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The “after-hours club” is a fixture of the African American ghetto. It is a semisecret, unlicensed “spot” where “regulars” and “tourists” mingle with “hustlers” to buy and use drugs long after regular bars are closed and the party has ended for the “squares.” After-hours clubs are found in most cities, but for people outside of their particular milieu, they are formidably difficult to identify and even more difficult to access.The sociologist Terry Williams returns to the cocaine culture of Harlem in the 1980s and ’90s with an ethnographic account of a club he calls Le Boogie Woogie. He explores the life of a cast of characters that includes regulars and bar workers, dealers and hustlers, following social interaction around the club’s active bar, with its colorful staff and owner and the “sniffers” who patronize it. In so doing, Williams delves into the world of after-hours clubs, exploring their longstanding function in the African American community as neighborhood institutions and places of autonomy for people whom mainstream society grants few spaces of freedom. He contrasts Le Boogie Woogie, which he visited in the 1990s, with a Lower East Side club, dubbed Murphy’s Bar, twenty years later to show how “cool” remains essential to those outside the margins of society even as what it means to be “cool” changes. Le Boogie Woogie is an exceptional ethnographic portrait of an underground culture and its place within a changing city.

African Americans --- Le Boogie Woogie (Nightclub) --- History. --- Harlem (New York, N.Y.) --- New York (N.Y.) --- Social life and customs

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The definitive book on The Station nightclub fire on the 10th anniversary of the disaster

Fires --- Nightclubs --- Buildings --- Conflagrations --- Fire losses --- Accidents --- Disasters --- Fire --- Clubs (Nightclubs) --- Clubs, Night --- Night clubs --- Night spots --- Nightspots --- Hospitality industry --- Fires and fire prevention --- Great White (Musical group) --- Station (Nightclub : West Warwick, R.I.) --- Fire, 2003.

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Rendered in bronze, covered in white lacquer, two women sit together on a park bench in Greenwich Village. One of the women touches the thigh of her partner as they gaze into each other’s eyes. The two women are part of George Segal’s iconic sculpture “Gay Liberation,” but these powerful symbols were modeled on real people: Leslie Cohen and her partner (now wife) Beth Suskin. In this evocative memoir, Cohen tells the story of a love that has lasted for over fifty years. Transporting the reader to the pivotal time when brave gay women and men carved out spaces where they could live and love freely, she recounts both her personal struggles and the accomplishments she achieved as part of New York’s gay and feminist communities. Foremost among these was her 1976 cofounding of the groundbreaking women’s nightclub Sahara, which played host to such luminaries as Betty Friedan, Gloria Steinem, Pat Benatar, Ntozake Shange, Rita Mae Brown, Adrienne Rich, Patti Smith, Bella Abzug, and Jane Fonda. The Audacity of a Kiss is a moving and inspiring tale of how love, art, and solidarity can overcome oppression.

Gay liberation movement --- Cohen, Leslie, --- Segal, George, --- Sahara (Nightclub : New York, N.Y.) --- New York (N.Y.) --- audacity, kiss, love, art, liberation, LGBTQ, Gay Liberation, New York City, gender, sexuality, sex, biography, memoir, monument, national monument, gay right moment, Beth Suskin, Leslie Cohen, struggle, discrimination, Scarlet Knights, gay nightclub, Jane Fonda, Gloria Steinem, Betty Friedan, Pat Benatar, Ntozake Shange, Rita Mae Brown, Adrienne Rich, Patti Smith, Bella Abzug, George Segal, gay rights, Sahara, women's rights, 1970s, 1960s, feminism, feminist, social change, LGBT history.

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At the heart of The Republic of Love are the voices of three musicians-queer nightclub star Zeki Müren, arabesk originator Orhan Gencebay, and pop diva Sezen Aksu-who collectively have dominated mass media in Turkey since the early 1950's. Their fame and ubiquity have made them national icons-but, Martin Stokes here contends, they do not represent the official version of Turkish identity propagated by anthems or flags; instead they evoke a much more intimate and ambivalent conception of Turkishness. Using these three singers as a lens, Stokes examines Turkey's repressive politics and civil violence as well as its uncommonly vibrant public life in which music, art, literature, sports, and journalism have flourished. However, Stokes's primary concern is how Müren, Gencebay, and Aksu's music and careers can be understood in light of theories of cultural intimacy. In particular, he considers their contributions to the development of a Turkish concept of love, analyzing the ways these singers explore the private matters of intimacy, affection, and sentiment on the public stage.

Popular music --- Songs, Turkish --- Singers --- Musique populaire --- Chansons turques --- Chanteurs --- History and criticism --- Histoire et critique --- Müren, Zeki, --- Gencebay, Orhan --- Aksu, Sezen --- Yahya Kemal, --- History and criticism. --- Gencebay, Orhan. --- Aksu, Sezen. --- Musical settings --- Turkish songs --- Music, Popular --- Music, Popular (Songs, etc.) --- Pop music --- Popular songs --- Popular vocal music --- Songs, Popular --- Vocal music, Popular --- Music --- Cover versions --- Vocalists --- Musicians --- Kamāl, Yaḥyá, --- Beyatlı, Yahya Kemal, --- Kemal, Yahya, --- Кемал, Яхия, --- Kemal, I︠A︡khii︠a︡, --- Агях, Ахмед, --- Agi︠a︡kh, Akhmed, --- Yıldırım, Fatma Sezen --- musical, musician, turkey, europe, european, eastern, pop, ethnomusicology, queer, nightclub, zeki muren, arabesk, orhan gencebay, diva, genre, sezen aksu, 1950s, present, contemporary, modern, 20th century, 1960s, 1970s, 1980s, 1990s, 2000s, fame, famous, national, politics, political, repression, civil, violence, art, literature, culture, cultural, affection, sentiment, history, historical, criticism. --- Muren, Zeki,