IN

PRACTICE

OF NYC THE THE FUN THE

s

dge to lig na midt nd us rri i shop

A i O l uz M d L ch B E Y BY ia P- S an ESSAY ha D DESIGN/ D ire ar us hael sis ake EDITED BY ic M J JAKE YUZNA JAKE la AN ic la M POWERHOUSE C K M CONTRIBUTIONS ene MUSEUM OF ART G NIGHTLIFE SOCIAL

YUZNA— THE FUN — POWERHOUSE/MUSEUMs AND OF DESIGN ART 53995 53995 76596 53995 8 76596 53995 8 81576 76596 8 53995 ISBN 978-1-57687-659-6 $39.95 US/CAN $39.95 97 81576 76596 8 53995 ISBN 978-1-57687-647-3 $39.95 US/CAN $39.95 97 81576 76596 8 ISBN 978-1-57687-647-3 $39.95 US/CAN $39.95 53995 97 81576 76596 8 ISBN 978-1-57687-647-3 $39.95 US/CAN $39.95 97 81576 76596 8 ISBN 978-1-57687-647-3 $39.95 US/CAN $39.95 97 81576 ISBN 978-1-57687-647-3 $39.95 US/CAN $39.95 97 81576 ISBN 978-1-57687-647-3 $39.95 US/CAN $39.95 97

The Fun: The Social Practice of Nightlife in NYC by Jake Yuzna

Published by

To be released: November 2013

This PDF of The Fun: The Social Practice of Nightlife in NYC is only a preview and an uncorrected proof. Lifting images from mechanical files is strictly prohibited.

To see the complete version, please contact Nina Ventura, Publicist: [email protected]

