Hubbry Logo
DanceteriaDanceteriaMain
Open search
Danceteria
Community hub
Danceteria
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Danceteria
Danceteria
Danceteria
View on Wikipedia
from Wikipedia

Danceteria was a nightclub that operated in New York City from May 1980 until 1986 and in the Hamptons until 1995. The club operated in various locations over the years, a total of three in New York City and four in the Hamptons. The most famous location was the second, a four-floor venue at 30 West 21st Street in Manhattan that served as the location for the disco scene in the film Desperately Seeking Susan.

History

[edit]

The first Danceteria was opened at 252 West 37th Street by German expatriate Rudolf Piper and talent booker Jim Fouratt.[1] It catered to a diverse after-hours crowd coming from the downtown rock clubs Mudd Club, Trax, Tier 3, Chinese Chance, CBGB, and gay discos.[1] The club's DJs were Mark Kamins and Sean Cassette.[1] The Video Lounge was designed by video artists John Sanborn and Kit Fitzgerald, who programmed an eclectic mix of found footage, video art, early music videos, and musical performances.[2][3]

Post-punk band Certain General backstage at Danceteria in 1983

In October 1980, the New York liquor licensing authorities raided Danceteria, and 35 employees were arrested for selling liquor without a license.[4] Less than a month later, the club was shut down again for liquor code violations.[5]

In 1982, John Argento hired Fouratt and Piper to promote and book the talent for what became the 21st Street Danceteria. The club operated out of the first three floors in an old industrial 12-story building. (Later the 4th floor was used as Congo Bill, and the abandoned fifth floor was once used as a performance space by Karen Finley.) The roof was also open in the warmer months with frequent barbeques.[citation needed]

The club opened to massive crowds and critical acclaim.[6]

Three months after opening, Argento and Piper dismissed Fouratt and hired Ruth Polsky as the club's talent booker. Under Polsky's direction, the club became renowned as one of the centers of new wave music in New York and was frequented by many musicians and artists who became famous during the decade, such as Madonna, New Order, Duran Duran, Billy Idol, Sade, Wham!, R.E.M., the Smiths, Squeeze, Cyndi Lauper, Jean-Michel Basquiat, Keith Haring, Run-DMC, Depeche Mode, Butthole Surfers, The Fall, the B-52's, Samhain, Bauhaus, RuPaul, Phoebe Legere, Berlin, Units, Romeo Void, Sonic Youth, Swans, Stephen Merritt, Nick Cave and the Bad Seeds, the Cult, Karen Finley, Violent Femmes, Soft Cell, the Jesus and Mary Chain, Beastie Boys, LL Cool J, and Rob Zombie.[7][8]

Haoui Montaug worked as a doorman at Danceteria.[9]

In 1984, Argento and Piper opened a successful Hamptons outpost of Danceteria in Water Mill, New York. This was the first trendy NYC-style nightclub to open in the Hamptons.

The third Danceteria operated from 1990 to 1993 in a run-down midtown space, the Martha Washington Hotel at 30 East 30th Street.

In 2008, the 21st Street location was sold, to be converted to luxury condominiums.[7] The plan was abandoned by the end of the year.[10]

In 2021, Rafe Gomez launched Danceteria REWIND, a weekly two-hour livestream mix show on Twitch. Danceteria REWIND re-creates the unique multi-genre soundtrack that defined the Danceteria experience.[11] It's consistently been Twitch's most globally viewed stream in the Music category in its timeslot, and is among Twitch's most viewed and followed weekly two-hour DJ mix streams.[12][13]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Danceteria

View on Grokipedia
from Grokipedia
Danceteria was a groundbreaking multi-level nightclub in that operated from 1979 to 1986, serving as a vibrant hub for the and art scene during the early 1980s. Founded by Rudolf Piper and activist Jim Fouratt, it began at 252 West 37th Street as an unlicensed venue that mixed dancing, live performances, and art, but was shut down by authorities in 1980 after just a year. Its most iconic iteration opened in 1982 at 30 West 21st Street in Chelsea, a multi-level venue spanning four floors with DJ-spun new wave and music on the main floor, live bands and performances on the second, a restaurant and lounge on the third, and a video lounge with experimental screenings on the fourth, attracting a diverse crowd of artists, musicians, LGBTQ+ individuals, and celebrities. The club closed in 1986 amid rising rents and shifting urban dynamics, though a satellite location later operated in until 1995. Danceteria's cultural significance stemmed from its role as an incubator for emerging talents in an era marked by the AIDS crisis, Reagan-era conservatism, and punk's ironic edge, fostering a space where high and low culture collided through provocative theme nights, fashion shows, and sensory-overload experiences. Resident DJs like Mark Kamins and Anita Sarko curated marathon sets from vast record collections, while the venue hosted early performances by acts such as New Order, Duran Duran, Sonic Youth, Devo, The Smiths, Grace Jones, and Run-DMC, alongside avant-garde figures like Philip Glass and the Plasmatics. It notably launched Madonna's career: she worked there as a waitress and performer before her December 1982 debut of "Everybody," produced by Kamins, which led to her signing with Sire Records; the club also appeared in a key scene from the 1985 film Desperately Seeking Susan. Other luminaries connected to Danceteria included staff such as Sade (bartender), the Beastie Boys (busboys), Keith Haring (busboy), and LL Cool J (elevator attendant), underscoring its melting-pot ethos that bridged underground scenes and mainstream breakthroughs.

