LOOK What popped up today; an artifact from my Club years THE beat DOES go on ,,now in the streets!

Wow, Chris Butler ... forgot about this ad I placed in the Village Voice .... the basic dispute with the "owners" and the backroom boys that resonated throughout my club years, was that I was paying the bands too much money I was paying what i thought was fair ...The headliner got 75% of the door and the opening act 25%. Strictly enforced regardless of what agents and management wanted.This booking policy was the primary reason HURRAH was successful again. One of the owners also wanted to replace one of my two DJ's with a former DJ from Hurrah's disco days. The DJ was a sweet man and a good disco DJ., but I refused.  I had tried him for 30 days ar the beginning of my teny=ure but he was just not tight for the concept I  HAD,, Mark Kamins and Sean Cassette created the perfect beats for the HURRAH dance floor landscape. I was not going to change it. Despite the fact that HURRAH under my creative curatorship ing had gone from dead as a shuttered church to a widely celebrated temple of style because of my choice in new live music and the DJ beats that mirrored the best of Larry Lavant's Garage magi and the foreward thinking fashion, and art. A staff that looked and acted like the public that Alef and Howie (well trained by me in the aesthetics of the door mix that made HURRAH the uptown place to be for downtown art-driven sophisticates of all colors, orientations, genders, age  and economic position. They were genius at doing their job with the fabulous attitude. I remember telling the staff who came ot me who wanted to be loyal (not all) asking me what hey should do. I told them, as I did later at Danceteria: " thank you for asking ... please, you were hired to help create HURRAH for what it is, and I know that most of you need these jobs because you are creative people who are here to pay your rent and have a good time. I had hired and trained a rock journalist, Ruth Polsky, to be my assistant. I wanted to mentor a woman into the mostly male-dominated music industry. She always was one step behind me and hired when I left a club I had made a success to pick up the pieces We remained friends. I had six months of booking when they changed the locks on my office,. She was given the key, I when U opened the first DANCETERIA with R. HURRAH closed.
What was important to both Ruth and i was the presentation of the best modern music live we could find: from Suicide to Phillip Glass, from the B-52' s to Noh Mercy; From the Rotating Power tools (Lounge Lizards) to Human Sexual Response from.ZE'V to Branca,. from Certain Generals to Pulsalama ], from Human Switchboard to Feelies, From James "Blood" Ulmer to Kid Creole and the Coconuts, from the Method Actors to REM , from ESG to the Screamers, from Tuxedo Moon to Pylon,... and these were all American bands as well as the artists from the UK that NME called band of the month. Like Gang of Four, Mekons, Soft Cell, etc. _thanks Chris, Bulter for finfing snd sending me this menory, you are a master musician and a trusted friend indeed, for finding and thinking of sending this forgotten ad to me. I always saw my club work an extension of my political work and called myself then a cultural worker. Today I prefer culturalinstigator (one of my blogs) .... the beat goes on... it is true because I refused to become the property of some crime family I was shut ot of doing clubs..Yes, that was NYC in the 70's and 80's) .but I continued to discover and share the best of music, art, and fashion in other ways.