On a day like today November 12, 1983 Lionel Richie’s song ALL NIGHT LONG (released on October 11, 1983, on Motown Records) hit #1 on the US Charts. The single taken from his second album ” Can’t Slow Down”, was a combination of various styles , highlighting the smooth vocals of Richie over a Caribbean infused track even incorporating African sounding language that was later revealed as ” made up” by Richie himself. Lyrics such as Oh jambali Tom bo li d, Say de Mo ya, Eh “Jambo jumbo, Almost The entire album was released as singles except for one track
The single “Stuck on You” also reached #24 on the Billboard Hot Country Singles chart
“Big Bank Hank,” whose real name was Henry Jackson, died Tuesday in Englewood, New Jersey, One of the members of the Sugarhill Gang who were responsible for introducing the ” Rap” form to mainstream audiences.The members, all from Englewood, New Jersey consisted of Michael Wonder Mike WrightHenry Big Bad Hank Jackson and Guy “Master Gee” O’Brien.
Anyone who has been in the DJ business for a long period of time can probably describe at least a half dozen or so ” Dance trends” that have graced our dance floors . But without question the most enduring and to some ” annoying ” trend that has lingered since it was first choreographed by Richard Silver in 1976 is The Electric Slide. An 18 step Line Dance that continues to be a favorite and guaranteed dance floor filler at most private events that has recently found it’s way into some nightclubs.Line dancing has always had a Wild West image, and it was danced mainly to country-western music. This has been changing since the 1970’s, when the hustle line dance was depicted in the Disco Themed movie ” Saturday Night Fever” where club patrons danced in unison to the Bee Gee’s track ” Night Fever” It was also a weekly feature of the popular television show ” Soul Train” The famous ” Soul Train Line” . The are many variations of contemporary Line Dances such as Cha Cha Slide,Cupid Shuffle,Wobble Macarena and a few other regional variations with their own local names.Chicago-Style Stepping, or steppin’ as it is also known, was created in the 1970s as a lower BPM cousin ( 70 to about 105 BPM) to Disco ( 110 – 126 BPM). Hispanics have also adapted their own style with such hits as ” The Macarena” and ” El Meneaito- Gaby” Asereje – Los Ketchups, Bomba – Azul Azul Excluding High End Dance clubs or those that program EDM or House, crowds are ” Sliding” to just about any track you can imagine regardless of genre. The only requirement is a steady 4 on the floor beat reasonably paced from 110 to as far up as 128 BPM. The trend is particularly prevalent in women over 45.
Maria Elena Gonzales 48 of Miami Beach , Florida comments ” You go to a party or a lounge with all your single girlfriends . Most guys can’t or won’t dance, so we have to make our own party on the dance floor and The electric slide allows all of us to participate and have fun”
Paul Anson age 51 from Ft. Lauderdale ,Fl ” I see a group of people in a line dance and it’s a social way to interact without being threatening,it’s not like I’m dancing with any particular person ,but it lets them know I’m there”
Many Djs both Mobile and Clubs are beginning to notice this trend with mixed reactions. Of course a packed dance floor is always welcomed but is line dancing welcomed to all enviorments where music is played? DJ AJ Falcon from Miami, Florida reacts ” I call them Sliders…not talking about succulent Mini Burgers here, but people who choose to do the Electric slide to whatever song you’re playing. I definitely have mixed feelings about line dances on the one hand as long as people are having a good time and the floors full, great, but I’m just so over it sometimes and wish they were doing a more “cool” dance than a line dance. As far as mobile Gigs go one of the most common Do Not Play categories are line dances yet inevitably guests will come up and request some and I handle that in various ways. I prefer to see the individuality of a person expressing themselves on a dance floor in their own creative way rather than a choreographed dance and I think there are many people that feel the same way. As far as the actual electric slide phenomenon with people dancing to it to any song I really don’t see that too much. Occasionally with a middle-aged to older crowd it happens more often . Hope people will keep creatively expressing themselves on the dance floor with their own unique moves.” Mister Q 305 from Miami “: Of all the club/party group dances, starting with the “Bus Stop” and continuing through the years including the “Macarena”, “Wobble”, “Gangnam”, “Nae Nae”, “Cupid Shuffle” etc. etc..The “Electric Slide” seems to be the most adaptable, popular and enduring. The song gets the widest demographic on the dance floor at any party. The fact that certain people at certain events or clubs (mostly restaclubs) are willing to do the dance all night regardless of song being played attests to the song/dance’s popularity. It is possible that it could look boring to someone standing at the DJ booth looking over at the dance floor but then again the DJ doesn’t have to be entertained by the dancers… it is the other way around. Dance On…”
