Forty people turned up and danced to strobed-out house. Dom Phillips has been involved in dance music since 1988. It was all about giving it a go and not giving a fuck. For a short time it was a national secret that only teenagers seemed to know about, while the police looked on puzzled, politicians observed fearfully and breweries met it with mounting panic. album British reporter based in Rio de Janeiro.
Back then, for a time, it felt like the world was going to tip on its axis, that society was going to shift and alter dramatically. It was like a code.
We have amazing festivals from Holland and Croatia, from Singapore to San Francisco, from Australiato South America (take Creamfields Santiago, a Latin-American festival which originally started in a small dive in Liverpool). We’re going back to Brixton.’ They fucked off and left me in there. Mixmag touring the country with some very tasty line-ups. Originally featured in Mixmag, sometime around 1995.
Dom Phillips Mixmag 1992. Dance music is cool again for a new generation bored with indie. Dom Phillips has been involved in dance music since 1988. FAIL WE MAY.. SAIL WE MUST.. STAY SAFE.. PROGRESSIVE HOUSE.
Thèmes. It was just so obvious.”
He has also made a number of documentaries for Channel 4 and for Radio 1.
It was amazing.
We were like lunatics.” The following year, Turner saved enough money to go again for the whole season, and went to Amnesia every night. He was editor of clubbers' bible MixMag throughout its 1990s heyday, and since worked as a freelance writer for publications as diverse as the Guardian, Observer Life, The Face, The Big Issue, Q, Arena and was for two years style columnist for the Independent on Sunday.
It didn’t create the music, but it did help to create a community around it.
By 1988 he had built the night into one of the strongest in the city. The party seemed to go on and on, building momentum.
Tweets are not endorsements. People who wanted to do something creative but didn’t know anyone that did that, it opened up a space for them to do something different. A special celebration of one of the most important eras in dance musicIn 1988 through 1989, the club culture that a few individuals had the previous year imported from the dancefloors of Ibiza spread like wildfire to the clubs, warehouses and fields of the UK and beyond, radiating outwards in an unstoppable supernova of love and creativity that changed fashion, design, clubbing, music and indeed the world, forever. During those languid summer months she bumped into friend Paul Oakenfold and his buddies Nicky Holloway, Johnny Walker and Danny Rampling, all equally blown away by the club and a new drug, ecstasy, that they’d sampled. “I got sent a cassette; it was called something like ‘The London Acid Scene’. Dom Phillips is a British journalist who has lived in Brazil since 2007. Create a free Muck Rack account to customize your profile and upload a portfolio of your best work.British journalist based in Rio de Janeiro.
In 1988 this music combined with a powerful new narcotic to create arguably the most far-reaching and long lasting youth cult we’ve ever seen.
Absolutely brilliant.”It took some time for the authorities to work out exactly what was going on. In Liverpool, Andy Carroll and Mike Knowler; Graeme Park and DJ Jonathan in Nottingham; Nightmares On Wax in Leeds; Parrot and Winston in Sheffield and Slam and Harri in Scotland, while London had Colin Faver, Kid Batchelor, Jazzy M, Eddie Richards, the Watson brothers, Mark Moore and clubs like Asylum, Shoom, Spectrum, Clink Street and The Dungeons.Jane Bussmann was a British writer working in LA when she received a package from her boyfriend in early 1988.
It was very bleepy, brilliant acid house music.
Everyone was an impresario, everyone knew someone who’d made a tune. Choose an adventure below and discover your next favorite movie or TV show. Fuck ’em. Confusion reigned. “We are a God fearing nation, that respects the family and loves the fatherland,” he said. Peering through its foggy prism, suddenly we were no longer alone, but one giant collective of smiling, happy people. Washington Post Brazil correspondent 2014-2016.
Yet politically, the scene was a contradictory mixture of the entrepreneurial and anti-authoritarian.
Sometime in June she discovered Amnesia and became obsessed with the music its resident DJs, Alfredo and Leo Mas, were playing. As Genesis promoter Wayne Anthony says: “It would have taken decades and decades of awareness campaigns to bring us all together.
Guardian, Financial Times, others.
Björk en tête d’affiche du Blue Dot Festival.
The values of the Summer of Love continue to influence a generation of young clubbers who are actively engaged in club politics, from the rights of transgender dancers to safe spaces for women, and whose activism has also been instrumental in the mushrooming of female DJs on our scene – nowadays some festivals have a 50/50 gender booking policy.
Really great piece from Dan Prince. “For the first time in my life, I thought ‘this is what I want to do, this is what I The same pattern, city to city, repeatedly.
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