power of a stud cut loose among

a field of mares, the disco scene is literally mounting the mass entertainment media of America. After ten years, Americans have come full circle, and the masses are storming back to the dance halls. Discos, of course, are nothing new to gays. We've been stomping to rhythm and blues as long as the blacks have been producing it. Forced into the shadows of undercover bars, gays for years had found discos their only viable social alternative.

Today, millions of our straight brothers and sisters are joining us. 1975 is the year of the disco.

To investigate the disco phenomenon more deeply, High Gear invited Eric Boroush, one of Cleveland's few disco d.j.'s who can boast of a significant following, to share his expertise with the gay community-at-large. Both an experienced sound technician

and practicing musician, Eric surrounds his life with musical interests. Here's what he has to say:

High Gear: Eric, you've worked at Twiggy's, The Shaker Club, The Bayou Landing, and now Rikki's. How did you ever get involved in disc jockey business in the first place?

Eric: While I was living in New York for a short time, I came across a club called the Tamburlaine where a friend of mine was disc jockeying.

I frequently sat with him in the booth, and one night when he was sick, since I was familiar with much of the equipment, I was asked to fill in for him. When I returned to Cleveland, I worked with rock bands and went to school for a while. One night at Twiggy's I was standing around talking with Flipsy who was spinning records on a home fidelity system. That same evening Flipsy had a disagreement with the

Snaker and the Bayou. Now I'm at Rikki's and frankly quite satisfied on all fronts, creatively, financially, and personally.

High Gear: In the past year discos and their music have transformed themselves into a dynamic national trend for straights as well as gays. Do you think this revived interest in danIcing is tied to the state of the economy and will it be only a short-lived trend.

Eric: The disco scene is a national phenemenon as perhaps the Beattles were in the sixties. It's definitely a trend, but there's reasons for it. More and more of the rock artists, and people like Liza Minnelli are performing with taped or "canned" music on stage. This is because recording techniques are becoming impossible to re-, produce live. An artist may wish to project a perfect sound live. because the sound of a higher quality product done in a studio or in a disco makes a more interesting evening for everyone. The state of the economy, of course, helps a bit. Discos will always be popular in the gay community. For straights. I'm betting they won't last longer than five years.

High Gear: How do you usually compile the playlists of the discs you spin for ant evening?

Eric: I think 50% of it is personal taste which usually coincides with what's going on in the charts. The rest of it. is broken up by suggestions from major labels headquartered here in Cleveland. Then there are promotion companies in L.A., N.Y., and Boston who send records and feedback on what is occurring in other discos in the country...I think the making of transitions in a playlist is an art, individual to each particular disc jockey. The only time I'll ever tape a specific number is to

It's incredible how the Cleveland

gay crowd has nearly quadrupled its sensitivity to the music played at any bar. They just won't take anything. anymore that's shoved at them. I think this shows a growing sense of sophistication.

High Gear: Gays have often shunned music that is not strictly disco. Do you feel there is a new opening now for rock and middle-of-the-road tunes in the discotheques?

Eric: In gay discos, basically no except that artists like Bowie adapt their songs to disco, requirements. Each disco number has some pre-requisites before it will be accepted. Dan-` ceability is number one. Next is the complexity of the number. A lead guitar, bass, and voice do not make a disco tune unless possibly if they are overtracked. What makes it is cleanliness and production. Even a standard tempo doesn't exist because tempos are continually changing.

High Gear: What do you think are the general components of a successful disc jockey?

Eric: A disc jockey on the air has different talents than one in a disco. Personally, I feel being a disco d.j. is more difficult. The number one requirement is the ability to sell liquor. If a d.j. is working on a Monday evening. and say 30 people, all over 35, are in the bar, he's not doing his job if he plays the standard weekend fare. A good disc jockey always plays solely for his present audience. Third, a d.j. needs a good ear, and a sense of what tunes will make it and which won't.

High Gear: What is the best. sound system you've ever used? Do lights affect the overall impression?

Eric: The best sound system around is located in the First Unitarian Church of Cleveland,

go boys, and keeping drinks at a minimal price. Our number one go-go boy, Peter, will be featured in a photo layout in The Rapping Paper. Rikki's is going to be a hot bar.

High Gear: What are your impressions of the Cleveland gay scene?

Eric: The pride factor of the gay here is growing and becoming more important to each individual. It shows in the bars. People are bringing straight friends and relatives in with them, and having a great time. It's a much healthier atmosphere than ever before. Another thing is that the amount of violence put on to gays by straights doesn't dissuade gays. We're not allowing ourselves to

righteous detractors.

Whether one likes it or people will always physically respond to music through rhythmic movement. To imply that any form of physical expression is trite shows both ignorance and insensitivity.

Once the disco trend fades from the greater social scene, gays will still be swaying to the pulsating beats, and Eric may still be disc jockeying; yet after all is said and done, entertainment history will look back on the disco phenemenon

as

a populist movement. No public relations; no glorified hype; just an enormous collage of people who one day spontaneously decided to "get. down."

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