When we were doing shows in the mid-'90s, the audiences were 95% black. What's happened now is the gentrification of hip-hop. A lot of cities passed ordinances that made it hard for black audiences to gather in large groups. Clubs are more open to hip-hop now 'cause it's the same crowd that goes to rock shows.
I went back to DJ'ing in 1987, and it's been an incredible second career for me. Plus, it's almost a parallel universe. If you don't go to underground clubs, you wouldn't know what I do or who I am. So there's been a whole new audience of people that don't even know I'm that 'Boy George', the one their mother used to like.
I was a clubber in the Nineties. I went dancing every week.
I know that people everywhere listen to hip-hop, but especially being from the South, you really get that influence. You go out, you party, and it's just always there. Also, I grew up listening and loving reggae music, too.
At the end of the '90s and into 2000, electronic music was still an underground phenomenon, especially in America.
I saw a DJ from Germany called Sven Vath. I saw him in the club, he played for six hours and I was just totally intrigued, because everything he played I'd never heard before and everything he did I'd never seen before. I was so blown away by what he did.
Atlanta is down south, the club. So the most thing played down there is club music. Everybody wants a hit.
Holland is a really small country, but with a very strong club and festival scene. Dance music has been huge in Holland since the late eighties. So there were a lot of opportunities for producers and DJs to release records and play live.
The energy from these records, that's what makes crunk so popular; that's why it's winning, because it makes you move a certain way.
New York feels like the whole city is into dance music. That's not how it felt when I was younger. There was more of a hipster scene.
Simian Mobile Disco changed my life. They put me onto the EDM world. Although they would hate that term, they're more techno.
When I moved to New York City to go college, my mother said, 'If you want to be recognized, you need to go out to a club.' Because we didn't have computers. We didn't have social media. We didn't even have cellphones. So you had to go out to be recognized.
Back when Jerry Seinfeld was just another comedian hanging around the clubs, I'd imitate him to amuse myself and the other comics. The club owners would say, 'What are you doing that for? Nobody knows him.'
Disco evolved into Chicago warehouse. Then there was techno; eventually, it evolved into EDM.
Disco is music for dancing, and people will always want to dance.
Pete Dj Jones was the first person that I saw with 2 turntables. This was 1972.
Fewer and fewer bars are doing live music. Instead it's more DJs and dance parties.
I'm never going to sing the words, 'I want to shut down the club,' never, ever.
I was a bouncer for ten years in New York City.
We want to be a soundtrack to people's lives in the party realm.
With 'At What Cost,' I was basically reliving a time in my life during the go-go era. I remember when it was popping for my generation and how that felt and what it looked like.
I love dancing to hip-hop music - anything with a good beat.
In some of the L.A. clubs, people can act too cool to get into your music. That can get to be a bit much.
I don't know if it was a single-blade or one of those straight-edge razors, but I used to play in bands that were, like, show bands and would play different clubs, and, in those days, I would go to the barber twice a week.
I wasn't a trained Mickey Mouse club performer. I played in jazz clubs and restaurants.