Concept and Features

Design and Layout

Danceteria pioneered a multi-floor configuration that set it apart from conventional nightclubs, typically spanning three to four levels with each dedicated to distinct functions and themes to accommodate diverse activities simultaneously. This design allowed patrons to move fluidly between spaces for socializing, dancing, live music, and visual entertainment without overlap or interference, fostering an inclusive environment for varied crowds including artists, musicians, and nightlife enthusiasts. At its original location at 252 West 37th Street, opened in 1980, the venue occupied a three-floor building, with the basement devoted to DJ-led dancing and the first floor hosting live bands. When Danceteria relocated to a four-story building at 30 West 21st Street in 1982, the layout expanded to enhance this segmented approach, with the ground floor designed for casual socializing and bar service, upper floors dedicated to high-energy dancing and performance areas, and the third floor serving as a video lounge featuring experimental films and projections. The Video Lounge, curated by video artists John Sanborn and Kit Fitzgerald, included custom installations that screened works, early music videos, and footage from independent sources, creating an immersive visual experience integrated with the club's artistic ethos. This adaptation emphasized accessibility and variety, enabling quieter interactions on lower levels alongside vibrant dancing and art viewings above, which contributed to the club's reputation as a versatile nightlife hub.

Programming and Atmosphere

Danceteria's programming emphasized variety across its multiple floors, with dedicated DJs curating distinct musical experiences tailored to different crowds. On the main dance floor, resident DJ spun extended sets lasting up to 10-12 hours, blending new wave tracks from bands like New Order and with no wave influences and eclectic selections including punk, , and international sounds from artists such as and . Upstairs areas featured DJ Anita Sarko, who played in lounges and VIP spaces, mixing similar genres to maintain a fluid, immersive energy that encouraged patrons to migrate between levels. This floor-specific approach created a dynamic , distinguishing Danceteria from conventional nightclubs by prioritizing experimentation over uniformity. Beyond music, the club's operations integrated visual and performative arts to foster a multifaceted environment. Art exhibits adorned walls, often featuring emerging talents like Keith Haring's Xerox pieces, while live performances by artists such as and complemented the auditory programming. Video screenings in dedicated lounges showcased experimental films, early music videos, and curated footage from creators like and , programmed by teams including Kit Fitzgerald and John Sanborn, transforming passive viewing into an active part of the nightlife ritual. These elements combined to deliver a non-traditional experience, where dancing intertwined with cultural consumption, attracting a clientele seeking intellectual stimulation alongside hedonism. Entry and crowd dynamics were overseen by doorman , whose policies shaped the club's selective yet inclusive vibe. Montaug prioritized a balanced mix of artists, musicians, and scenesters, often admitting women and ahead of others while rejecting those who disrupted the creative flow, all without enforcing strict dress codes that might alienate the downtown crowd. His approach, informed by prior roles at clubs like Hurrah, emphasized social curation—fostering interactions among diverse groups through humorous yet firm gatekeeping—to sustain an atmosphere of opportunity and connection. The overall atmosphere at Danceteria embodied New York City's underground ethos of creativity and inclusivity, operating as an after-hours haven open until 8 a.m. seven nights a week. Themed nights, such as "Depravnik Island" with its ironic Soviet and lounge music selections or fashion-forward "See and Be Scene" events, amplified this sensory overload, blending gritty provocation with communal energy to draw , , intellectuals, and performers into a shared, anarchic space.

