DISCOPIA #1 Editorial
Hello and welcome to Discopia! I hope you enjoy the site and the articles. If you are a dedicated disco-head I’m sure you will find much to inform and amuse, and if you are a more casual browser then have a look around, I think you’ll be entertained! But before we get started I think I should clear some things up…
I am always getting asked (especially by contributors!) what the name means. The word “discopia” is an amalgamation of “disco” and “utopia” (though it is also very close to dystopia, the opposite of utopia). I like inventing words and “discopia” is short-ish, catchy and mostly, I like the way it sounds! But what exactly does it mean?
To me “discopia” is a state of mind. It may be based on a real place, it may be imagined or fantasisied, or it may be based on something inspiriational one has read; the freedom of the dancefloor, losing yourself in the power of the music, seeing societal inhibitions and taboos melt away, feeling that, perhaps, this is how life is supposed to be lived, maybe this is “the real me” as opposed to “what others want me to be”. I’m sure many of us have glimpsed these notions, however briefly, in our favourite clubs and nightspots, or perhaps read or dreamt about them, and it would be impossible for these ideals, once felt, not to affect the way we see the world or how it should be. Music, people, clubs, drugs, art, literature, philosophy, all these elements feed heavily into this experience. In this secular Western society this is as close as many of us get to a genuinely transcendant, religious state, and the power it holds is as ”real” as any organized system of belief.
But there is also a dark side (the dystopia). How can something so great and so pure as that moment of musical ecstasy on the dancefloor become so debased and cynical? The idea for Discopia (the fanzine) came to me in late 2001, as something to do to try and combat the boredom of a stagnant club/dance scene. Around this time the Strokes were getting big and the popular press had decided that “dance” music was over and “rock” was back in. As if “dance” music is some sort of fad waiting for the chemicals to run out before it withers away and dies. But in some contexts, this was actually true; the big superclubs, the resurgence of E with Mitsubishis, baby soothers and dayglo backpacks, one bar disco loops through an Akai filter: these things represented the crest of a wave that was bound to break sooner or later, but they seemd to me to be the only things the press was interested in.. It is now 35 years since David Mancuso had some friends round to his home to dance and listen to exciting new music, but the press was only interested in the now moment, the throwaway excesses of the dance scene, so it was easy for them to say it was over. Nevermind that rock has long been replaced in the popular consciousness as the most important music by what is now called “urban”. I wanted to find out a bit more about the history of the scene that has had such an impact on so many of us, and also to dig a little deeper in finding and profiling those artists that do what they like and by so doing keep this scene alive. I’d like to hink we are approaching this subject with a seriousness it rarely, if ever, receives in the mainstream media.
The first person I got in touch with was Daniel Wang. Talk about striking lucky! I knew he was opinionated and articulate from reading the backs of his Balihu records, and also the long sleeve notes on the “I was a Disco Malcontent” compilation LP (which referenced other ‘zines and general fanzine culture). So I sent him an email, explaining what I wanted to do, expecting a curt response of possible support tempered with suspicion. But the email I got back was long, very long. He was interested, supportive, positive, and communicative, all the things I wanted but even better than I had hoped. The first fruits of this exchange were printed in Jan 2002, and are reprinted here. Also in this issue we have published an article he sent me in May of last year about some of the political issues of the global dance scene. This article, to me, represents why I am so glad he is on board the good ship Discopia. Apart from being opinonated and very articulate (not so common for a DJ), he writes with flair but is not patronizing or sermonizing, instead relating how the issues we all face affect him on a personal level, for good or bad, with an honesty and openness that is refreshing. And if you agree, or take issue with what he or any of the other contributors have written, then get on the forum and let us know!
So to the music. Well, obviously disco is a big part of what we do, but it is by no means the only genre we are interested in. “Dance” music existed before disco and funk, believe it or not, from rock’n’roll to R’n’B to swing even back to the ceilidh. So our remit is wider than just what you may expect to hear in your local Studio 54 of a Friday evening. And, as you would expect with Daniel Wang, we are also interested in shining a light into those corners of the disco universe that are less well known, from early funk to post-punk, from electro to Italo. Expect future issues covering these topics in depth. And staying true to the aspect of historical documentation, we have some in depth interviews with some of the true pioneers of the disco scene, starting here with Daniel’s 1994 interview with the late, great Tee Scott. And if you don’t know who he was, then don’t worry, Andrew Back is on hand to fill you in on his story. Coming in future issues we have interviews with other pivotal figures such as David Mancuso, Greg Wilson and Daniele Baldelli.
So there you go, I think that’s all the explaining I need to do for now.
