Stuart Hall is gone at the age of 82. Hall, and the teachers who introduced me to him, changed my intellectual life irrevocably. Through him I learned that the news was, and had to be, a making; that hegemony was complicated, uneven, stratified, and, most importantly, an arena of creative, often heretical, struggle; and that youth music culture might be something worth reflecting on in a college classroom as well as in my own writing. Numerous teachers and mentors in my life had worked with Hall at one point or another and many had seen him speak and engaged his thought as it first emerged. I never met him, but his voice, writings, and image are seared into my mind. When I attended Goldsmiths as part of the University of London in the fall of 1997, I was humbled to even see his name on the mailbox in Media and Communications. His example and legacy underpin a great deal of my understanding of political honesty and academic achievement. I am in his debt.
It is my hope that the Critical Social Theory Cluster at Northeastern (#neucstc), of which I am a co-founder, will acknowledge Hall’s passing later this spring. Indeed, it’s existence is already a nod to his lasting impact.
The following is an excerpt from “An alternative history of sexuality in club culture” published on 28 January 2014 by Luis-Manuel Garcia on the Resident Advisor blog.
They were part of a generation of primarily black and gay DJs that brought new DJ techniques and sounds from places like NYC and Chicago. Throughout the ’70s, Detroit’s dance scene was divided along sexual and racial lines: Ken Collier used to play at the Downstairs Pub, in the basement of the upscale disco club L’Esprit, but it was the set lists of the white DJ upstairs that appeared in Vince Aletti’s “Disco Files” column. Collier would later go on to hold a Saturday night residency at the gay after-hours club Heaven until his death in the mid-’90s. Gholz reports that many of Detroit’s “techno pioneers” saw Collier as a mentor and “godfather” of DJ culture in the city, but he gets little more than a passing mention in the history books (see Energy Flash and Techno Rebels).
And yet, this generation of disco and post-disco DJs—playing mostly in queer venues and participating in that community—played a pivotal role in the development of Detroit techno, bringing new sounds from places like NYC and Chicago. “When Derrick May and Eddie Flashin’ Fowlkes wanted to go to Chicago to see the house scene, the people they got in the car with were an older crew that went to Chessmate, a crew that had been part of that primarily gay disco community,” says Gholz.
In the ’80s, as the sexual segregation of nightlife in Detroit began to loosen up, mostly-queer venues like Heaven and Todd’s were important points of contact and mentorship between different generations of musicians. Many of Detroit’s techno legends got their start frequenting (and often sneaking into) venues where an older generation of gay, black DJs were combining disco with the new sounds of house and garage. But these encounters are almost entirely missing from the story of Detroit techno. Gholz points out that these venues and their social networks remained mostly “off the grid.” Indeed, most of the material for this section is based on oral histories collected by Gholz; almost none of it exists in print.
And Detroit’s LGBTQ-history didn’t end in the ’80s, either. This older generation of primarily gay DJs continued to play at local parties well into the early 2000s—although most of them have either retired or passed on by now. A younger generation of queer-of-color dancers, producers, DJs, event promoters, label managers and venue staff have also come up in the scene, such as Curtis Lipscomb and Adriel Thornton. Lipscomb runs Kick, stemming from a magazine running since 1994, which organizes programs and events serving the Detroit LGBT community; Lipscomb also had a hand in founding the annual Hotter Than July festival, “the nation’s third oldest celebration of African American lesbian, gay, bi and transgender culture.” Thornton is a local promoter of both electronic music and queer culture, founding the Fresh Media Group and engaging in community activism with Detroit’s Allied Media Projects.