History

Founding and Early Locations

Danceteria was founded in May 1980 by German expatriate Rudolf Piper and talent booker Jim Fouratt as a multi-purpose after-hours venue at 252 West 37th Street in Midtown Manhattan. The club was conceived as a diverse melting pot for New York's burgeoning art, music, and nightlife scenes, operating without a liquor license and selling drinks via tickets to navigate regulatory hurdles in the city's pre-gentrification era of urban decay and economic strain. Initial programming featured DJs like Mark Kamins and Bill Bahlman, who curated sets of new wave and post-punk music across multiple floors dedicated to dancing, video screenings, and lounging. The venue quickly gained traction but faced immediate legal challenges amid New York City's strict enforcement of liquor laws during the early fiscal recovery period. On October 4, 1980, police raided the club for operating without a , arresting 27 employees, including artists and , and temporarily shutting it down. A second raid followed later that month, exacerbating operational disruptions and highlighting the precarious environment for unlicensed spots in a city grappling with crime waves and regulatory crackdowns. These incidents, coupled with the socio-economic pressures of high and neighborhood blight in pre-gentrified , underscored the risks of running an innovative, multi-floor club in such conditions. In response to the raids and closures at the 37th Street location, Piper and Fouratt rapidly relocated operations in November 1980 to the former at 128 West 45th Street, continuing the after-hours format with similar programming. However, management disputes and ongoing permit issues limited this stint to mere weeks, prompting further instability. By early 1982, the team secured a more permanent space at 30 West 21st Street in the , transforming it into an expansive four-floor venue that marked Danceteria's first major relocation and expansion. This move allowed for stabilized operations until 1986, building on the foundational concepts amid persistent challenges like fire code violations and the intensifying of downtown .

Peak Years at 21st Street

Danceteria opened at 30 West 21st Street in on February 4, 1982, where it was transformed into a multi-level four-floor venue, establishing itself as a cornerstone of New York City's nightlife scene through 1986. This expansion capitalized on the city's burgeoning cultural , allowing the club to host extended operations that drew crowds nightly and solidified its reputation as a dynamic hub. Owner John Argento played a pivotal role in this scaling, hiring promoters Jim Fouratt and Rudolf Piper to curate bookings and elevate the club's profile amid the competitive 1980s club landscape. The venue's programming flourished during this era, with the ground floor dedicated to DJ sets featuring genre-spanning tracks from new wave to , often running 10 to 12 hours per night under residents like and Anita Sarko. The second floor emphasized live music performances, booking influential acts such as , , , and , which amplified the club's appeal to emerging artists and musicians. Upstairs, a dedicated video lounge integrated experimental curated by figures like Kit Fitzgerald and John Sanborn, alongside fashion shows and installations that blended high and in a way that mirrored NYC's artistic boom. Attendance reached its zenith, with diverse subcultures—including , skinheads, drag queens, East Village , and straight-laced uptowners—converging seven nights a week, creating an inclusive that fostered creativity and chance encounters among celebrities like and . Financially, the club thrived on this broad appeal, though it faced mounting operational pressures from New York City's stringent regulations, including periodic inspections for capacity and safety compliance that tested Argento's management of the high-volume crowds. Despite these challenges, the period marked Danceteria's commercial high point, with its innovative format sustaining packed houses and cultural buzz until economic shifts began to erode the scene.

Closure and Revivals

The 21st Street location of Danceteria, which had become its primary venue during the peak years, closed in 1986 amid a combination of accumulated building violations, escalating real estate pressures in , and stricter city regulations on establishments. These factors contributed to a broader wave of club closures in during the mid-1980s, as rising property values and regulatory scrutiny targeted unlicensed or non-compliant venues. In 1984, amid the original club's success, owners opened a seasonal outpost in , in , marking the first upscale NYC-style nightclub in the area and extending Danceteria's reach to summer crowds. This location operated as a complement to the operations, offering similar multi-floor programming with art, music, and dance until its closure in 1995. A third iteration of Danceteria opened in 1990 at 30 East 30th Street within the historic , a rundown midtown building that provided space for revived programming in an effort to recapture the club's innovative spirit. This version ran until 1993, hosting DJs and events but struggling to sustain the original's cultural momentum in a changing nightlife landscape. In a modern digital revival, DJ and producer Rafe Gomez launched Danceteria REWIND in 2022 as a weekly two-hour Twitch livestream, recreating the club's eclectic sound through mixes of tracks, virtual atmosphere simulations, and archival footage to evoke its historic energy for new audiences.

