Podcast appearances and mentions of mel cheren

New York, 1976: Ein leidenschaftlicher Disco-Fan aus Massachusetts, Mel Cheren, gründet ein Plattenlabel, das später zu den einflussreichsten in der Geschichte der Dance Music zählen wird – West End Records. Für viele gilt es als das stilprägendste Label dieser Ära. (superfly.fm)

En aquest nou capítol de Viatge Electrònic amb la Laura i les seves Dones Electròniques hem recuperat a una pionera com es la Laurie Spiegel. El nostre home història underground, en Letung, ens ha explicat qui era Mel Cheren, The Godfather of Disco. I hem tingut dues mini sessions: una de Downtempo i l'altre de House music a càrrec del nostre director i presentador, Joel Parera.

FG CHIC continue sa série des légendes de la Club Culture à travers cette fois ci le son du Paradise Garage, une ancienne discothèque située à New York ouverte en 1978 sous la direction de Mel Cheren et Michael Brody et fermée en septembre 1987. Ce club est le lieu de naissance de la musique garage, notamment sous l'influence du DJ résident de l'époque Larry Levan. Tune in the Future Disco 24/7 :http://www.fgchic.com FM-DAB Radio Station (Paris/France) Listen to FG CHIC from the free app Google Play https://bit.ly/3bodsr4 Apple Store : https://apple.co/3am0MzD

Gabriel Rotello (born Feb. 9, 1963) is an American writer, producer and director. He was raised in Danbury, CT, attended Knox College in Galesburg, IL, Carlton College in Northfield MN, and was an exchange student at Tribhuvan University in Kathmandu, Nepal.After graduating from college he moved to New York City where he became a keyboard player, musical director and producer, working with many prominent rock and R&B artists.In 1989 at the height of the AIDS epidemic, Rotello founded OutWeek Magazine in New York and became its editor-in-chief. OutWeek quickly became a focus of gay and AIDS activism, sparking many controversies and breaking important national stories. During his tenure at OutWeek, Rotello hired many young lesbian and gay writers who went on to become well-known authors and editors, including Sarah Pettit, Jim Provenzano, Michelangelo Signorile, Victoria Starr, David Kirby, Dale Peck, James St James and Karl Soehnlein. In 1992 Rotello became the first openly gay op-ed columnist for a major American newspaper, New York Newsday, for which he received the GLADD Award in 1995 as Outstanding Journalist. He was also a long-time columnist for The Advocate and has contributed to many publications including The New York Times, The Los Angeles Times, The Village Voice, The Nation, The New Scientist, and the Huffington Post.In 1997 Dutton published Rotello's seminal study of AIDS epidemiology and prevention, "Sexual Ecology: AIDS and the Destiny of Gay Men." He also co-authored Mel Cheren's memoir of the disco era, "My Life and the Paradise Garage: Keep On Dancin'".Since 1999 Rotello has written, produced and/or directed dozens of documentaries and television programs, often working with the award-winning World of Wonder Productions (The Eyes of Tammy Faye) and more recently Flight 33 Productions (Life After People). His work has appears on networks such as HBO, Showtime, The History Channel, The Learning Channel, Cinemax, AMC, Bravo, Oxygen, VH1 and Comedy Central. Support this show http://supporter.acast.com/House-of-Mystery-True-Crime-History. See acast.com/privacy for privacy and opt-out information.

