... Mexico border immigration djs corridos ...

... The Saint Flamingo Jim Burgess DJ-ing white gay dance crowd ...

... disc jockeys Filipino American scratch DJs music scenes import car racing ...

... The Saint rivals Flamingo and 12 West closed during 1981, unable to hold on to their core dancers in the face of Bruce Mailman’s recently opened venue. Mailman attempted to re-create the collectivity of the gay male dance floor by employing a roster of DJs who, by dint of their revolving...

... This chapter discusses the confluence of different forces that led to the declining interest in the mobile DJ scene. Those factors were both internal (within the scene) and external. Internal factors included shortcomings in recruitment of younger members; improving fortunes for individual DJs...

... of mobile Mexican dj sound systems, or sonidos, operating on both sides of the U.S.-Mexico border. Sonidos use the dj mix as a form of musical communication and community that both moves between the United States and Mexico and plays a role in shaping cross-border migrant politics and activism. Kun explores...

... to launch “Modern Classix” at the Underground in May 1981. Rubell proceeded to fire Mike Stone and invite Fouratt and Piper to run Studio 54. Meanwhile after-hours rock-dance venue AM/PM invited disco producer François Kevorkian to DJ, and the midtown discotheque Bond’s shifted to live shows that featured...

... integrating live music, DJ-ing, immersive happenings, and underground film, the Mudd Club became a focal point for a new form of hybrid partying. Mudd Club Steve Mass downtown art scene punk disco CBGB regulars Ann Magnuson, Susan Hannaford, and Tom Scully took over the running of Club 57...

... the Avenue A spot on 10 December. The opening-night party blended Western movies, drag queen performances, and DJ-ing in the back room. Demand soon surpassed all expectations and by the spring the spot matched Danceteria’s seven-nights-a-week parade. As it became clear that Pyramid was part of a broader East...

... Thanks to the promotional efforts of Fred Brathwaite, Michael Holman, and Ruza Blue in particular, the idea that hip hop existed as a cohesive culture that melded the four elements of DJ-ing, MC-ing, breaking, and graffiti had become a reality by the time Wild Style premiered in the United States...

... Ruza Blue continued to book Bronx and Brooklyn-based DJs, MCs, graffiti artists, and breakers until the fire department closed the venue due to overcrowding. The party host took her party to Danceteria before deciding to relaunch at the Roxy roller rink. Bambaataa and others followed her...

..., Kun traces the work of mobile Mexican dj sound systems, or sonidos, operating on both sides of the U.S.-Mexico border. Sonidos use the dj mix as a form of musical communication and community that both moves between the United States and Mexico and plays a role in shaping cross-border migrant politics...

... This chapter focuses on the “internal” factors that drew young men to join or form crews, including the allure of social status, the aura of work as a DJ, and the appeal of homosociality. By that same token, the chapter also discusses some of the barriers limiting young women’s joining...

... This chapter introduces the phenomenon of the Filipino American mobile disc jockey crews in the Bay Area. It begins with a discussion of the importance of DJs to community formations before moving on to an examination of DJing as a collective activity itself. It also discusses the relevance...

... This chapter examines the “external” factors that fueled the scene’s overall growth, including the intertwined social networks connecting DJ crews, friends, peer-run student or church groups, middle-class parents and relatives, and Filipino community groups. Those networks formed the “social...

... At the end of the twentieth century, turntablist-djs reemerged from the shadows of hip-hop culture’s stages. Using turntable technology not just to play music but instead to manipulate sound, the Invisibl Skratch Piklz, a five-member Filipino American dj crew, were central figures...

... CBGB regulars Ann Magnuson, Susan Hannaford, and Tom Scully took over the running of Club 57, located on St. Mark’s Place, in the spring of 1979. With Magnuson taking the lead role, they introduced an eclectic program that included DJ-ing, the screening of old B-movies, performance art...