THE FUN EDITED BY JAKE YUZNA MUSEUM OF ARTS AND DESIGN/ POWERHOUSE BOOKS THE , NY THE SOCIAL PRACTICE OF F UNNIGHTLIFE IN THE NYC THE FUN Printing and binding by Pimlico Book TEXTS Nightlife: EARL DAX a focal point of NYC The Social Practice of Nightlife in NYC International, Hong Kong TEXTS An Oral History page 134 artistic practices TEXTS of NYC Continuing in that gleefully utilized Compilation & editing Book design Club Culture the tradition of previous subcultural © 2013 Jake Yuzna Dante Carlos INTRODUCTION page 79 downtown artists codes as materials River Jukes-Hudson Cathleen Lewis and performers, a to construct new, CONTENTS CONTENTS Introduction Stephen Serrato page 9 ARTISTS CONTENTS generation of activity emergent forms. © 2013 Cathleen Lewis (♥) ARTISTS that preceded his Will Art Have Fun? ARTISTS own, Earl Dax’s THE HO_SE WIll Art Have Fun? A complete catalog of powerHouse Books and The Social Practice practice moves page 182 The Social Practice of Nightlife Limited Editions is available upon request; of Nightlife #TOP8 FRIENDS between the roles of The Ho_se is a © 2013 Jake Yuzna please call, write, or visit our website. Jake Yuzna page 98 curator, producer, house with a hose, page 12 Transformative pop artist, and social basement, and a Nightlife: An Oral History of NYC Club Culture 10 9 8 7 6 5 4 3 2 1 spectacular & practitioner. seasonally lush © 2013 Museum of Arts and Design GÖBEKLI TEPE, lifestylemoodboard. backyard in the Printed and bound in China SOUTHEASTERN zip for the post- LAUREN DEVINE AND heart of downtown All rights reserved. No part of this book may TURKEY: A myspace generation. PATRIK SANDBERG Bushwick, Brooklyn. be reproduced in any manner in any media, PRELIMINARY REPORT page 144 or transmitted by any means whatsoever, elec- ON THE SUSANNE BARTSCH Blurring the JUDY tronic or mechanical (including photocopy, film 1995–1999 EXCAVATIONS page 110 distinctions between page 190 or video recording, Internet posting, or any other Klaus Schmidt Icon of NYC nightlife, digital and physical Taking its name from information storage and retrieval system), with- page 23 Susanne Bartsch interactions, Lauren Judith Butler and CONTENTS CONTENTS out the prior written permission of the publisher. has been a conten- CONTENTS Devine and Patrik , JUDY The Collaborative tious figure within Sandberg’s practice is a queer party Published in the United States by powerHouse Turn the practice since delves into how the collective founded Books, a division of powerHouse Cultural Maria Lind her arrival in NYC in contextualization by Gabriel Babriel, Entertainment, Inc. page 35 1981. of such interactions Brian Belukha, influences the Benjamin Haber, 37 Main Street, Brooklyn, NY 11201-1021 THE SOCIAL TURN: CHERYL development of and Mikki Olson. COLLABORATION page 118 subcultures and telephone 212.604.9074, fax 212.366.5247 AND ITS The four member, artistic production. LADYFAG e-mail: [email protected] DISCONTENTS semi-anonymous, page 198 website: www.powerHouseBooks.com Claire Bishop often cat-masked FCKNLZ Emerging from under page 55 artist collective page 154 the wing of seasoned First edition, 2013 known as CHERYL FCKNLZ is a nightlife practitioners Temporary Temple developed out of its beauty and lifestyle and NYC icons Kenny Library of Congress Control Number: Genesis P-Orridge founders’ experiences collective specializing Kenny and Susanne CONTENTS CONTENTS 2013942851 page 65 working within art CONTENTS in mistakes. Bartsch, Ladyfag museums and video continues in ISBN 978-1-57687-659-6 Nightlife As production in NYC. GAG! the tradition of NYC High Art: A page 164 nightlife royalty. Conversation DANCES OF VICE Held in the Between Performer/ page 126 Metropolitan Bar in SOPHIA LAMAR Director Rob The creation of Williamsburg, Gag! page 206 Roth and Social Shein Lee, Dances is one of the longest Fleeing from Castro- Anthropologist of Vice is a regular running gay parties run Cuba in the nightlife event that in Brooklyn. 1980s, transsexual page 69 creates themed icon of NYC night- environments GHE20 life, Sophia Lamar, Letter exploring steampunk, G0TH1K first made a name Dated October 5th, Victorian, Baroque, page 172 for herself in San 2010 and other areas of Organized by DJ Francisco’s club and historical opulence VenusX, GHE20 art scene before CONTENTS CONTENTS page 75 and romance. CONTENTS G0TH1K emerged as moving to NYC. MY CHIFFON SECRET PROJECT to a multidisciplinary, The Mone. IS WET ROBOT volunteer run Finger Banging page 214 page 250 artistic hive. FOREVER. 9 LEWIS 9 A celebration of all Secret Project things effeminate, Robot, the institute SPANK XTAPUSSY THE FUN: The Social became apparent that night- the weekly party My for living arts (for- page 282 page 318 Practice of Nightlife in NYC life was lacking support CONTENTS CONTENTS Chiffon is Wet is the merly Mighty Robot CONTENTS Created by Jason Exploring the role creation of Paisley 1999–2004) was Roe, William of environment and is a project of the Education available to other forms of Dalton and Leo founded in 2004 by Lynn (aka DJ Will context on nightlife Department of the Museum I art. Additionally, commercial GuGu. a group of artists and Automagic), and and avant garde cultural producers Sean Bumgarner (aka social practices, of Arts and Design (MAD), and real estate pressures PENDU who sought to create DJ Sean B), Spank the collaborative as part of its Public have increasingly restricted DISCO immersive practices is a multidisciplinary Xtapussy (Marie N page 222 of living art. social work that Karlberg, Hayley Programs initiatives that artist-run venues, low-cost Created by Todd utilizes a multitude of Pisaturo, and champion the support or free parties, and all-ages Pendu in 2010, FRANKIE SHARP forms, from nightlife Stewart Uoo) was T Pendu Disco is page 258 to zines and print created in 2012. and development of innova- programming. These condi- one component of Utilizing a cuisinart ephemera, as well his larger PENDV of gay culture, trash, as digital socializing REPRODUCTION tive artistic disciplines tions left artists struggling to moniker that seeks pure dedication, and and web platforms, CREDITS and cultural contexts. R craft experimental and pro- to create ecstatic a lack of class of to make visible page 329 experiences both the aesthetic the artistic and gressive nightlife work. CONTENTS CONTENTS through the creation and socioeconomic CONTENTS cultural output of the CREDITS THE FUN Fellowship O of immersive, variety, Frankie Sharp community around page 333 atmospheric altered the nightlife them. supports the growth of art- In response, MAD developed environments. landscape in NYC in a ists engaged with nightlife, the THE FUN Fellowship few short years. THE SPECTRUM D ROB page 290 while simultaneously rais- to support the social prac- ROTH S!CK A queer art, ing awareness of nightlife for tice of nightlife. Fellows page 232 page 266 performance, and U Active member of Utilizing nightlife and rehearsal space, a larger audience, by annu- were nominated by a group the NYC nightlife performance as a The Spectrum was ally giving unrestricted funds of 100 individual curators, community for over method of supporting created in 2011 20 years, director, and defining the by Nicholas Gorham and logistical support to C artists, critics, and journal- performer, artist, and growth of musicians and Gage Boone. nightlife practitioner and artists working four NYC-based artists in ists, and then selected by a Rob Roth began in audio, S!CK con- GERRY VISCO the field. T jury of their peers. This stra- CONTENTS CONTENTS his work in nightlife tinues the tradition CONTENTS page 298 as co-founder of of nightlife as a hub Having arrived in tegic framework ensured the seminal 1990s of community-based City in THE FUN evolved out of that this program is rooted party Click + Drag at activity that develops 1974, Gerry Visco’s I Mother. the growth of participation in conversations with night- in the artist community that artists and cultural nightlife has spanned life practitioners during a it serves: an approach to DESI movements free forty years, from Le O SANTIAGO of the confines of Jardin, Danceteria, panel discussion entitled arts and design program- page 242 commercial or insti- and the Mudd Club to “Nightlife: An Oral History ming that has been a corner- Moving to NYC tutional interests. the clubs and N at age 17 to begin parties of today. of NYC Club Culture,” stone of MAD’s Education art college, Desi SILENT BARN presented as part of the Department. Santiago quickly page 274 WOAHMONE found his attention Founded as a DIY page 308 series “Vibrant Space: turning to the warehouse venue Woahmyne. Environments of Cultural THE FUN Fellowship burgeoning 1990s nearly a decade ago, Woahmommy. CONTENTS CONTENTS Club Kid movement. Silent Barn is home CONTENTS Hmones. Woahbone. Production” in 2010. It has provided artists the 12 WILL ART HAVE FUN? 12 13 JAKE YUZNA 13 WILL ART WILL ART HAVE FUN? HAVE FUN? THE SOCIAL PRACTICE THE SOCIAL PRACTICE OF NIGHTLIFE OF NIGHTLIFE WILL ART WILL ART HAVE FUN? HAVE FUN? THE SOCIAL PRACTICE THE SOCIAL PRACTICE OF NIGHTLIFE OF NIGHTLIFE 14 WILL ART HAVE FUN? 14 15 JAKE YUZNA 15 First came the temple, then the city. structures, rituals, time, and sound, indi- Within Lind’s framework, this constitutes attendance.(6) After all, such metrics are —Klaus Schmidt viduals and groups utilized the Göbekli a social turn in the arts. Her linkage of the key to acquiring government and founda-

