the Real World,” was released on Virgin Records in 1995. • Resident DJ at The Sound Factory Bar nightclub in New York City until its closing in 1996. • 1997 Grammy Award Winner for “Remixer of the Year” – first recipient of this award • Honored in Chicago for his contributions to music and to his adopted home with a street named “Frankie Knuckles Way” was established on “Frankie Knuckles Day” August 26th, 2004. • Frankie Knuckles 2004 album, A New Reality, featured the track, “Back in da Day,” which hit #1 on Billboard’s dance chart. • Knuckles has remixed and/or produced for such artists as Mary J. Blige, Sounds of Blackness, Michael Jackson, Janet Jackson, Diana Ross, Luther Vandross, Michael Bolton, Toni Braxton, Whitney Houston to name a few. Recently he received high praise for his remixes of Hercules and Love Affair’s “Blind”. Depeche Mode’s “Wrong” and Whitney Houston’s Million Dollar Bill. • Served as a Governor and Trustee for the NYC Chapter of The National Academy of Recording Arts & Sciences. WE REBROADCASTING THIS MIX IN HONOR OF FRANKIE KNUCKLES. THANKS FOR ALL 'GODFATHER'!!! REST IN PEACE FK ALWAYS!!!

This is a Special Tribute to Frankie Knuckles Mixed by KTU Resident DJ Riddler from 103.5 KTU The Beat of New York In this mix you will hear sound bytes from David Morales, Judy Weinstein, and of course Frankie Knuckles himself. Peace and Love to The Godfather Of House - Frankie Knuckles

Tracklist for #124 1.OpenYourHeart - Madonna.SteveThompson 2.Trapped – ColonelAbrams.RichardBurgess 3.TurnMeLoose - WallyJumpJr.ArthurBaker.Jr.Vasquez.BoydJarvis. 4.SoSweet - LoleattaHolloway 5.DonQuichotte - Magazine60 6.BeyondTheClouds - Mr.Fingers (JackTrax 7.I'llNeverLetYouGo - WillIAmS 8.SevenWays - Hercules.MarshallJefferson (DanceMania) 9.RideTheRhythm - FrankieKnuckles (TraxRecords) 10.TimeToJack –ChipE 11.ICan'tTurnAround - FarleyJackmasterFunk&JessieSaunders 12.J'aiD'AdoreDancing - MarkImperial.RalphiRosario.LarrySturm (D.J.International) 13.DancingInOuterspace - Atmosfear http://www.theparadisegarage.net/pg/klewisonllevan.html Excerpt from article by Kevin Lewis From when it opened in January 1977, to its last party in the Autumn of 1987, the Paradise Garage was the clubbing focal point of New York. A place where dance artists like D-Train and Loleatta Holloway would come to perform. And the place where people like Mick Jagger, Stevie Wonder, Diana Ross, Grace Jones and Keith Haring would all hang out. It was the testing ground for labels like West-End and Salsoul, and producers like Francois Kevorkian and Levan himself. It was all these things, and much, much more. For the 2,000 regulars, Larry Levan was like a God. They even tagged his late-night sessions ‘Saturday Mass’. He did things with records that other DJs just didn’t do. He would tell a story with his music. Sometimes sending the crowd crazy, and minutes later, making them break down and cry. There was, and still is, no DJ like him. He was an insanely talented genius, both behind the turntables and in the studio. And he made the Paradise Garage the legend that it is. “He was the inspiration for all the important DJs in New York today,” says Mel Cheren, owner of disco-giant West End Records and executor of Levan’s estate. “People like Junior Vasquez, Frankie Knuckles and David Morales became DJs because of Larry.” Judy Weinstein, director of Knuckles and Morales’ Def mix organization agrees: “He was brilliant. A true genius. He was, and still is, the best.” And, as for why, six years after his death, Levan and the Garage are still placed at the pinacle of the clubbing world, fellow disco producer and regular guest DJ at the Garage, Francois Kevorkian, says this: “The reason why it is so important is because everyone and their mothers were there every week-end checking it out. It was so obviously and blatantly superior to anything else going on. You had the best sound system around, the most talented DJ you can imagine with amazing records that no-one else could get. Things he’d made himself and things others had made exclusively for him.” And yet it was more than just that. Levan was obsessed with perfection. He would spend hours re-arranging the speakers in the club until the sound was absolutely perfect. Then change it all again the next week so that the crowd didn’t get bored. “He was a technical wizard,” explains Weinstein, who got to know Levan working at Dave Mancuso’s NY Record Pool. “He could re-build a radio from scratch. He helped Richard Long create the Garage sound system. Larry would tell Richard what he wanted and if Richard told him that they couldn’t do it, he would keep on at it until it was invented for him. Larry would always find a way to make things happen.” David DePino, Levan’s best friend and the DJ who used to warm up for him, remembers his perfectionism on a different level: “He never wanted it to become stale, he never wanted it to become regular. He always said, “The people won’t come. They’ve gotta know that it’ll be different.’ And they did. People never came into a stale place. I’ve seen nights where everyone was rushing around to get things open and they’d forget something like cleaning the mirror-balls. It’d be one o’clock and Larry would run on to the dance floor with a ladder to clean all six mirror-balls. The record would run out and everyone would be standing there waiting. Not booing, nothing mad, just waiting. And when he finished, he’d go up and put the next record on and people would go mad. They loved that. The fact that even though he was the DJ, he’d spend half an hour cleaning all the mirror-balls.” He produced his music with a similar passion. There were times he would be in the studio week after week as he tested new versions of songs on the Garage crowd. Some records took over a year to complete. His passion for DJ-ing lead him to play on three turntables working studio effects and his own special edits into the mix. He invented the now commonplace trick of a capella mixing. The presentation of the music and the pure entertainment of his crowd was paramount. He would use video clips on the huge screen above the dance floor to accentuate certain records and, as the night wore on, he would upgrade the turntables to ones with state-of-the-art needles for the ultimate aural experience on the floor. Communication with the dance floor was his motivation. His message was one of love, hope, freedom and universal brotherhood. And the set of songs he played was the dialogue he used. He’d even leave gaps between certain parts of the journey. So if he played three songs in a row about music, and the next one was about freedom, he’d leave a short pause or drop in an effect. “He built sets with stories that went into one another,” explains Kevorkian. “I’m not saying that he only played vocals, but there was a concept there was a concept that he studied and became an amazing practitioner of. He was able to truly use songs, and when I say songs, I mean songs. I’m talking about songs with a voice speaking to you and inspiring you, not some crappy sample repeating 175 times until you’re made to feel like you’re very stupid because it has to be repeated that many times until you understand it. Songs with lyrics. And he used those lyrics to talk to people. It was very, very common for people on the dance floor to feel like he was talking to them directly through the record. And it was a two way thing. Not just the DJ saying, ‘Here is the law,’ or the crowd saying, ‘We’ll only listen to this,’ there was an unspoken mental energy flowing back and forth. I think, more than anyone else I’ve known, he was the one that could pick this up more than anyone else.” That ability to talk to the dance floor is one of the main reasons why Levan is still revered today. He created something so special between the hours of midnight on a Saturday night and whenever the club closed on Sunday afternoon, that the crowd came back religiously, week after week, for more. “You had 1000-1200 people actually on that dance floor communing together,” continues Kevorkian. “Sharing their energies together to the music. Singing the lyrics and ad-libbing on top of the music. Today I see 1200 people on the dance floor each in their own little mental head-space. Isolated from each other most of the time. Sometimes clubs get off a little, but not at the level of the Garage. And if you haven’t seen it, I’m sorry to say, but you can’t understand it. It’s like telling me you’ve seen a bicycle ride and I’ve seen race-cars and rockets. It’s a whole different thing.” “If there were 2,000 people in there every Saturday,” adds Depino, “a good thousand of them knew each other by name. And it was the same, year after year.” The one thing, however, that really made Levan different from DJs today was that people actually loved him. Not just the hero figure. They loved Levan the person. They loved the fact that he would stop the music and spend half an hour cleaning the mirror-balls. They loved the fact that on membership days, when Michael Brody, the owner, would hold interviews for those wishing to join the club, Levan would open the back door, let the huge queue of hopefuls into the club and start playing the biggest records of the week (much to Brody’s annoyance). They loved the fact that he would put on a record, then run straight down to the dance floor and join in the party. They loved it when he hooked up his radio the sound system and played the Garage mix show on WBLS back to the crowd. They loved the fact that his passion for the party was completely all-consuming and that sometimes, he was just plain crazy. --Lee Lewis