We have already reached Episode 6 of 8 in this first season of the brave educator podcast. Dawn Tallman's voice is so magical; and if you don't already know, Tim'm is happy to introduce the world to the power and healing wonder of that voice on the Monday, June 8th episode. In this episode, the two vocalists, songwriters, musicians, and househeads talk about how music, and especially house music, has held a special place in helping them through scars and bruises on the healing journey. The episode features two songs that have continued to inspire Tim'm: Wipe the Needle's "Release" featuring Dawn Tallman, and a song from her long-awaited and highly celebrated 2019 project, For Me, called "Celebrate Myself". As the two talk on the same day that countless protests were happening in the country in the fight for Black Lives, the episode also captures the raw emotion of Tim'm's experience, just before their interview, of being stopped and interrogated by police in what was an all-too-familiar instance that called upon his calm and composure amid such righteous rage. Dawn Tallman is marketed as "The Queen of Gospel Energy" by her record company. She was born and raised in Danbury, Connecticut, and started singing in church and later on was featured in a great number of R&B and dance recordings. She has cooperated with a great number of recording artists and DJs and made part of various ensemble groups traveling internationally. In 1997, she was featured on "Set My Spirit Free" with Kings Of Tomorrow (K.O.T.), in 1999 in remix of "Wake Up" remixed by Hex Hector and in 2000 in Soulstar Syndicate EP Take Me (Mind, Body & Soul). The song charted on SNEP, the official French Singles Chart. In 2005, she was part of U.D.A.U.F.L., an acronym for Underground Dance Artists United For Life, a collaboration of Dance music acts put together by the producer duo Blaze. In 2006, she was featured in DJ Disciple single "Work It Out", released under DJ Disciple's Catch 22 Recordings label, becoming a dance hit record. It was played in Ibiza in 2006, BBC Radio 1 DJ Pete Tong the track appeared on a number of labels and compilations such as Xtravaganza (UK), Blanco Y Negro (Spain), Poole Music (France), Networks (Italy) and United (Belgium). It was a charting hit in Spain. In 2008, "Work It Out" was re-released with remixes by Klass for House Trained Records. In October 2006, Dawn Tallman released a single through West End Records entitled "Save a Place on the Dance Floor For Me" written by West End Records founder Mel Cheren and Warren Rigg and produced by DJ Gomi. In 2015, she was featured on Bob Sinclar's "Feel the Vibe" charting in France, Belgium and Italy, as well as going to number one on the US Dance chart. She released a long-awaited and celebrated project, For Me, in 2019. #dawntallman #househead #blackgirlmagic #blackboyjoy

Welcome to this West End Records special of the Word Is Love Show. Covering Disco, Funk, Rare Groove, House, Latin and Soul, this is an up beat and easy going vibe. Expect Classic tracks by NYC Peech Boys, Taana Gardner, Brenda Taylor, First Choice and Mahogany. There may also be some tracks that you have not heard before being thrown down. All tracks are selected and mixed by @thefunkassassin with Love. Recorded on what would have been the Godfather of Disco, Mel Cheren's 87th birthday on the 21st January 2020; we celebrate Mel's legacy of being part responsible for opening New York's Paradise Garage in 1977 and being the founder of the infamous West End Records back in 1976. The show will take you on a journey through the label and the signature tracks Larry Levan played that rocked the Paradise Garage dance floor back in the 70's and 80's. Get down and do your thang! For all past shows click here ==> https://soundcloud.com/thefunkassassin/sets/the-word-is-love-soul-funk Thank you for listening. Instagram: www.instagram.com/the_funk_assassin/ Spotify: open.spotify.com/user/g2fac3ls3k8e1ucxe4fqe7g89 Facebook: www.facebook.com/TheFunkAssassin/

Tracklist for #399 1.WarpFactor - Montana.TomMoulton.VinceMontana (Atlantic) 2.ForTheLoveOfMoney - Ojay's 3.CutiePie - OneWay 4.LoveWillBringUsBack – 5.HouseParty - LoftClassics 6.ICouldDanceAllNight - ArchieBell&Drells 7.RootsMedley - Odyssey 8.YoungHeartsRunfree - CandyStaton 9.IGotAfeeling - FirstChoice 10.YahMoBeThere - JamesIngram.QuincyJones (Qwest) 11.Glow - RickJames/Odyssey.ButchIngram 12.INeedYouToSurvive - HezekianWalker 13.RealLove - LarryLevan.BrodieWilliams 14.It'sAllright -SterlingVoid.ParisBrightledge.MarshallJefferson (D.J.Internatioal) These are the selections I chose to spin at one of the earliest Paradise Garage Reunions. This party was produced by Mel Cheren at Spirit Club NYC. Including Joey Llanos, David DePino, Francois Kevorkian, Melba Moore and myself. The one gospel interlude by Hezekiah Walker was not spun at the Garage dates much later.. Real Love was recorded from an original reel to reel that Larry gave me to spin at The Choice. It has since been released with a similar version on King Street Records.

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

Flora Cruz and Phil Hooton on IndieFeed Dance