Tepe to shift perception, in order to form use of cultural activities and environments uzna tion funding, both of which are needed The Göbekli Tepe, first noted in a survey society as a whole. (2) in the construction of social context cre- to keep institutions operational in their Jake Y Jake conducted by Istanbul University and Yuzna Jake ates a precedent for this activity from its current forms. Additionally, questions the University of Chicago in 1964, did Artists working in the social practice of earliest known record to today’s contem- of the role and utilization of social or not become a prominent archaeological nightlife similarly utilize sites of cultural porary art practice.(3) participatory practices by these institu- discovery until 1995. That year, German activity to form social contexts. Like the tional structures has grown: Where does archeologist Klaus Schmidt began activity at the Göbekli Tempe, nightlife This embrace of social or relational critical methodology, a tenet of contem- an excavation that revealed the site’s operates through community-building, practices within the arts has increased porary art since the avant-garde, lie? If potential to redefine the understanding sensorial engagement, and participatory throughout the 2000s, with the creation relational or social contexts are being of a crucial stage in the development of actions. The definitions and boundaries of a Master of Fine Arts program in created, then why and for whom are they human society. that distinguish between art and other social practice at the California College being created? forms of culture—whether governmentally of Arts established in San Francisco in Located on top of a mountain ridge in the or privately facilitated—shift from one 2005. There are now over a half-dozen One of the first to address such ques- southeastern Anatolia region of Turkey, century to the next. Our forums for such programs in the United States, tions, scholar and critic Claire Bishop, this sanctuary contains massive stones cognitive transformation, since the late and social- and relational-practice outlines a split in the critique of art carved approximately 11,000 years ago, twentieth century, might be seen in the projects have been staged at prominent with the rise of these socially based by people who had not yet developed form of museums, theaters, cathedrals, institutions, including the Museum practices. In her essay In her essay metal tools, or even pottery. According to cultural centers, galleries, raves, festivals, of Modern Art, the Queens Museum “The Social Turn: Collaboration and Its carbon dating and comparative analysis, theaters, or even parks. If the social prac- of Art, the Walker Art Center, the Discontents,”(7) she discusses the cre- the Göbekli Tepe is the oldest known tice of nightlife shares sites, methodolo- Hammer Museum, the New Museum of ation of a spectrum of art criticisms that THE SOCIAL PRACTICE OF NIGHTLIFE THE SOCIAL PRACTICE religious site to date, and one that pres- OF NIGHTLIFE THE SOCIAL PRACTICE gies, and forms strikingly similar to those Contemporary Art, and the Los Angeles placed traditional aesthetes that utilize ents the construction of monumental within the fine arts sector, why then has Museum of Contemporary Art.(4) In the posteriori systems of values developed complexes as within the capabilities of nightlife not been included within the lat- addition, medium- and large-scale arts in response to object-based artworks, hunter-gatherers, not only of sedentary ter category? If nightlife is to be embraced organizations including Creative Time, including their physical and conceptual farming communities, as previously by the fine arts sector, where in its scope the Pulitzer Foundation for the Arts, forms, on one end, and a new form of cri- thought. The Göbekli Tepe predates should it be located? Creative Capital, the Ford Foundation, tique, centering on the ethical process and the Neolithic Revolution, during which and the MacDowell Colony have sup- resulting effects on social contexts, on the humans first began to develop agricul- Within the arts, the manipulation of social ported artists working in social practice. other. For Bishop, of central concern are Jake Yuzna Jake ture and animal husbandry. The Göbekli Yuzna Jake contexts as arts practice has grown with Although the terminology is still debated how an artwork is made, for whom, and Tepe may well redefine civilization as velocity since the mid-1990s. In her essay when it comes to participatory art and the subsequent result of the artwork in emerging not from villages and trade but “The Collaborative Turn,” curator and social practice, community arts, and dia- terms of ethics and practical alteration of from centers of worship and culture. Or, writer Maria Lind articulated the rise of logical art, a shift in the art context and power dynamics, which is to say, effective as Schmidt has put it, “First came the a genre of artwork involving social dynam- Western canon to include the manipula- critique. In her essay, Bishop calls for a temple, then the city.” (1) ics, context, and live activities. Spanning tion of social contexts as fine art practice new form of criticism that weighs both the a variety of permeable movements, has been irrevocably established.(5) aesthetic and ethical qualities of a particu- The Göbekli Tepe yielded the revelation including socially engaged art, commu- lar artwork as well as the need to keep an that civilization need not have its founda- nity-based art, experimental communi- A critique of museums and large orga- alternative, critical approach to social or tion in market systems. Rather, the site ties, dialogical art, relational aesthetics, nizations has formed in recent years, participatory practices so that they do not E FUN? functioned to facilitate the creation of E FUN? new-genre public art, Kontextkunst, based on concerns that their inclusion of simply become cultural production sub- V cultural and ritual activities. It uncovered V connective aesthetics, participatory art, these relational and social practices is sumed by larger, established apparatuses the potential importance of the construc- relational art, and, most recently, social not due to a growing appreciation of this of power.(8) tion and manipulation of social contexts practice, these works utilize, in some emerging form of art. Detractors argue through cultural and ritual activities as manner, the use of objects, interactions, that institutions provide a platform for However, such a practice already exists, WILL ART HA foundational to civilization. Through WILL ART HA environments, and other elements to such work as an easy way to gather and predates the emergence of social the manipulation of objects, physical shape human relations and social context. social capital and spur increased visitor and participatory practices in the fine arts 56 THE SOCIAL TURN 56 57 CLAIRE BISHOP 57 Artforum in collectivity, collaboration, and direct one’s own interdisciplinary network. It situation in which socially collaborative February 2006 engagement with specific social con- is tempting to date the surge in visibility practices are all perceived to be equally stituencies. Although these practices of these practices to the early 1990s, important artistic gestures of resistance: All artists are alike. They dream of have had, for the most part, a relatively when the fall of Communism deprived There can be no failed, unsuccessful, doing something that’s more social, more the left of the last vestiges of the revolu- Claire Bishop Claire Claire Bishop Claire weak profile in the commercial art unresolved, or boring works of socially collaborative, and more real than art. world—collective projects are more dif- tion that had once linked political and collaborative art, because all are equally —Dan Graham ficult to market than works by individual aesthetic radicality. Many artists now essential to the task of strengthening the artists, and they’re also