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Nicky Siano the Gallery CULTURE Nicky Siano The Gallery. Frankie Knuckles. David Byrne. Arthur Russell. Words Andy Thomas Portrait Janette Beckman Photographs Nicky Siano Collection Opening in a New York loft in 1972, brother Joe. While the Loft’s music and rose from the dance floor of the Gallery. the Gallery made Nicky Siano the first atmosphere was a clear influence, he “Larry Levan, Walter Gibbons, Tee Scott star DJ of the disco era. Writing for the took things in a whole new direction would all sit in the booth, taking notes,” New York Times, Sheila Weller recalled at the Gallery. “It seemed like Nicky’s said Studio 54 DJ Kenny Carpenter. a visit to the club: “The wildness is bumped-up version of the Loft,” says “Nicky Siano was the king of DJs. He was exquisitely wholesome. Furious dancing. New York DJ Danny Krivit. “Nicky was so fierce he could put on a record and Crepe paper and tinsel. Body energy more aggressively working the sound people would scream.” Andre Collins, shakes the room. In darkness pierced by system, as well as mixing. He could also who went on to spin at both Better Days perfectly timed burst of light, Labelle’s get very funky and go all over the place.” and the Warehouse (New York’s version, rousing ‘What Can I Do For You?’ takes The Gallery became known for its in the Bronx), was another DJ who found on a frenetic holiness. The floor is a drum sound system, created in association with his calling at the Gallery. “I was brought to the dancers – many of them gay, most Alex Rosner. While Rosner had worked up in the projects and being gay there was of them black – whose up-sprung fists with Mancuso to create a system for the hard. The Gallery was a haven, it allowed and tambourines lob the balloons and Loft, Krivit heard distinct differences. me to be around older gay people and to streamers above what seem to be “The Gallery was louder and musically hear music that told our story. Nicky used collectively-chosen intervals.” more aggressive and pumping. It sounded to paint pictures with the music. He Creating a euphoric and fierce great, but it seemed like the Loft had a was the first DJ to touch my heart.” soundtrack, Siano revelled in his star bit of audiophile edge.” While the sound Another Gallery dancer was avant- status. “At the end of the evening he at the Loft wrapped dancers in a sonic garde cellist Arthur Russell. After being would sit down, take off his shoes and blanket, the Gallery’s system assaulted introduced to Siano by a mutual friend, socks, and start to mix with his toes,” the senses. Beneath a canopy of brightly Russell suggested they make a record recalled Michael Gomes, editor of the coloured balloons, the crowd screamed to together. The result was the 1978 Sire Mixmaster newsletter. Siano became the extremities of Siano’s playing. Writing Records 12” ‘Kiss Me Again’ under the renowned both for his experimental beat in New York magazine in June 1975, Mark moniker Dinosaur. This glorious slice of mixing and use of technology, cutting Jacobson captured the theatrical DJ in full disco featured a young David Byrne on between records using a crossover and flight. “Swaying his rear end to the motion guitar. Despite working on a number of variable speed turntables – and how he of the needle on the VU meter of his uncompleted tracks, they only released used them, peaking and dropping through $20,000 system, he flips 45s across his one more record. Out on Sleeping Bag the mix to a sea of raised hands. It was body like dwarf frisbees, landing them Records in 1984 under the name Felix, into this intoxicating environment that on one of his three turntables.” the mutant disco/proto-house of ‘Tiger a group of film students from New York One of those dancers to marvel at his Stripes’ (and the even more out-there University walked one night in 1977. theatrics was a young Frankie Knuckles, alternative version ‘Move’) sounds as Invited by Siano’s cousin Gary Turzilli, the legendary DJ from Chicago club the progressive today as when it swirled a fellow student, for the next eight months Warehouse, who passed away last year. around the Loft more than 30 years ago. they documented the scenes. You can now As well as helping blow up balloons and When the Gallery closed due to see their footage thanks to a new film giving out acid, he spent a lot of time in Siano’s spiralling drug addiction, he from Siano and Turzilli: Love is the