On one hand, the ease and the amount of people attracted to this spontaneous crowd response makes ” Sliding” attractive and creates a feeling of connecting without the personal interaction ( it is not required to request to join a line dance) Some in the industry s though see this as ” Contamination from the Mainstream” ” Hundreds of thousands of dollars go into creating an exclusive environment in nightclubs . Lighting ,Decor and Sound System. Another important factor is the clientele that contributes to the overall experience. Call it the ” Cool” factor where the target audience is the “trendy” or ” the beautiful people” . Introduce line dancing into this mix and you might as well have chickens and bushels of hay in the middle of your dance floor. Don’t get me wrong I am guilty of participating in a line dance or two at a relative’s party , but a nightclub setting is no place for this. ‘ responds a local club manager. Club DJs also have a different take than their more understanding ” Mobile” counterparts. ” Lots of work goes into constructing my sets, track selection, mood , mixing. This is my career . Line Dancing detracts from what I am trying to express through my music. To a certain degree it denigrates my performance. It relegates my ” Club” performance to a common house party. ” it is not surprising that these individuals asked for their names and businesses not be used further fueling the Mobile vs Club DJ friction that has existed for many years.
The bottom line is this that this activity cannot be controlled . Line Dancing or ” Sliding” seems to be on the rise. With the exception of very few styles this dancing technique can be applied to any moderately paced genre. Limited only as to how fast dancers can execute the steps. Do Not Play lists cannot be Do Not Dance lists.Contemporary tracks such as Get Lucky- Daft Punk, Blurred Lines – Robin Thicke, as well as classicPop favorites like Billy Jean – Michael Jackson to name a few have become crowd favorites to Slide to. It seems that , You Can’t Hide , From The Slide
Alex Gutierrez
Mike in the Night was an MC, a radio Engineer,a producer, a Remixer a Radio personality he earned
each and everyone of those titles with years of hard work and dedication ., but the title that I remember
him the most by is ” FRIEND” …..No hard work or dedication there…he was my friend ,naturally and
without effort he earned my trust, my respect, my love and admiration. He was hard headed and stubborn
,a little too frank at times ,but he was REAL. Real in an industry run by “Not so Real ” . people
He came alive behind the microphone ,a place where his looks ,his weight didn’t matter. Where he would
be judged solely on the sound of his voice and what he had to say. An unmistakable voice , heard by
hundreds of thousands of people on commercials, on the airwaves and from nightclubs all over Miami
since the early 80s. A voice that could inspire and motivate anyone who heard it ,to immediately get up
and dance. The nightclubs needed him , he WAS the party.
In 1995 he would produce the hit record ” Macarena ( Bayside Boys Remix )” on RCA records , allowing
him to construct a state of the art recording studio in West Miami. He follwed with hit ” Caliente”. and
continued to record countless of local and national artists , in many instances without charging studio time just to stay busy until the next radio gig popped up.Mike’s Bayside Boyz Remix of Macarena
He was one of the youngest on air talents at legendary Miami radio station Super Q whose unique
format would be the model he would dream of using again someday on Miami’s airwaves. He recieved
that oppurtunity briefly for a few years on his return to radio after a few years absence on Miam’s Clasica
92.3 FM where he shot to the top of the ratings with unheard of numbers for a weekend show.The
happiest days of his life in my opinion. He was on top of his game . Programming “on the fly” playing the
music he wanted and knew Miami audiences craved but could not hear it anywhere. He manned the
controls at Salsa 98.3 FM on the weekends where we enjoyed a few years with a popular mix show
.After a financial dispute at one of the stations , his stubborn side got the better of him and he resigned ,it would be his last radio job before his untimely passing. He returned to the nightclubs as MC, vowing to return to radio under his terms,but the days of the ” RADIO PERSONALITY” was fading.