less likely to make no distinction between their work social bond. While broadly sympathetic Superflex’s internet TV station for elderly be “works” than social events, publica- inside and outside the gallery, and even to the latter ambition, I would argue that residents of a Liverpool housing tions, workshops, or performances—they highly established and commercially it is also crucial to discuss, analyze, and project (Tenantspin, 1999); Annika nevertheless occupy an increasingly successful figures like Francis Alÿs, compare this work critically as art. This Eriksson inviting groups and individuals conspicuous presence in the public sec- Pierre Huyghe, Matthew Barney, and critical task is particularly pressing in to communicate their ideas and skills tor. The unprecedented expansion of the Thomas Hirschhorn have all turned to Britain, where New Labour use a rhetoric at the Frieze Art Fair (Do you want biennial is one factor that has certainly social collaboration as an extension of almost identical to that of socially an audience?, 2004); Jeremy Deller’s contributed toward this shift (thirty-three their conceptual or sculptural practice. engaged art to steer culture toward poli- Social Parade for over twenty social new biennials have been established Although the objectives and output of cies of social inclusion. Reducing art to organizations in San Sebastian (2004); in the last ten years alone, the major- these various artists and groups vary statistical information about target Lincoln Tobier training local residents ity in countries until recently considered enormously, all are linked by a belief in audience and “performance indicators,” in Aubervilliers, north-east Paris, to peripheral), as is the new model of com- the empowering creativity of collective the government prioritizes social effect produce half-hour radio programs (Radio missioning agency dedicated to the action and shared ideas. over considerations of artistic quality. Ld’A, 2004); Atelier van Lieshout’s float- production of experimental engaged art ing abortion clinic (A-Portable, 2001); in the public realm (Artangel in London, This mixed panorama of socially collab- The emergence of criteria by which to COLLABORATION AND ITS DISCONTENTS COLLABORATION Jeanne van Heeswijk’s project AND ITS DISCONTENTS COLLABORATION SKOR in the Netherlands, Nouveau orative work arguably forms what avant- judge social practices is not assisted to turn a condemned shopping mall Commanditaires in France are just a few garde we have today: artists using social by the present-day stand-off between the into a cultural center for the residents that come to mind). In One Place After situations to produce dematerialized, non-believers (aesthetes who reject this of Vlaardingen, Rotterdam (De Strip, Another: Site-Specific Art and Locational anti-market, politically engaged projects work as marginal, misguided, and lacking 2001–2004); Lucy Orta’s workshops Identity (2002), Miwon Kwon argues that that carry on the modernist call to blur artistic interest of any kind) and the in Johannesburg (and elsewhere) to community-specific work takes critiques art and life. For Nicolas Bourriaud in believers (activists who reject aesthetic teach unemployed people new fashion of “heavy metal” public art as its point Relational Aesthetics (1998), the defin- questions as synonymous with the skills and discuss collective solidarity of departure to addresses the site as a ing text of relational practice, “art is the market and cultural hierarchy). The former Claire Bishop Claire (Nexus Architecture, 1997–); Temporary Bishop Claire social rather than formal or phenomeno- place that produces a specific sociabil- condemn us to a world of irrelevant Services’ improvised neighborhood logical framework. The intersubjective ity,” precisely because “it tightens the painting and sculpture, while the latter environment in an empty lot in Echo space created through these projects space of relations, unlike TV.” For Grant self-marginalize to the point of inadver- Park, Los Angeles (Construction Site, becomes the focus—and medium—of Kester, in another key text, Conversation tently reinforcing art’s autonomy, thereby 2005); Pawel Althamer sending a group artistic investigation. Pieces: Community and Communication preventing any productive rapprochement of “difficult” teenagers from Warsaw’s in Modern Art (2004), art is uniquely between art and life. Is there ground on working-class Bródno district (including This expanded field of relational practices placed to counter a world in which “we which the two sides can meet? his two sons) to hang out at his retro- currently goes under a variety of names: are reduced to an atomized pseudocom- spective in Maastricht (Bad Kids, 2004); socially engaged art, community-based munity of consumers, our sensibilities Jens Haaning producing a calendar that art, experimental communities, dialogic dulled by spectacle and repetition.” What serious criticism has arisen in rela- features black-and-white photographic art, littoral art, participatory, interven- For these and other supporters of socially tion to socially collaborative art has been portraits of refugees in Finland awaiting tionist, research-based, or collaborative engaged art, the creative energy of framed in a particular way: The social turn the outcome of their asylum applications art. These practices are less interested participatory practices rehumanize—or in contemporary art has prompted an (The Refugee Calendar, 2002). in a relational aesthetic than in the at least de-alienate—a society rendered ethical turn in art criticism. This is mani- THE SOCIAL TURN: THE SOCIAL TURN: creative rewards of collaborative activ- numb and fragmented by the repressive fest in a heightened attentiveness as to The above projects are just a sample of ity—whether in the form of working with instrumentality of capitalism. But the how a given collaboration is undertaken. the recent surge of artistic interest preexisting communities or establishing urgency of this political task has led to a In other words, artists are increasingly 70 NIGHTLIFE AS HIGH ART 70 71 MICHAEL MUSTO 71 ROB ROTH is a multidisciplinary Musto: Art has always been an integral into popular culture now. I don’t want to ROTH: I like something clandestine artist and director based in New York City. part of nightlife, especially in the 1980s, say names. or underground. Something that feels Roth was one of the founding members when the large-scale dance club the unknown or maybe a secret, whether it is of the nightlife spectacle Click + Drag, Palladium was dotted with murals by Keith Musto: Lady…um, Antebellum. or not. When I finally discovered Jackie which started in 1996. With each Haring and Jean-Michel Basquiat, as well 60 was when all the things I liked about Michael Musto Michael Musto installment, Roth created photography, as a separate Kenny Sharf playpen-like ROTH: Lady Something. [Laughs.] I nightlife came together. I started work- video projections, installations, decor, room that was a Pop art lover’s delight. don’t know if there’s anything wrong with ing with [Jackie owners] Chi Chi Valenti and performance, making Click + Drag Around the same time, the downtown that, it’s just what happened. and Johnny Dynell, and [door diva] Kitty a completely unique New York club disco Area did top-to-bottom themes Boots. I had coproducers. That’s vital. experience. every month that were artistically and Musto: Exactly. But let’s get to how You need at least three or four people to cleverly done. (Everything from “War” this fabulous fusion of nightlife elements create something truly special or unique. Roth has since performed and directed … to “Confinement,” with the house drag started. Tell me about the genesis of … Otherwise, you’re left with a generic for stage, film, and installation in New queen as Anne Frank trapped in the attic.) Click + Drag. formula. York City and internationally. He has Even the invites were works of art, set- etween etween