the booth watching Siano’s every move. continued to spin for five months behind Message: A Night at the Gallery 1977. “It was like discovering the wheel,” he the decks at Studio 54. More in keeping An Italian-American from Coney told writer Tim Lawrence. “Nicky would with his underground status was a spell at Island, Nicky Siano learned his craft by constantly play with the speed, and I had after-hours party Buttermilk Bottom, but watching David Mancuso at the Loft never heard anybody do that before. it would be 20 years before he DJ’d again. and Michael Cappello at the Limelight. It became difficult listening to other Getting clean in the 1980s, he worked as a After a spell as a DJ at the Round Table guys play in the old style after that.” HIV counsellor before making his return he opened the Gallery with his friend Just as David Mancuso was a teacher to DJing at a Larry Levan tribute party Robin Lord thanks to a loan from Siano’s to Siano, so a whole new school of DJs at New York’s Body&Soul in 1998. > 134 135 CULTURE | Nicky Siano Clubbers in the Gallery Rique Spencer and Frankie Knuckles Gallery cloakroom staff Dee Dee and Chuckie were like, ‘We want to do this dancing the amp off to [Eddie Kendricks’] ‘Girl thing’. We found out about the Firehouse You Need a Change of Mind’, then at the [held by the Gay Activists Alliance] – very break of the record the tweeters there wasn’t alcohol served there so they came on and he plunged the room into could let in young people – and we started darkness. You couldn’t see a thing except going. It was in SoHo. Walking through for a lamp at the end of the room. I was SoHo in those days was incredibly staring at the lamp and then at the next dangerous. It’s hard to imagine now. Once musical change it dimmed and went you got below Houston Street there were out, and I thought, ‘Oh my god, he’s Nicky Siano, Rique Spencer, no streetlights and no one knew addresses. controlling every little thing in the room’. Larry Levan and Gallery If you said to a taxi driver, ‘Take me to co-founder Robin Lord Wooster and Spring,’ he’d look at you like, What was the mix of people like? Dancers at the Gallery ‘Where’s that?’ They had no idea what It was about 85 percent black and gay and SoHo was. So we went down to this very 15 percent Hispanic with a few white What was your first memory of music, secluded place. I tell you, we were scared hippies, but really it wasn’t just one type growing up in Coney Island? for our lives, but when we got inside, there of crowd. It’s like that girl says in the film, My brother was 10 years older and he was this music playing and everyone “Everyone working, being, growing and repeal that fucking law making it illegal great time there, but I kept butting heads after loft; we put together a business plan was buying a lot of records. I came across was dancing and it was like, ‘Wow, experiencing together,” and that was the for two people of the same sex to dance with the owners. I was trying to get them and went to my brother. He took a bit an album in his collection with this really I love dancing and I love this music.’ truth of it. That whole anti-establishment together. Stonewall had a huge impact. to do this and that to improve things but of persuading but had some money from beautiful image on it; it turned out to be hippie thing was obviously where David nothing got done. As long as they were an insurance settlement and decided Laura Nyro’s first album. Then I got this How were you introduced to the Loft? Mancuso was coming from. He’s spoken Dancing and the whole community making money they didn’t care. So I was to invest it into the Gallery. stereo with the money I saved up doing After going to the Firehouse I started about the importance of the anti-war took on a whole new importance. getting frustrated and Robin and I would a paper round. It was a Zenith Circle of collecting records, and my brother had movement at the time – well, you have It really did. The dancing was our way of What were the early days like? Sound stereo with these special speakers; this little party at his house. I had these to understand something. The Vietnam demonstrating unity and love and caring When we first opened the Gallery it was they faced up and there was a cone on top records like ‘You’re the One’ by Little thing was happening so intensely that for each other, and saying, ‘Yes this is our for straight people.
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