Replaced by minimum wage board operators with a few pre-programmed sentences here and there between
commercials and station IDs. On one of our 1 hour long drives to a nightclub we came up with the idea for
OPEN HOUSE RADIO .Mike with Alex Gutierrez Open House Radio An hour long mix show specializing in Dance music of the 70s and 80s. The listening audience would hear nightclub style music of those eras with information on the artists many of whom had not produced a record in over 25 years. Suddenly we were speaking to the musical idols of our youth who were lending their voices and support for this outlet we had created for this ” Lost Music
“Cerrone, Leroy Gomez , Alec R Costandinos , Gloria Gaynor The Program slowly caught on .Stations in
New York,France, Brazil, Spain began playing the program. The program we created. Our bond grew
stronger.We would spend most of our ” production” time socializing and dreaming of ” What ifs” We
proved to each other that we could do it. The talent was there even though the jobs weren’t. We were
happy ,Open House Radio was ours . We often discussed the historical value of our programs as a
musical refrence to those years, delving deep into the Disco subculture almost as if studying religion or
the meaning of life itself. We had fun making those shows and looking back I preserved a little piece of
my friend in those 90+ shows that I selfishly kept here on Earth when he left.
I’ll be back making more Open House Radio shows. The way Mike used to, because when you love
something as much as we did ,it’s hard to stop.
Alex Gutierrez Mike at Super Q Macarena Bayside boyz Remix Young Mike
By Mario M. Taboada
12-14-2012
The other night at Mikey Triay’s funeral, I chose not to speak publicly, but if I had, this is what I would have said. This is in memory of, and my tribute to a “bonanza” of a man.
I guess it’s only fitting that I point out that Mikey’s contributions to Radio were not limited to Programming, Music or Engineering. Mikey genuinely understood the “business” side of Radio…he embraced it and he enhanced it. Mikey was a true friend, and a very important allied of the Sales department. We in Sales loved him for that, we respected him and appreciated his efforts and enthusiasm. Mikey rarely said “no” to hosting a Remote or a Live Broadcast. He was always there when called upon to host a concert or event. You could always count on him to voice a commercial at a drop of dime, even when there was no compensation attached. He always gave it 100%. Mikey was always on time and he was always prepared. One thing was for sure, Mikey was going to do whatever it took to make the job-at-hand a success. And he was ready to do it again and again. It’s safe to say that Mikey significantly helped generate a lot of revenue for Radio over the years…and for that, Radio was better and many of us benefitted from it.
I’d like to share with all of you an anecdote that created a special bond between Mikey and I. A long, long time ago in TV land, there was a television series called “Bonanza”. It chronicled the lives of four brothers out in the Old West…they were the Cartwrights. There was this one brother… a strong and burly behemoth of a man, who was also very sensitive and naive at heart. He was like a child…a big teddy bear like Mikey. After working with Mikey for a while, back in the early eighties at Super Q, I approached him one day and asked him, “Mikey, you know that TV series, Bonanza?” He replied, “yes, why?” I said to him, “you remind me of one the characters on the program and if you don’t mind, out of respect, I’d like to call you “Hoss” from now on.” He was okay with that and from then
on, whenever I approached him and we were alone, I’d call him, ‘Hoss”. And if we were among other people, again out of respect, I would then refer to him as Mike or Mikey.Many of you, at one time or another probably shook Mikey’s hand. If so, I’m sure you felt the same way I did…this was a strong and mammoth hand. It certainly dwarfed mine. His grip was almost intimidating. Yet just as quick as you were impressed by the size of his hand, you were immediately comforted by the equally soft touch of his gentle and sincere soul. That was Mikey, he really was a gentle giant.
At the funeral, I noticed a common gesture by Mikey throughout the slide show presentation in memorium…a
simple sign that again well defines his character. In every slide, when Mikey was posing next to someone
“famous” or important…there was that “giant” hand again, this time serving as a “pointer” toward the other
person. It’s as if he was directing the attention away from himself…and indicating to all of us, like a child, that the person next to him was someone he respected, someone he admired or someone he approved of. This was another sign of how unselfish he was…just a simple kid in awe.Mikey, thank you for coming into our lives and adding a giant-size amount of contribution to Radio, and an equal-size amount of love to all of us.
“Good-bye, Hoss…I will miss you!”