directed works such as Narcissister: This B ting the tone for wry ingenuity. It almost ROTH: Click + Drag grew out of nights B Musto: Just previously to that, the Masquerade, The Mystery of Claywoman, seemed like the Area owners didn’t even I was doing at Jackie 60 [the legendary were carrying on at the church- and the award winning Screen Test, which care if they made money off the place, club that fused theater, fashion, technol- turned-devil’s-playground Limelight, and was chosen for the Prague Quadrennial they just wanted to make playful aesthetic ogy, and kinky sex themes]. It became a while they had great aesthetics them- ersation ersation

representing American theater. Roth v statements that stretched the boundar- weekly Saturday at Mother [the Jackie v selves—they looked like Mother Goose

has created visuals for a variety of art- on ies of clubbing. And now the long-run- space in the Meatpacking District] with on characters as filtered through Japanese ists including Vangeline Theater, Debbie ning party queen Susanne Bartsch has themes and performance. I don’t know anime via Leigh Bowery, with some apoc- A C A A C A Harry/Blondie, Justin Vivian Bond (Kiki her weekly Catwalk party at Marquee how I did that. Obviously I was younger alyptic chic thrown in—they were pretty and Herb), Big Art Group, and perfor- where the promoters not only create art so I had more energy. But we had a differ- lacking in morality, especially with no one mance artist Julie Tolentino. (Brandon Olson was on the floor painting ent theme every Saturday, and I’d do the watching and boundaries melting away. last week), but they also stand around as interiors, make videos, do photography… How about the Mother scene? MICHAEL MUSTO is the author incredibly festooned human installations. Obviously I did it because I loved it. There of the “Musto! The Musical!” column Art lives! was no real money to be made. It was ROTH: Every space has its own rules. on Out.com and “Next Question with more like building an idea that I wanted to Morality is an interesting word in night- Michael Musto” on Gawker.com. He was ROTH: For me it was always the number see happen. I considered it like theater. life. There was an air of anything goes for the longtime Village Voice chronicler of one thing to look for. There was always a sure, but within their ground rules. What nightlife, the arts, and changing urban conscious effort towards art, whether the Musto: Was there something missing saved Mother a lot, especially for Click + Michael Musto Michael Musto and political landscapes, and is a TV people there knew it or not. I remember in nightlife that you were trying to fill Drag, was the dress code being so strictly commentator as well as the author of four a conversation I had with Lady Kier about with this? enforced that it kept out a certain kind books. how the things that drive nightlife are of person. The code was always either music, fashion, or art, and when they col- ROTH: I was at Michael Alig’s parties, fetish, cyber, goth, vampire, trannie, Here is their conversation about the lide, those are usually the best moments. I was in the basement of Tunnel, and I gender fuck, or sexy robot. If someone evolving tides, lost opportunities, and She was saying music was driving it at that even made it to Danceteria when I was 17. wanted to come in and we liked them but comforting constants of NYC nightlife point—it was the Misshapes time when For me, it was building the party you want they didn’t fit the code, we’d have Kitty through the years. it was about music and there was noth- based on the places you’ve been. Some dress them at the door. Or we’d make ing else happening. It was around 2005. people think of it in music terms, some them go in in their underwear. If we found That’s where it started to really shift for people fashion, and some just want to do them putting their pants back on, we’d me away from a conscious art focus. But drugs. I thought of it as performance kick them out! now it’s like a pendulum and I see a lot art-Iike theater, it’s happening live and more performances. With Bartsch, it’s not it’s never going to happen again. Musto: The code was genius, and new. I remember her stuff at the Copa, even better was the fact that Click + Drag