Cultural Impact

Role in Music and Art Scenes

Danceteria played a central role in the no wave and new wave movements of 1980s New York City, acting as an incubator for underground artists amid the city's economic decline and the emerging AIDS crisis. During a period of urban decay, high crime rates, and fiscal austerity following the 1970s bankruptcy, the club provided a vital platform for experimental post-punk sounds and avant-garde expressions, drawing from the raw energy of earlier no wave aesthetics while evolving into broader new wave influences. It hosted DJ sets and live performances that blended punk dissonance with danceable rhythms, fostering a scene where emerging talents could experiment without commercial pressures. The club's fusion of with distinguished it as a multifaceted cultural space, featuring rotating art exhibits and innovative video installations that attracted , artists, and activists. On its upper floors, curated video lounges showcased experimental works by artists like Beth and Scott B, , and , alongside early music videos and found footage mixed live by VJs, creating an immersive environment that integrated moving images with the club's pulsating atmosphere. Exhibits such as "The Black Designers’ Collective" and "Afrikan Abstrakts" highlighted diverse visual contributions, while wall art by figures like blurred the lines between clubgoers and creators. This artistic programming not only elevated but also served as a communal gallery during an era when traditional venues were scarce. Danceteria influenced club culture by championing inclusivity across genres, identities, and social backgrounds, in stark contrast to the celebrity-driven exclusivity of venues like Studio 54. Founded by gay rights activist Jim Fouratt and promoter Rudolf Piper, it welcomed a of patrons—from East Village punks and communities to performers—prioritizing creative energy over status, with door policies that initially favored diverse newcomers. This approach promoted cross-pollination between , , and , contrasting Studio 54's selective glamour by offering an egalitarian space where high and converged. In the socio-cultural context of urban challenges, Danceteria emerged as a safe haven for creatives navigating , the AIDS epidemic, and political conservatism under the Reagan administration. Operating around the clock in a gritty Midtown location, its multi-level layout facilitated artistic integration, allowing patrons to move fluidly between dance floors, performance spaces, and exhibit areas. This environment shaped the East Village art scene by providing refuge and visibility for marginalized voices, enabling the coalescence of subcultures that defined the decade's rebellious spirit.

Notable Performers and Events

Danceteria featured prominent DJ residencies that shaped its eclectic sound, including , who played a mix of , , and emerging hip-hop from 1980 onward, Anita Sarko, known for her fusion of new wave and sets, and Johnny Dynell, who contributed to the club's early electro and programming starting in the late at precursor venues before solidifying his role there. One of the club's milestone moments was Madonna's debut live performance on December 16, 1982, during the "No Entiendes" night, where she unveiled her single "Everybody" to a supportive crowd, marking a key breakthrough in her career just months before her self-titled album's release. The venue hosted live appearances by influential bands that bridged new wave, , and , such as New Order in 1983, during their early U.S. promotion, in support of his solo work, R.E.M. amid their rising indie profile, showcasing innovations, with experimental noise sets, and the on February 15, 1984, performing tracks from their formative hardcore phase. Notable events included the club's depiction in the 1985 film , where a key disco scene featuring Madonna dancing to "Into the Groove" was filmed on-site at the 30 West 21st Street location, capturing the venue's vibrant atmosphere. Early controversies arose from a on October 4, 1980, which shut down the original 37th Street location for operating without a , resulting in 27 arrests and highlighting the precarious legal status of unlicensed after-hours clubs. DJ innovations at Danceteria influenced broader club culture, exemplified by extended sets from Jellybean Benitez, whose marathon mixes there in the early 1980s honed his skills and paved the way for his transition to radio hosting and production work with artists like .