In 1976 I bought two BSR Belt driven Turntables with no pitch control and a Radio Shack microphone mixer mixer with no CUE, with money I had saved working as a busboy at a restaurant. I was the “man “!! Well at least I thought I was . I had been
to a party where instead of everyone bringing their own records (with their name written all over those 45 rpm records in bold black ink) There was an actual guy with his own stuff in a corner playing the records for you. Of course you didn’t know what he was playing because he covered the label with black tape. Oh,and he was getting paid $15.00. I wanted to do what that guy
did. I became his friend ,George Valdes,never saw him after Jr.high School,but he started me out by giving me the Trammp’s ”
That’s where the Happy people Go ” on Atlantic Records. Showed me what ” mixing ” was,showed me where to cut my hair
( Hair Fantasy ) showed me that Pierre Cardin cologne was better than Jovan musk oil. But most important he showed me that
a DJ can’t be taught ,it has to come from within,you have to feel the music.Alex and Betty
” It’s been 30+ years since all of that and music has always been a part of my life starting with Disco in the 70s,Freestyle in the 80s,Techno in the 90s and so on. ”
I’ve been fortunate to work at numerous nightclubs in Miami and California , as well as concerts ( Opening for such artists as Oscar de Leon,Gilberto Santa Rosa , Tavares, Carol Douglas , Elvis Crespo And many More ) as well as special events throughout the years. I’ve worked in radio since the mid 90s when the BREEZE a local light Jazz station became EL ZOL. I had always included Latin Music in my programming but had never focused primarily on it until I met Jesus Salas Program Director for EL ZOL, he invited me to join DJ Crazy J in a show he was creating called ” El Mix en Vivo” ( The first Latin Mixshow } with MC/ DJ Julio Jr. and Carlos Lanzas.
During that time a couple of friends and myself had already been playing around with the idea of BEAT MIXING Latin music. The ” Chief ” Raymond Hernandez from Rhythym 98, Gil Rodriguez , DJ at La Covacha and myself who had been playing at Club
Mystique at the Airport Hilton and Alcazaba at the Hyatt. El Mix en Vivo was a hit,and opened the door to just about every latin
club in Florida. Latin music became my primary focus and I began to perfect my ” Latin Beat mixing” technique that was not well recieved because people wanted the song to end. After a few months I trained my crowds into accepting the ” mix ” it also allowed them to dance a little longer since most latin songs are only about 3:00 min long. I helped pioneer the use of dry beats ,that I would edit into a song before and after allowing me mixing points.
I later went on to accept a position at Salsa98.3 FM thanks to Leo Vela a long time friend who started as a DJ at Cherry’s as
an on-air mixer. I enjoyed 3 years there until the station went 100% Reggeaton, and name changed to LA Kalle 98. I stayed a few months with La Kalle and then accepted a DIsco Mix Show on Clasica 92.3 FM ” Disco Fiesta” with Susy Lehman ,after that thanks to the late Julio Jr. I was back on el ZOL 95 doing remote broadcasts with the station.
I recieved the New Times Best Club DJ Reader’s Choice Award multiple years and appeared in the PBS Documentary ” El Open House The Soundtrack of our Lives ” . I have remixed tracks for Willy Chirino, Orq.Palenke, Miami’s Band, Mantrap , Tito Nieves and others.
Today The preservation of traditional Salsa and Disco is a battle,the clubs are getting younger and the desire to learn Salsa and appreciate Disco is diminishing,but I keep doing my thing and so far it works. With Open House Radio along with Mike in the Night I have returned to my Disco roots and created a program that is now heard around the world ,playing 70s and 80s dance music. It keeps you alive……Mike passed away December 6, 2012 a devastating blow to all of us here in Miami, the torch was passed to my Friend and producer Lewis Martinee who together continue Mike’s dream as well as producing an additional dance music show RHTYTHM MIX 24/7 . Early in 2013 I founded the South Florida DJ Association and the response has been overwhelming. Fulfilling a lifelong goal of bringing the DJ Community together.
Past and Present
Nightclubs
Alcazaba,Club Mystique ( Airport Hilton ), Gabriel’s, ,The Forge, Club 41,Poodle Lounge ( Fountainbleu ), Casis, Mezzanote, Valentinos,Bar 609 ( south Beach ) , Club 609 ( Coconut Grove ), Coco loco, Kaffe Krystal, Cafe Iguana ( Kendall ), Cafe Iguana ( Pembroke Pines ), Cafe Iguana ( beach Place ) , Maars Bar ( Kendall) 94th Aerosquadron ( Miami }
Club Z ,Baja Beach Place,St.Croix, Paladium, Bungalow 9, Gemini,Congas,Radius,Monkey Bar,Club Boca,Suzanne’s in the Grove,Azucar,Casino Miami Club Bailo,La Covacha
Radio Stations
Zol 95.7 FM , Salsa 98.3 FM , La Kalle 98.3 FM, Zeta 92.3 FM
It will be forever connected to Disco Music as one of it’s most recognized symbols , yet it has been around since the late 1800s. As early as the 18th century, people used “witches balls” to reflect negative spirits away from the home. Although not 100% verified ,The disco ball was invented by Charles and Logan McGrath, of Basildon, England, in 1859. They ran a popular bar and experimented with lighting effects to enhance the performances of their shows.The February, 1897, issue of the “Electrical Worker” describes the Third Annual Ball held on on January 6, 1897, at Roughaus Hall, Charlestown, and of the spectacular lighting display, which could be seen for miles around Boston. The letters “N.B.E.W.” were done with incandescent lamps of various colors on wire mesh over the ballroom, highlighted by a lamp flashing on a mirrored ball
Most records of pre-disco era mirror balls are limited to appearances in films that show the balls in motion as part of a scene at a bar or cabaret of some sort. Films such as the 1927 silent film “Berlin: Die Sinfonie der Großstadt” and the 1942 classic “Casablanca” as well as ” Some Like it Hot show mirror balls as part of set pieces.Division Bell tour that measured a whopping 4.9 meters in diameter. Madonna had to out do the competition andt during her 2006 Confessions on a Dance Floor tour used a 2-ton disco ball covered in $2 million worth of Swarovski crystals.
