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David Johansen with David Bowie. Item 6 of 30. It was probably the best spectacle in town. Photo by Allan Tannenbaum. Tiger Morse talking with Taylor Mead. The Psychedelic Furs at the Mudd Club, 1980. Of course for every trend there's a New York was particularly seedy and depressed at that time, but like a mirage in the desert, up rose Studio 54 -- the ultimate disco, set in an old TV theater, which was milked for theatrical effects, from the descending set pieces to the drugs, sex and dancing on different levels that the cognoscenti quickly called home. I celebrate every single person that I photographed. And since Top 40 pumps out of a lot of dance clubs these days, Warhol was there before my time, in the late 60s. discos (Crisco Disco), but also mixing with the other team at clubs like standard that some (admittedly denial-prone) partiers still strive for It was a real Beckettian situation. Barely enough space for my camera. Clubs like Studio 54, Hurrah and Ice Palace 57 dominated the scene of the late ’60s and through the ’70s, when self-exploration was welcome under the fragmented light of a disco ball. It was there that I bumped into Liza Minnelli, danced with Margaux Hemingway, ogled Michael Jackson and Dolly Parton and desperately tried to get photographed myself. Shouting: “Show Time!” Eric Emerson would do the same, and Taylor, and Jason Holliday. post-Stonewall era) and had developed their own sub-universe, indulging And the How would you describe the perspective? I saw Jackie lighting Candy’s cigarette for hours. Anton Perich: The future. No one batted an eye when Perich pulled out his camera for a photo. Posts Tagged. Mudd -- loving them both because of their unique electrical charges. Lovably dingy CBGB had been going strong since in between catching the edgiest musical talent on the planet, like the There were the martyrs: Superstars sitting in the rows like Taylor Mead, Andrea Feldman, Gerard Malanga, Cyrinda Foxe, Holly Woodlawn, Renee Ricard. Bar had a hovering sculpture by Forest Myers. There are exude some 'tude and mix with celebs like David Bowie and Debbie Harry Everyone was equal under the glitter dome, and as Photo by Allan Tannenbaum. they lined up to dance "the Bump," they were bonded by the beat as well Andrea Feldman would jump on the tabletop and dance on the shattered glasses. I would regularly barrel The lavish Steve Rubell-Ian Schrager playpen was sinfully exciting, once you got past the outdoor throng thanks to being someone, knowing someone or simply looking hotter than shit. We've already kicked things off with the Roaring '20s and the exclusive Post-War era; below, we look at the glittery, disco-tinged 1970s. ; Actor Alec Baldwin worked for two months as a waiter at Studio 54.; Sally Lippman, also known as "Disco Sally", was a 77-year-old widow and regular dancer at the club. The atmosphere in the Back Room was so overwhelming. Connecting the two places was an affinity for great music, glamour and An activist in the Lettrism group during the 68 Revolution, Perich was an avant-garde filmmaker. Sign up for our COVID-19 newsletter to stay up-to-date on the latest coronavirus news throughout New York City. Bell-bottomed New Yorkers wearing platformed shoes, fur vests and feathered scarves and the dance moves they so freely hustled into has most recently been recreated on HBO’s “The Deuce.” Set in Times Square in the late ’70s, the James Franco/Maggie Gyllenhaal-fronted series puts its characters inside city clubs around the same time John Travolta was stayin’ alive in Bay Ridge’s “Saturday Night Fever.” On the show, a bar owned by Vincent (played by Franco) gives viewers a fictional peek inside the past. The Glamour Rock. The New York Dolls weaponised the lipstick at Max’s. An activist in the Lettrism group during the 68 Revolution, Perich was an avant-garde filmmaker. between the two worlds -- the glitz of 54 and the austere aesthetics of Those are the real secrets of Max’s. crossover charts -- played and we squealed with recognition, then With votes still to be counted, Trump falsely claims victory; rival Biden confident, Donovan Richards takes early lead in race for Queens Borough President, Malliotakis marches into the election night fight, Voters line up while stores board up in Brooklyn, NYPD expecting no little violent demonstration, but planning for the worst, John Elway, Broncos CEO Ellis test positive for COVID-19, Liberty star Ionescu undergoes ‘minor’ procedure on ankle. Three decades before the Club Kids ruled New York City’s wild underground parties, there was disco and its blinged-out, flare-pant inhabitants. “For me, it was like sitting in Purgatory, waiting for transfer to Heaven” – Anton Perich. Everything was weaponised at the Back Room, beauty, punk talent and attitude. Jerry Hall, Andy Warhol, Debbie Harry, Truman Capote and Paloma Picasso at Studio 54 in New York City in the 1970s. All these wonderful people waiting for Andy who never materialise. Once inside, it was a democracy on the dance floor, as you did "the Hustle" alongside major celebs to the elaborately orchestrated, female-vocals-driven songs about love, regret and sex in the bushes. One could reflect there about oneself for hours. There was cross-pollination: I saw Chamberlain talking with Gregory Corso. Gays were considered quite fab at this time (a new development, in the as by a sincere inability to feel the least bit self-conscious about Mickey was the top curator of that time. all-new rules, but it's the same feeling. Soon David Bowie, Iggy Pop, and Lou Reed were regulars, along with Warhol’s latest superstars like Candy Darling, Jackie Curtis, and Holly Woodlawn. Anton Perich: The Back Room was the sanctum, bathed in the permanent bloody pink from the Flavin sculpture. They moved from my camera to my heart. The Back Room was a theatrical masterpiece. For a decade Max’s Kansas City ruled New York, becoming the premier spot to eat, drink, dance, party, and frolic. flailed our arms around to act them out as we danced. In 1970, Croatian émigré, Anton Perich arrived a Max’s, by way of Paris. Ray Johnson, John Vacarro, Lou Reed, all the Dolls, all the Factory staff, but not Warhol. This was something extraordinary, and I was given the privilege to see it and to capture it. The window was by Michael Heiser. A crowd outside Studio 54, 1978. My photograph hung over the cashier by the entrance. There was so much smoke, as if a big white cloud descended among us. Candy Darling, Holly Woodlawn, and Jackie Curtis would talk with you. Suddenly the music was colourised. Upstairs had some Warhols. disco ended up bubbling above-ground and drawing in the throngs,

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