Legacy

Influence on Nightlife

Danceteria's innovative multi-floor layout, featuring dedicated spaces for DJing, live performances, video screenings, and art installations, established a blueprint for multi-concept venues that integrated diverse entertainment forms into a single nightlife experience. This approach, which combined sensory overload with themed environments, directly influenced subsequent clubs such as Manchester's , opened in 1982, whose design and programming echoed Danceteria's eclectic model of blending music, visuals, and cultural events. The 's adoption of similar multi-room structures helped propagate this format globally, paving the way for modern clubs emphasizing art integrations and varied atmospheres. The club's emphasis on artist-driven programming and elements, including video lounges and , shifted toward more inclusive spaces that prioritized over commercial exclusivity. This ethos contributed to the evolution of rave culture by fostering environments where visual and auditory experimentation encouraged communal participation, influencing the acid house and warehouse party scenes that followed. Danceteria's model of integrating video projections and live with dance floors prefigured the immersive, experiences central to later events, promoting a sense of shared artistic expression among attendees. Danceteria significantly advanced DJ culture through its support of extended sets and genre-blending practices, with resident DJ performing 10- to 12-hour sessions that allowed for deep explorations of diverse sounds. Kamins' mixes incorporated punk, , new wave, electro, and early hip-hop tracks from artists like , helping to bridge these genres and contribute to the foundational development of and hip-hop scenes in New York. This approach to prolonged, narrative-driven DJing influenced the extended set formats that became hallmarks of electronic music evolution, enabling seamless transitions between styles and elevating the DJ's role as a cultural . By welcoming a broad spectrum of patrons—including artists, punks, and downtown creatives—without the stringent door policies of elite venues like , Danceteria democratized high-energy , making it accessible to non-elite crowds and challenging traditional exclusivity models. This inclusivity across social, racial, and sexual lines created a vibrant, egalitarian atmosphere that altered perceptions of clubbing as a space for cultural mixing rather than status display. The resulting shift toward open, diverse norms rippled into broader industry practices, encouraging future venues to prioritize community over gatekeeping. Danceteria gained prominence in through its appearance in the 1985 film , directed by , where key scenes, including the performance of Madonna's "," were filmed on-site at the club's 30 West 21st Street location in Chelsea, vividly capturing its multi-level, eclectic energy and role as a hub for downtown New York nightlife. The club has been referenced in music tied to artists' early experiences there, notably influencing Madonna's career; she performed her debut single "Everybody" live at Danceteria in 1982. Danceteria features in documentaries and books chronicling 1980s nightlife, such as Tim Lawrence's on the New York Dance Floor, 1980–1983 (2016), which details its opening and cultural shockwaves through archival accounts and interviews with participants, and oral histories like those in a 2014 feature gathering recollections from DJs, performers, and patrons on its inclusive, creative atmosphere. In recent media, Danceteria was revived digitally through the 2021 Twitch series Danceteria REWIND, hosted by DJ Rafe Gomez, which streams weekly mixes recreating the club's genre-blending sets from archival footage and virtual events, amassing over 57,000 followers as of November 2025 as a homage to its legacy during the .

References

  1. https://www.timeout.com/newyork/nightlife/danceteria-studio-54-and-other-legendary-clubs-and-parties-in-nyc
  2. https://nysmusic.com/2025/08/10/where-did-nycs-nightlife-go-remembering-the-golden-age-of-danceteria/
  3. https://www.insomniac.com/magazine/new-york-nightlife-gone-danceteria-82-86/
  4. https://www.vice.com/en/article/it-was-a-beautiful-thing-danceteria-and-the-birth-of-madonna/
  5. https://www.electronicbeats.net/danceteria-life-and-death-book-excerpt
  6. https://www.grunge.com/1475489/what-new-york-danceteria-was-like/
  7. https://daily.redbullmusicacademy.com/2016/10/danceteria-nightclubbing/
  8. https://www.interviewmagazine.com/culture/the-life-and-death-of-disco-doorman-haoui-montaug
  9. https://academiccommons.columbia.edu/doi/10.7916/D88340SC/download
  10. https://daily.redbullmusicacademy.com/2014/02/mark-kamins-interview/
  11. https://gayusatv.org/bill-bahlman/
  12. https://wojfound.org/timeline_event/1980-october-4-raid/
  13. https://acme-journal.org/index.php/acme/article/download/911/767/2772
  14. https://www.facebook.com/photo.php?fbid=922955332531175&id=100044501496674&set=a.265245288302186
  15. https://nexus.radio/news/danceteria-the-cutting-edge-club-that-spanned-the-decades
  16. https://watchface.nyc/venues-over/danceteria/
  17. https://www.billboard.com/music/features/danceteria-club-new-york-twitch-madonna-1235254844/
  18. https://gallery98.org/news/new-york-nightclubs-1980s-art-nightlife-and-club-ephemera/
  19. https://djhistory.com/read/johnny-dynell-is-the-daddy-of-downtown/
  20. https://www.disco-disco.com/clubs/other-clubs.shtml
  21. https://dangerousminds.net/comments/young_madonna_performing_at_danceteria_1982/
  22. https://albertnormandin.medium.com/danceteria-nightclub-b5a52828a697
  23. https://www.setlist.fm/setlist/beastie-boys/1984/danceteria-new-york-ny-6bdff212.html
  24. https://movie-locations.com/movies/d/Desperately-Seeking-Susan.php
  25. https://daily.redbullmusicacademy.com/2016/05/jellybean-benitez-remembers-nyc-clubs-of-yesteryear/
  26. https://www.museumofyouthculture.com/club-culture/
  27. https://www.theguardian.com/music/2014/feb/23/acid-house-dawn-rave-new-world
  28. https://www.imdb.com/title/tt0089017/locations/
  29. https://onthesetofnewyork.com/desperatelyseekingsusan.html
  30. https://edm.com/news/danceteria-tribute-streaming-series-dj-rafe-gomez/
Add your contribution
Related Hubs
User Avatar
No comments yet.