Our series on great concert halls and nightclubs from New York music history concludes with a look at the old Metropolitan Opera House, which stood at West 39th Street and Broadway until 1967.
Our series on concert halls and nightclubs from New York music history continues with a look at one of the city's great jazz temples: The Village Gate. We’ll talk with jazz historian and author Gary Giddins.
Our series on great concert halls and nightclubs from New York music history continues with a look at Gerde's Folk City, a hub for the Greenwich Village folk scene of the 1960s and ‘70s – and the site of Bob Dylan’s first professional gig.
Singer-songwriters Lily and Abigail Chapin are the latest generation of the musical family that includes Grammy-winning children’s artist Tom Chapin (their father) and singer-songwriter Harry Chapin (their uncle). Performing as The Chapin Sisters, Lily and Abigail have worked with Lavender Diamond, Will Oldham and others. They join us to play songs from their sophomore album, “Two.”
The Chapin Sisters perform tonight at 8:30 p.m. at the Living Room in the Lower East Side, New York as a part of the CMJ Music Marathon. For more information, please visit the Living Room's web site.
All week we are talking about New York's historic, past concert venues. As the 30th annual CMJ Music Marathon kicks off today, we turn to the city's current starting line-up of concert-going places.
Camille Dodero of the Village Voice helps sift through the 1,200-plus bands and 75-plus venues to highlight this year's must-see acts and go-to places.
Soundcheck continues its week-long series about influential nightclubs and concert halls in New York City. Today, a look back at the glittery Danceteria and its multiple floors of party-goers from across the pop culture landscape. Later: the Chapin Sisters carry on their family's legacy in music. They perform live in the studio.
When it opened in 1980 on West 39th Street, Danceteria upped the ante for cultural crosspollination in New York nightlife. Philip Glass, Devo and a rising star named Madonna were just a few of the artists who performed at the club, which moved to a three-floor location at 30 West 21st Street with a dancefloor, video installation room and live performance stage. Jim Fouratt, Danceteria's talent booker, and video artist Kit Fitzgerald join us to talk about the club and its place on the city's scene.
Post a comment: share your memories of Danceteria -- and watch a young Madonna performing at Danceteria.
Yesterday we began our weeklong series on some of New York’s vanished music venues with a look at Max’s Kansas City – early artist haven where Andy Warhol held court, home to the nascent glam rock movement, and then the yin to CBGBs yang when punk hit in the late 70s. Then we moved on to the Bottom Line, where you could see folkies, the newest rock bands (the Police, famously), jazz greats, etc.
A number of listeners who couldn’t get through on the phones left comments (some more than once), and I was struck by this line from a comment by Dan from Long Island: “It (the Bottom Line) could be seen as a legacy of the best radio mixes from the 60's and early 70's when you could hear almost any style of music at one time or another.”
It’s a good point: both The Bottom Line’s eclecticism in the 70s and Danceteria’s bootylicious dance-rock in the 80s reflected the very different sounds of radio in New York in those decades. And in one unexpected example, Danceteria also reflected the artistic ferment of lower Manhattan – the same ferment that drove my original show here at WNYC, “New Sounds.” For me, one of the great surprises of Danceteria was how much overlap there was between the cool, scene-making rockers who hung out there and the arty, downtown musicians whose music would be heard on “New Sounds” (and often only on “New Sounds”) and seen on those newfangled music videos in Danceteria’s groundbreaking video lounge. Whether it was their videos or actual live performances, drummer/composer David Van Tieghem, sax player/bandleader Peter Gordon, the Microscopic Septet, and Philip Glass with the Gambian-born kora player Foday Musa Suso, all graced one floor or another of Danceteria’s multi-level, multi-use layout.
What’s your favorite memory of Danceteria? Leave a comment.
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