NIGHTLIFE AS HIGH ART where there were always people dressed Musto: What particular aesthetics NIGHTLIFE AS HIGH ART had a truly mixed crowd, which seems to fully as art. That kind of art has blended were you drawing from? be a bit of a lost art. 80 ORAL HISTORY 80 81 ORAL HISTORY 81 Held on March 17, 2011, the Ladyfag: These lights business. I am my own man- in go-go dancing and art fag- something.” Then he paused armpits at Happy Valley.” program “Nightlife: An Oral are way too goddamned ger, my own producer, my gotry. Five years ago I came and said, “I think I like it.” So, he didn’t quite History of NYC Club Culture” bright, and I can hear myself own press agent, and my here with my suitcase filled So the next week, I know my name, but after was organized as part of speak. I’m up here, onstage, own party promoter; in fact I with my costumes, and things went to Happy Valley, which that.… the series “Vibrant Space: and you are down there. If would say I am my own party I had made and styled, and was the club. It was Susanne Environments of Cultural O there is one thing that is really O on heels. a really long red trench coat O Bartsch’s party. Desi was one O [Audience laughs.] Production” at the Museum important to me at my parties, I don’t have a that I would wear over these of the hosts, I believe. of Arts and Design (MAD) in it’s to be a part of the party. PowerPoint presentation to costumes on the subway. Michael Musto: New York City. I also have this overwhelming explain this to you, because This was because I didn’t Susanne You really hold onto a grudge. R desire to run around to every- R it’s not my style. What I do have enough money to get R Bartsch: No, not yet. R Taking to the stage in the one in a great outfit, and give have to explain this to you, as to these parties, like Happy Ladyfag: I do. But theater at MAD were nightlife you a drink ticket. Because an expert, is this box. Valley and Hero and APT, Desi Santiago: thanks to you, they put my impresarios Ladyfag, Susanne A you would definitely deserve A which no longer exist. A No, no, no. I was just there all A name on the flyer. After that Bartsch, Desi Santiago, it if you were at my party. [Ladyfag produces a box.] After a few weeks of the time. it started snowballing, and and Brian Butterick, joined So, when I was asked still not knowing anyone, I I went home. Like many by Village Voice columnist to talk today, the first thing And in this box, believe it or went solo to a party called Ladyfag: Oh, you were before me, I packed my bags Michael Musto, who moder- L I thought was, I should get L not... Duvet. I kinda remember it L just there all of the time. And L and came here to join the ated the discussion. ready, and called my hair- “like it was yesterday.” I had I had to get into this cage right ranks of people trying to keep dresser. And, if you will [Ladyfag begins to toss hun- this long synthetic ponytail after Kim Aviance. I don’t nightlife vibrant, and I am The evening began with the indulge me for a minute, dreds of small envelopes onto that went way past my crotch, know how familiar everyone very proud of that. announcement of the cre- because even if it seems like the stage and seats below.] and this tight leopard dress is with her or the House of So, nightlife is, how- ation of THE FUN Fellowship this is all smoke and mirrors, that didn’t quite make it to my Aviance. If you are, you’d prob- ever, something that a lot by Jake Yuzna, Manager of it’s important, because it is …is every single pay envelope crotch, thigh-high stripper ably realize by now that would of people look down upon. I Public Programs at MAD. H the first part of my art prac- H I have ever received. And boots, and enough makeup H be quite a daunting thing to do. H recently heard that someone Ladyfag took to the stage next, tice. People ask me what I do pretty much all of these were to make a proud. They are a house from the ball was talking about me and for a presentation on her all the time and what I say is, written by Susanne.... Kenny Kenny, who was my scene. Like Paris is Burning. what they said was, “Ladyfag, practice as well as contempo- I “I am a lot of different things I first introduction to nightlife, I Not only is she a great per- I she’s just a club kid.” And I rary nightlife in NYC. This to a lot of different people.” [The crowd laughs.] came up to me and gave me former, they are also “super thought, of all the rotten fuck- presentation was used to I have at least ten different a drink ticket. It sounds very cunty,” as we like to say. She ing things you could say about launch a dialogue with all of bios. It all depends on who Ladyfag: Because I simple, but it actually kind of was quite suspicious of a real me, that’s your insult? She’s the panel participants. Finally, S is asking. The only thing that S got my start here almost five changed everything for me. S girl being hired. So I went S just a club kid? the conversation was opened is on each and every one of years ago with her. Although I actually didn’t realize that in there, and I figured I had I throw parties. True. up to the audience. them is that I am a nightlife it’s not everything, because people were at parties being nothing to lose. I did a whole I don’t reference myself as T personality. That is a really T I don’t always get paid in an paid to be there. Nor did I T little show, and when I got out, T a club kid. It was a certain This document is a transcript blanket term, and if you were envelope. But this would rep- understand how these cool someone asked me what I was time. A place. It was a rebel- of the evening. to ask me what I am actually resent hundreds of costumes creative kids had the money on. I said, “What am I on? I lious cultural movement. It’s O doing, I would say I am doing O I’ve put together. Hundreds to afford these really expen- O don’t even know who the drug O come. It’s gone. it right now. That is who I am. of thousands of guests I’ve sive drinks. dealer is. I just moved here.” There [were] rainbow I am a part of nightlife, and entertained. Dozens of cuts That night I got inebri- dreads and braids, fishnets, with a name like Ladyfag, and bruises from throwing ated, and the showgirl in me [Audience laughs.] lollipops and K-holes, acid R that is not shocking. R myself on a dance floor and came out. And I did a whole R R dropping, beats all night long, A lot of gay people putting on a show for people. little show, impromptu, in Ladyfag: Needless to and that’s a beautiful thing. come to my parties, but it’s So, all of those paper enve- the middle of the floor. As say, I got the job. So I started It’s just not me. It’s not part Y not exclusively gay, and it’s Y lopes represent my work and I got up from it, there was Y doing that each week, and I Y of what I do. Big clubs like not intended to be. I am proud my community. Kenny Kenny standing there was a go-go dancer. Michael that, in that era, is just not of gay nightlife culture. It’s I didn’t come here [to and he just looked at me and Musto was actually the first what’s going on right now in all of the transsexuals, drag New York City] to be a part of said, “You. Come work for person that wrote about me in New York. People are much queens, and all the kids nightlife. I came from Toronto, me at Happy Valley.” And New York press, and I quote more into having small par- here who are all dressed up. where I had, what you could then he turned to someone you, “In clubland it’s been one ties, bottle service: the two To me those are hardest call, a major in vintage cloth- and said, “She’s like some long journey, man, all heading really ugly words in nightlife. working people in show ing and styling and a minor sort of Amazon woman or toward the girl with the hairy [Audience laughs.] 