or this column of Beatz, we’ve got Cameron Octigan telling us about his discovery of Italo Disco in San Francisco, Michael F. Gill on one of the best DJs from The Netherlands, new reviews of Alden Tyrell, Tim Paris, Justice, Tiefschwarz, and the latest joints from Kompakt, DFA, and Border Community.


Disco Returns to San Francisco

Nobody I know ever saw Larry Levan. But can you really separate him from the Paradise Garage? I mean, the club unexpectedly closed in 1987, and Larry battled drug abuse until 1992 when everything finally caught up with him … so his personal history was always distinct from the club, and the era. And as much as he did as a DJ, everybody can agree that a movement is never about any one person. Either way, because I’ll never see him spin, and I’ll never be clubbing at the Garage back in the 80’s, all I can do is try to understand what happened and try to appreciate it.

The spirit of what it is that I, in an incredibly limited personal sense, appreciate about that place and time is alive and well. Not just in some metaphysical sense, but in my own city: San Francisco.

Notoriously secretive about where he finds his art, typically 70’s gay porno, and endearingly pure about his motives, DJ Bus Station John has been all the rage on the internet for about the last month. Why? Well, anyone who can supply big screen b-boy projections, cheap drinks, early electro rarities, legit italo tracks, funky disco, and danceable champagne soul can find at least one person, in a room packed with people losing their shit, to go home and spread the word.

My first encounter with him was at a club called Aunt Charlie’s Lounge in the Tenderloin District for a weekly event called Tubesteak Connection. Anyone who has lived, or had an extended stay, in San Francisco knows that the Tenderloin is the neighborhood where sex workers battle pimps and the marginalized heroes of yesteryear beg for change and cigarettes. Even if you have a car, taking a cab is a good idea.

After paying my three bucks, I walk in to a small, dimly red lit room full of drinks clanking, Munich Machine posters, vintage gay porn flickering on a television, and shirtless men dancing to their heart’s content. To me, Aunt Charlie’s isn’t a dingy gay bar downtown, it’s one of the only places that I’ve been where you can hear serious early dance music without any sense of self-seriousness. There’s no retro value in any of the mash-ups, because there are none. Bus Station’s style is simply classic to classic via the fade. It’s all about track selection, not the DJ’s ego,

Well versed in all of the relevant Mutant Disco, I-Robots, and countless Italo Disco compilations, I was floored by Bus Station. By the end of the night, and several very strong and inexpensive drinks later, I went home recognizing only one song: ‘Lectric Warriors’ “Robot Is Systematic.” But the thing about it all was not that he just played random twenty five cent finds off of Prelude Records or TSR, but that every song was amazing … each one better than the last. First Choice, Invisible Man’s Band, Carol Hahn, Fascination, Gina and the Felixix, and Aural Exciters sit next to ‘Lectric Warriors as the night’s token “oh-yeah-you-obviously-know-this” tracks. Um, we do?

But more than anything, it’s about the music and the energy. It’s not about obscurity, or DJ worship, it’s about the way that he works the crowd and the environment. On one hand, the nights are definitely about hooking-up. After all, each event is at a gay club with porno on both the flyers and the projection screens. And I don’t want to ignore that aspect of Bus Station’s nights. I don’t want to gloss over the subcultural context and simply opt for the commodification of someone else’s culture. But on the other hand, each event has a certain honesty, a certain what-you-see-is-what-you-get, about it that would prevent scenesters from ever completely infiltrating. And honestly, DJ Bus Station John doesn’t seem like the sort of guy who’s going to s