If you want to know more then drop us a line at EMAIL ADDRESS SINCE SHUT DOWN and don’t worry we’re all friendly people! Unlike others, we don’t feel you need to know a special code to join this club. Just read on and see what you think…
I am always getting asked (especially by contributors!) what the name means. The word “discopia” is an amalgamation of “disco” and “utopia” (though it is also very close to dystopia, the opposite of utopia). I like inventing words and “discopia” is short-ish, catchy and mostly, I like the way it sounds! But what exactly does it mean?
To me “discopia” is a state of mind. It may be based on a real place, it may be imagined or fantasisied, or it may be based on something inspiriational one has read; the freedom of the dancefloor, losing yourself in the power of the music, seeing societal inhibitions and taboos melt away, feeling that, perhaps, this is how life is supposed to be lived, maybe this is “the real me” as opposed to “what others want me to be”. I’m sure many of us have glimpsed these notions, however briefly, in our favourite clubs and nightspots, or perhaps read or dreamt about them, and it would be impossible for these ideals, once felt, not to affect the way we see the world or how it should be. Music, people, clubs, drugs, art, literature, philosophy, all these elements feed heavily into this experience. In this secular Western society this is as close as many of us get to a genuinely transcendant, religious state, and the power it holds is as ”real” as any organized system of belief.
But there is also a dark side (the dystopia). How can something so great and so pure as that moment of musical ecstasy on the dancefloor become so debased and cynical? The idea for Discopia (the fanzine) came to me in late 2001, as something to do to try and combat the boredom of a stagnant club/dance scene. Around this time the Strokes were getting big and the popular press had decided that “dance” music was over and “rock” was back in. As if “dance” music is some sort of fad waiting for the chemicals to run out before it withers away and dies. But in some contexts, this was actually true; the big superclubs, the resurgence of E with Mitsubishis, baby soothers and dayglo backpacks, one bar disco loops through an Akai filter: these things represented the crest of a wave that was bound to break sooner or later, but they seemd to me to be the only things the press was interested in.. It is now 35 years since David Mancuso had some friends round to his home to dance and listen to exciting new music, but the press was only interested in the now moment, the throwaway excesses of the dance scene, so it was easy for them to say it was over. Nevermind that rock has long been replaced in the popular consciousness as the most important music by what is now called “urban”. I wanted to find out a bit more about the history of the scene that has had such an impact on so many of us, and also to dig a little deeper in finding and profiling those artists that do what they like and by so doing keep this scene alive. I’d like to hink we are approaching this subject with a seriousness it rarely, if ever, receives in the mainstream media.
The first person I got in touch with was Daniel Wang. Talk about striking lucky! I knew he was opinionated and articulate from reading the backs of his Balihu records, and also the long sleeve notes on the “I was a Disco Malcontent” compilation LP (which referenced other ‘zines and general fanzine culture). So I sent him an email, explaining what I wanted to do, expecting a curt response of possible support tempered with suspicion. But the email I got back was long, very long. He was interested, supportive, positive, and communicative, all the things I wanted but even better than I had hoped. The first fruits of this exchange were printed in Jan 2002, and are reprinted here. Also in this issue we have published an article he sent me in May of last year about some of the political issues of the global dance scene. This article, to me, represents why I am so glad he is on board the good ship Discopia. Apart from being opinonated and very articulate (not so common for a DJ), he writes with flair but is not patronizing or sermonizing, instead relating how the issues we all face affect him on a personal level, for good or bad, with an honesty and openness that is refreshing. And if you agree, or take issue with what he or any of the other contributors have written, then get on the forum and let us know!
So to the music. Well, obviously disco is a big part of what we do, but it is by no means the only genre we are interested in. “Dance” music existed before disco and funk, believe it or not, from rock’n’roll to R’n’B to swing even back to the ceilidh. So our remit is wider than just what you may expect to hear in your local Studio 54 of a Friday evening. And, as you would expect with Daniel Wang, we are also interested in shining a light into those corners of the disco universe that are less well known, from early funk to post-punk, from electro to Italo. Expect future issues covering these topics in depth. And staying true to the aspect of historical documentation, we have some in depth interviews with some of the true pioneers of the disco scene, starting here with Daniel’s 1994 interview with the late, great Tee Scott. And if you don’t know who he was, then don’t worry, Andrew Back is on hand to fill you in on his story. Coming in future issues we have interviews with other pivotal figures such as David Mancuso, Greg Wilson and Daniele Baldelli.
So there you go, I think that’s all the explaining I need to do for now.
If you want to know more then drop us a line at EMAIL ADDRESS SINCE SHUT DOWN and don’t worry we’re all friendly people! Unlike others, we don’t feel you need to know a special code to join this club. Just read on and see what you think…
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