According to The Guiness Book of World Records The largest disco ball measures 10.33 m (33 ft 10 in) in diameter and was achieved by Bestival (UK) for the Desert Island Disco at Robin Hill Country Park, Isle of Wight, UK, on 7 September 2014.
The Disco Ball was rotating while Nile Rodgers and Chic took to the stage to perform .
Alex Gutierrez
Her real name is Beatrice Melba Smith.Her first break came in 1967 as a member of the original cast of the musical ‘Hair’.1976 saw her biggest chart success with the Van McCoy-penned song ‘This Is It’.
‘This Is It’ reached the Billboard Hot 100, the top twenty position on the R&B chart and also made the Top ten in the U.K.1982 saw huge success with the release of the album ‘The Other Side Of The Rainbow’, an album that featured the songs ‘Love’s Comin’ At Ya’ (U.K. Top 20 and produced by Paul Lawrence Jones III and Kashif), ‘Mind Up Tonight’ (U.K. Top 25) and ‘Underlove’ (U.K. Top 75).
Her biggest Disco hit is YOU STEPPED INTO MY LIFE (Producer – Gene McFadden And John Whitehead ) a song released by the Bee Gees in September 1976.Her version reached #47 in the US, #17 in the US R&B Charts and #5 in the US Hot Dance Club Songs in 1978.It’s sexy and sultry vocals combined with a lower BPM than usual fit comfortably as an opening track at many Miami nightclubs.
By Disco DJ standards this man could walk on water and part the Red Sea while conducting a 48 piece orchestra at the same time. he was responsible for some if not most of the greatest productions of the Disco Era. You would be hard pressed to find a DJ from that time that doesn’t include this man’s work on his list of Top 5 greatest Disco tracks of all time.
Greek/Egyptian Alec R. Costandinos made records unlike anyone else could, he pioneered the use of the first LP recorded on 48 tracks ( Trident Studios). In only three years, 1977-79, he recorded an astounding 15 albums of beautiful, one side-long disco suites and concept albums without comparison. Costandinos is a musical genius and his records simply sound as fantastic today as they did when they were first released. In 1974 Costandinos would become involved with a group called Kongas, whose drummer was none other than future disco auteur Jean-Marc Cerrone. Later in 1975, the two would collaborate on Cerrone’s first solo project “Love In C Minor” , one of the greatest disco classics which launched both of their careers as Disco producers. The two original tracks off Cerrone’s three-track “Love In C Minor” LP (the title track and “Midnite Lady”) would unfortunately be the last products of the Cerrone/Costandinos collaboration. As for why that was, it’s a question mark. It is a subject that Alec told us on our Open House Interview ” I prefer to let somethings as they are “
His Masterpiece Romeo And Juliette released on the Casablanca label showed the complexities of the true genre and is an excellent example of what DISCO was and should be seen as ……ART
After all his Disco projects , Costandinos seemed to slow down considerably. He would release one more album in 1981 called “Americana,” ( The Only album that featured a picture of him on the cover ) ironically not released in the US.
And by the way on Romeo and Juliette “the most excellent and lamentable tragedy of Romeo and Juliet, newly corrected, augmented and amended” is Alec himself.
