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Because I feel like we all need to dance ...

To meet, to talk, to kiss and to share a dance.

Simply to find ourselves united to our differences which for decades with the help of music have created a joyful and harmonious EQUALITY ... Just the time of an evening, just the time of a dance.

The dream of being united at night which might be possible during the day.

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WE ALL NEED TO

DANCE

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my inspirations

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crédit photo: TOD PAPAGEORGE/ STUDIO 54
crédit photo: TOD PAPAGEORGE/ STUDIO 54
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DANCE/

The first language of primitive man was manifested first by spontaneous acts, then by gestures and steps. By successive stages, it reaches its most elaborate form, the so-called "classical" or "academic" dance, codified by imperative rules. Rejecting these rules, the modern movement born in the years 1920-1930 modern dance permanently established 1965-1970 a new trend appears, post-modern dance. Since its origins, dance has favored the body, the perfect instrument of the language of the inexperienced. Pagan, religious, warriors, orgies, the dances participated in the life of man. Hand claps, kicks, then voice and music formed the rhythmic basis of the dance.

__________ définition du PETIT LAROUSSE ILLUSTRÉ édition 1988

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crédit photo: TOD PAPAGEORGE/ STUDIO 54
crédit photo: BILL BERNSTEIN/ DISCO
crédit photo: BILL BERNSTEIN/ DISCO
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crédit photo: BILL BERNSTEIN/ DISCO

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Soul Train is an American music-dance television program which aired in syndication from October 2, 1971, to March 27, 2006. In its 35-year history, the show primarily featured performances by R&B, soul, dance/pop, and hip hop artists, although funk, jazz, disco, and gospel artists also appeared. The series was created by Don Cornelius, who also served as its first host and executive producer.

The origins of Soul Train can be traced to 1965 when WCIU-TV, an upstart UHF station in Chicago, began airing two youth-oriented dance programs: Kiddie-a-Go-Goand Red Hot and Blues. These programs—specifically the latter, which featured a predominantly African Americans group of in-studio dancers—would set the stage for what was to come to the station several years later. Don Cornelius, a news reader and backup disc jockey at Chicago radio station WVON, was hired by WCIU in 1967 as a news and sports reporter. Cornelius also was promoting and emceeing a touring series of concerts featuring local talent (sometimes called "record hops") at Chicago-area high schools, calling his traveling caravan of shows "The Soul Train". WCIU-TV took notice of Cornelius's outside work and in 1970, allowed him the opportunity to bring his road show to television.

After securing a sponsorship deal with the Chicago-based retailer Sears, Soul Train premiered on WCIU-TV on August 17, 1970, as a live show airing weekday afternoons. Beginning as a low-budget affair, in black and white, the first episode of the program featured Jerry Butler, The Chi-Lites, and the The Emotions as guests. Cornelius was assisted by Clinton Ghent, a local professional dancer who appeared on early episodes before moving behind the scenes as a producer and secondary host.

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crédit photo: MAX ROSNER/ NICOLAS MESSINA

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crédit photo: BILL BERNSTEIN/ DISCO

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movie

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crédit photo: PHILIPPE MORILLON/ UNE DERNIÈRE DANSE?
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crédit photo: PHILIPPE MORILLON/ UNE DERNIÈRE DANSE?
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Le Palace is a Paris theatre located at 8, rue du Faubourg-Montmartre in the 9th arrondissement. It is best known for its years as a nightclub.

Created by impresario Fabrice Emaer in 1978, intellectuals, actors, designers, and American and European jetsetters patronised the club for its flamboyant DJ Guy Cuevas, extravagant theme parties and performances, and Emaer's rule-breaking mix of clubgoers that threw together rich and poor, gay and straight, black and white.

After Emaer's death in 1985, Le Palace changed hands and names several times before reopening in 2008 as a theater and concert space of the same name.

Constructed in the 17th century, the building on rue on Faubourg Montmartre already had a modern history as theater and dance hall before Fabrice Emaer turned it into one of the hottest nightclubs in Paris.

Baptized Le Palace as early as 1912, by 1923 it served as a music hall hosted by Oscar Dufrenne and Henri Varna who had already directed le Concert Mayol, l'Empire, le Moncey Music-Hall and the Bouffes du Nord. The two changed the name to Eden en Palace in 1923, and in collaboration with the London Palace, had a long run engaging artists like dancer and singer Harry Pilcer and musical clown Grock.

In 1931, Oscar Dufrenne took the bold step of changing the theater into a cinema, a move which came to an end when his nude corpse was discovered on site in 1933, inspiring rumors of rough trade gone bad. Shortly afterwards, his partner Henry Varna changed the space back into a music hall which he called the "Alcazar." It became a cinema again in 1946, recovering its original name and gradually fading from view.

The decrepit building was finally acquired by writer and theater director Pierre Laville in 1975. He began producing experimental theater there, and came to the attention of then Minister of Culture, Michel Guy, who used the space for his Festival d'Automne (Autumn Festival).

When impresario Fabrice Emaer decided to open a place large enough to rival Studio 54 in New York, it was Michel Guy who suggested he buy Le Palace.

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crédit photo: GUY MARINEAU/ 
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crédit photo: GUY MARINEAU/ 
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movie

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crédit photo: FOC KAN/ LES BAINS DOUCHES
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crédit photo: FOC KAN/ LES BAINS DOUCHES
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EMANCIPATE /

Free oneself from moral and social constraints; take liberties

_____ definition PETIT LAROUSSE ILLUSTRATED 1988 edition

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COUNTER-CULTURE

crédit photo: PARIS IS BURNING?
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crédit photo documentaire: PARIS IS BURNING?
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PLAYLIST FOR VOGUE

AT HOME

Because I think we all need to dance ...

Find yourself on the dance floors, where each movement developed on the rhythm is a possible opening towards the other. Let yourself go to the vagaries of a meeting with a stranger, forging ephemeral links or over a long period allowing to exchange, learn and open up to others ...

 

Emancipate yourself thanks to the exchange of dance steps, to bursts of laughter.

Quite simply to this desire to be all reunited without judgment.

 

That's why I miss dancing so much ...

 

With love

Nicolas

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/FOLLOW ME