82 ORAL HISTORY 82 83 ORAL HISTORY 83 Ladyfag: Some people Nightlife is constantly refer- best business move, but when a meeting place. It’s where correct me if I am wrong. in the world. And in fact, I might say it killed night- encing itself. You have access I negotiate my contracts I magic happens. And whether met her last week at a party, life. Some people say it was to information so quickly that always make sure that drink they are there to dance, or Santiago: You are right. of course, and she had men- Giuliani. Regardless, it put people are looking at pic- tickets and low drink tickets there to network, or there to tioned to me that she remem- a dent in it, but I don’t think tures from one of our parties are there instead of higher get laid or whatever it is, it’s Ladyfag: I am right. bered that the first real show the people in this room or the O last week and mimicking it O percentages. Because if you all fine. Nightlife is hedonis- O Thank you.(1) He has been O she ever did was in a gay people who would come to my the next day. All the way to are loyal to the people who tic. It’s really easy to dismiss one of my mentors, and one of nightclub, and was actually parties now, or those parties the Midwest. There are kids come to your party, they will it as just that, and that would my favorite things he has ever a party I hosted with Kenny then, would ever have sub- today in the Midwest, who be loyal to you and keep be a terrible shame. It’s a lot said to me was, when I was Kenny. The next big thing, be scribed to that. R have never left, and who R coming back. of really beautiful things that R worried about taking risks, R it a musician or an artist or a I think New York is could come here today and do At the same time, happen in a nightclub. Artistic “Don’t worry about it. The fashion designer could be at a nightlife mecca, and it’s head-to-toe perfect goth, or nightlife is a super-fickle integrity in a nightclub is not good thing about throwing a your party. The next big thing important to hold onto it A perfect punk, or any subcul- A thing, and it’s hard to keep an oxymoron. A bad party is no one was there A could actually be your party. strongly like that. People ture because they can study people coming back. That is For example, the DJs. to remember it.” You never really know. People drop the words Limelight and it. They can reference the 90s where, in some ways, it does They are such an important want to be where the action is. Palladium as though they better than the 90s can refer- become a business. I think part of nightlife, and I think [Audience laughs.] For example, Mr. Black. were the Golden Nugget in L ence themselves. That is how L what’s worked for me is that people seem to forget about L L It might not be a name any Las Vegas. It’s part of our cul- it is. even though it’s not a full-time it. These days it seems to be Which is true. Thankfully, of you recognize. It doesn’t ture. Studio 54 is something The formulas for par- job; it’s the only thing that I the trend is all these local I haven’t had too many of ring as loud as the Roxy, but that is iconic worldwide. It’s a ties are still the same. You do. That said, I’m not a lawyer kids, “It Kids,” are all DJs. I those. It does happen and my if you were hip and gay for a movement and we just haven’t have your venue, your sound by day. Everything else that I get asked to DJ all the time, parties are not everyone’s cup few years it was the only place had anything of that magni- system, your music, your do is in some way connected and I always say no because of tea. You’re not going to find you would go. It went from the tude in a long time. The club fashion, something to ine- to nightlife. Not always I just think that is so disre- Paris Hilton at my party, and biggest something to noth- kids would have been the last. H briate everybody. But what H directly, but things like fash- spectful to the artistry of H that’s fine. H ing in the blink of an eye, and The closest thing we’ve had, has changed is that the mar- ion. It’s another creative thing what a DJ is—to do something I am going to say these it just goes to show you how dare I say, would have been ket is really oversaturated. that I love. I love watching like that. You know it could two words, and even before fickle nightlife can be, and the Misshapes. You can I Everyone is a party promoter, I fashion go down the runway be fun, and it’s valid. I like to I I say it please just don’t roll I you really have to be on your laugh. Their tight black jeans, everyone is a DJ, everyone is with its beautiful creations, think of it as, the more par- your eyes, but Lady Gaga. game. black shaggy hair that hides an internet star. Anything can just as much as designers ties you go to like that then There, I said it. I think she I do believe this was their eyes and they can’t see. S go viral. You can tweet right S love coming to my party and when you walk into my party S is important to this conver- S to be a sort of oral history of That emo, I-don’t-give-a- now that this is a great talk watching fashion on a dance and hear DJ Michael Magnan sation, just because like nightlife. I’ve only been here fuck stare at the camera. But and there could be a line down floor. It’s a two-way street. spin you’ll be like, “Holy shit. Madonna before her, she for five years and don’t have it was photographed over the street. You could tweet And I think that they are very This is music.” You’ll enjoy it realized the importance of much more history than that, and over. It was a movement T that it sucks and suddenly no T interconnected. that much more. I think that is T nightlife and she claims that T and I also think that nostalgia and it influenced a lot of one shows up to the party. That is part of what important. I think having all of she comes from gay New York is dangerous. I think the thing people. Probably one of the That’s just how it works. I think has worked for me. the important elements that club culture. that bothers me the most is biggest things we’ve had O Nightlife is a big busi- O Because I have done things people don’t think about, and O In my opinion, and O hearing people constantly say- in nightlife since. I think part ness. That fact that it is, I in so many different medi- you shouldn’t think about in if you speak to any of my ing, “Nightlife is dead.” That of that is the internet. That don’t think negates the magic ums that are connected, I nightlife. That is really impor- friends, they’ll tell you that it’s not what is used to be. It’s is probably the biggest thing that is created. I think it is just can bring together a whole tant to me. is a lie. Because she wasn’t like, really? Because I’m here, that separates nightlife now R more about the intentions. R group of people that people Sometimes I am scared R there, and we all were. R and I’m having a great time, and then. And the Misshapes I started a party called Family would want to be around. I to take risks, because you That said, whether or and so are the people who are are one of the first ones who Function a year ago. As a guess that is my forte. It’s want everything to just be not it has become part of her around me. I think there are a used it really well. Y promoter, one of your biggest Y like the thing that I actu- perfect. But, I will say that Y myth, is that she felt that it Y lot of people contributing a Patrick McMullen enemies is the venue. They ally do is something I’m not Erich Conrad—I don’t know was important to recognize lot of things to New York night- might have been, especially think of it as a business. They even doing. I’m introducing if you know who he is—he that. Especially since all of life that are important. in New York, one of the first don’t want to hear about the people to other people. I’m did Hero, People Club, and her fashions and all of that This talk here with you nightlife photographers. magic that you can bring an enabler. I’m introducing Tuesday nights at Beige. do come from club culture. has been great, but it doesn’t But now it’s become a genre to the club, how beautiful it photographers to stylists, Which I think is the longest It’s just one example of that, change anything for me. I’m unto its own. It’s kind of is. They want to see dollar introducing them to edi- running weekly gay party, or and she happens to be a very a night creature. I believe in made everything reciprocal. signs. This might not be the tors, artists to galleries. It’s something like that. Someone big example of that right now nightlife as a breeding ground #TOP8 #TOP8