Hear our EXCLUSIVE INTERVIEW ON OPEN HOUSE RADIO CLICK HERE
They say you never forget your first kiss, your first girlfriend ,well, your first anything right? As a DJ who started at the age of 15 I was reminded today while listening to some old songs on You Tube what my first record was. I didn’t even buy it, it was given to me by the DJ that lit the flame that burns til this day. His name was Jorge Valdes a 9th grader who had first met at a party that he was ” playing records” . The minute I walked in the door that night I was mesmerized by the fact that a guy playing records controlled the party. I didn’t see him for several months after that, nor did I see anyone doing what he was doing at any other party that I went to. On the first day of school at lunch in my Junior High Cafeteria there he was , motioning to me to come sit at his table with a bunch of other older kids with cool haircuts and clothes. I did the best I could to cover my T shirt from “Los Pinos Nuevos” a Local bakery. I had already been into music listening to the radio religiously when I got home. My parents owned a big Zenith Console stereo ( off limits of course) and a large collection of records Elvis,Herp Alpert, Ray Conniff, Al Hirt The obligatory Coke album ( a local group of kids from Miami High) rounding out the collection on the latin side Perez Prado,Celia Cruz,Conjunto Universal . I couldn’t hear them ,but I could hold them and read the liner notes and admire the cover art which on some of the Lps were a little risque at the time. But these kids spoke of a different kind of music ,it wasn’t Elton John,America, Captain & Tenille that I was listening to on my local station.They were talking about groups like BT Express, LaBelle,AWB, Van McCoy ,Silver Convention, O.C. Smith, The Intruders,Double Exposure. The were talking about clubs that their older brothers and sisters would go to. This was a strange new world for me , but I liked it !!
The following day at lunch ( now wearing a much cooler T Shirt with the ” Man from Uncle” logo) I sat down next to Jorge who immediately handed me a white label 45 RPM of the Trammps ” That’s Where The Happy People Go” He said ” Here to start your collection” I looked at it for a minute . I imagined myself at a party where I was in charge of the music . People danced , girls whispering, smiling and pointing at me ( hopefully not laughing at my T shirt). I was a DJ !! I peddled home that day faster than ever ready to defy all rules concerning the Zenith stereo . I was going to play ” MY” record , and I did as soon as I stepped in the door and about 3 hours before my Father got home. I must have heard it about 20 times before my Mom had me turn it off because I was going to ” Waste The Needle”
It was an exciting time I wanted to learn all about this ” Disco” thing these guys were talking about. I discovered a record store within bicycle riding distance where I offered the old man to organize and help out around the shop in exchange for records. ( Lee’s Records) My collection began to grow 45s , Lps and the new 12 inches . More Record stores were popping up all over Ultra Records, Ricky Records E.R.E Records , The Record Gallery, The Village, Do Re Mi, Lily’s . Soon I was able to fill up a few crates and with money saved from jobs here and there ( an the help of my Uncle) I was able to buy a Speaker ,some turntables and a small little mixer.
All because of ” Disco” Where the Happy people Go.
DJ Alex Gutierrez
There are a very few people in this town you can always count on to carry the Disco torch .Individuals who share a passion for Disco music and are willing to put their money where their mouth is. Organizing events and Disco themed concerts for over 25 years Charlie Rodriguez has proven time after time that he is the” Barnum and Bailey” of Disco music assembling some of the genre’s finest talents and presenting them in large venues for the Miami public. Presenting Superstars of Disco such as France Joli, Tavares, Lime. GQ, Carol Douglas, Teri De Sario, Ray Martinez and Amant and many more. ” Disco Music is the Soundtrack of Miami and we have a responsibility to pass it on to future generations ”
His most recent project on a smaller scale is the Disco Flavored night at The Fusion Cafe in Davie.Ideally located in an area that is able to serve both Dade and Broward residents with the music they love. Under the Miami Disco Fever Brand this event brings together die hard disco dancers of clubs like the Limelight, Pete and Lenny’s, Mr.Pips as well as those fans that have no outlet in which to enjoy this music. Since grand opening night Fusion has hosted their share of musical stars such as France Joli, Teri De Sario, TKA , Noel, Nyasia and Erotic Exotic .The venue itself boasts a varied menu and very friendly staff as well as an extremely large bar with every cocktail imaginable.The ample parking guarantees that there will be plenty of room for all the disco and Freestyle people of South Florida. The event takes place every Saturday at 9pm at the Fusion Cafe 15531 Sheridan Street with DJ Alex Gutierrez and DJ Lewis Martinee playing all the Disco and Freestyle we grew up with, of course I’ll throw in Classic Salsa tracks for all you old school Salseros! Go To Miami Disco fever Here Charle and France Joli
