It's hard to believe that October 2023 is the 40th anniversary of The Immaculate Consumptive, the project that brought together Nick Cave, Lydia Lunch, Marc Almond and JG Thirlwell into a live performance group that performed just three times : twice in NYC at Danceteria and once at the 9.30 Club in Washington DC.
It's also the 40th anniversary of JG Thirlwell moving to NYC, as after the Immaculate Consumptive show he made the city his home.
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Danceteria, Chelsea, Photo © Frank Rispoli, Early 1980s
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Une photo Polaroid de Madonna prise dans la discothèque Danceteria de New York par Maripol en 1983.
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Sade Adu and Edwige Belmore at a loft party in New York after the band (Sade) played in Danceteria, May 12, 1983
📷 Polaroid by Maripol
This card announces Sade’s debut performance in America. The inside includes a long list of the downtown notables that made Danceteria one of the best nightclubs in the 1980s
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Thurston Moore on Madonna: ‘She had credibility, she was really ahead of the game’
The former Sonic Youth frontman remembers her emergence from New York’s underground scene.
We were neighbours. We knew each other, by sight. She would say hi to me and I would say hi to her. She was dating a friend of mine for a millisecond, so we were introduced that way and then, through the years, when we’d cross paths on the street, we’d nod heads and smile. She was very friendly with Jean-Michel [Basquiat], Keith Haring, and these artists who were all our neighbours, and we all hung out at the same places: Danceteria, CBGB, Tier 3 and Club 57 were the main places. When she became super-famous, which was all of a sudden, she disappeared from the New York scene. It was a very strange thing, to be working washing dishes, and making pennies per day, and seeing someone who was in your neighbourhood all of a sudden become a superstar. It was unusual. There was no real model for that, for us. It became kind of exciting.
She was really ahead of the game. She was taking elements of what was cool at that time – punk rock, new wave, dance music, hip-hop and Latino music all clashing in this great non-hierarchical playground of New York. It was all kind of new; everybody was trying different things. Madonna was actually in a couple of no-wave bands that nobody ever talks about. She was in a band with these two twins, Dan and Josh Braun, who were the first members of Swans, Michael Gira’s band. Nobody really knows about that part of her history; she was in a pre-Swans no wave band! There’s all that interconnected history in New York with Madonna and the no wave scene.
She was really able to tap into the sound of what was genuine and the culture at the time, where it was free from any gender or sexual persuasion distinctions. There was no concern about any inequality or [the boundaries of] gender or race – that’s how we felt, it was totally revolutionary. And [there was] this balance between Latino, black and white culture on the scene. She was really significant in giving voice to that and consistently doing it – you never got the sense that she was doing it as a gesture of being hip. She was a person, I think, who was really very loving toward people who were historically disenfranchised by society.
We actually embraced Madonna’s joie de vivre, her celebrity. We did that record and everybody felt we were crazy, and some people lambasted us for giving her some kind of credibility in the underground. But she already had credibility, as far as I was concerned; she was already a part of the downtown scene. I don’t think she capitalised on it.
When we first came to London, Lee [Ranaldo], Kim [Gordon] and I wore Madonna shirts and I remember kids at the gig coming up to us and saying “Are you taking the piss?” and we would say “No, have you heard this Madonna album? You should listen to it next to your Swell Maps albums, next to your Wire albums, next to your Raincoats albums.” Mix it up. Don’t be stuck in some kind of tunnel. I was all about bringing people together. Plus the T-shirts were really cheap.
Actually, I think she was very dignified in the way she referenced all of these different subcultures. She was a very big part of it. She made a lot of money, and when you make a lot of money and become so famous you have to protect yourself, because everybody wants to claw at you. It’s not like she could just walk into a Tesco and buy milk; she’s going to get hammered. People who bring that in to their lives… it’s a mixed blessing. It does prohibit you from being free in the social world. I think she dealt with it really well, let’s put it that way.
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Dianne Brill celebrating her birthday at Danceteria in New York City, April 1984.
Photos by Andy Warhol
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John Lydon in high spirits with staff members of Danceteria on the lift between dance floors, attending the Queen post-concert party on August 9, 1982, during the band’s 'Hot Space Tour', as captured by Ron Galella in Manhattan, NYC.
(via)
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Danceteria, Sade Adu, folded card announcing her debut performance in America, May 12, 1983.
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