100 THE FUN 100 ARTISTS 101THE FUN 101 ARTISTS SUSANNE Bartsch SUSANNE Bartsch

114 THE FUN 114 ARTISTS 115 THE FUN 115 ARTISTS danceS of vice danceS of vice

130 THE FUN 130 ARTISTS 131 THE FUN 131 ARTISTS EARL DAX EARL DAX

142 THE FUN 142 ARTISTS 143 THE FUN 143 ARTISTS LAUREN DEVINE & PATRIK SANDBERG LAUREN DEVINE & PATRIK SANDBERG

150 THE FUN 150 ARTISTS 151 THE FUN 151 ARTISTS FCKNLZ FCKNLZ

160 160 ARTISTS 161THE FUN 161 ARTISTS GHE20 GOTH1K GHE20 GOTH1K

174 THE FUN 174 ARTISTS 175 THE FUN 175 ARTISTS LADYFAG LADYFAG

200 THE FUN 200 ARTISTS 201 THE FUN 201 ARTISTS ROB ROTH ROB ROTH

240 THE FUN 240 ARTISTS 241 THE FUN 241 ARTISTS Frankie Sharp Frankie Sharp

264 THE FUN 264 ARTISTS 265 THE FUN 265 ARTISTS silent barn silent barn

276 THE FUN 276 ARTISTS 277 THE FUN 277 ARTISTS xtapussy xtapussy

324THE FUN 324ARTISTS 325THE FUN 325 ARTISTS

The Fun: The Social Practice of Nightlife in NYC by Jake Yuzna

Published by

To be released: November 2013

This PDF of The Fun: The Social Practice of Nightlife in NYC is only a preview and an uncorrected proof. Lifting images from mechanical files is strictly prohibited.

To see the complete version, please contact Nina Ventura, Publicist: [email protected]