BIBLIOGRAPHY
Sona:
Syslov, J. (2016, August 22). Plísňáky a dederon. jak ikony Socialistické Módy ovládly 70. A 80. Léta. iDNES.cz. https://www.idnes.cz/onadnes/moda/plisnaky-a-dederon-symboly-socialisticke-mody.A160819_155325_modni-trendy_brv
Mailto:internet@ceskatelevize.cz, Č. T. (n.d.). Pražské Kluby. Úvodní stránka České televize. https://www.ceskatelevize.cz/specialy/bigbit/ceskoslovensko/80-leta/clanky/172-prazske-kluby/
https://dspace.cuni.cz/bitstream/handle/20.500.11956/92181/130213624.pdf?sequence=1&isAllowed=y
Kamila:
Gąsiorowski, Maciej, and Autor: Zenon Zyburtowicz/East News. “Życie Nocne W PRL. Kultowe Kluby, Striptiz I Morze Alkoholu.” Super Express, 7 Aug. 2021, www.se.pl/wiadomosci/exclusive/zycie-nocne-w-prl-kultowe-kluby-striptiz-i-morze-alkoholu-aa-SDYb-K5GV-naVw.html#google_vignette. Accessed 26 Jan. 2024.
“Kryzys.” YouTube, 21 Mar. 2010, youtu.be/ZfCjTPHzFY8?si=L04lxae2B67nZ-EC.
“Warszawa w PRL-u. Jak Się Bawiono? Dancing, Striptiz, Śledź i Setka Wódki.” Wyborcza.Pl, warszawa.wyborcza.pl/warszawa/7,34862,19412539,warszawa-w-prl-u-jak-sie-bawiono-dancing-striptiz-sledz.html. Accessed 26 Jan. 2024.
“Wyjątkowe Zdjęcia Polskich Punków Z Lat 80.” VICE, 1 Jan. 1970, www.vice.com/pl/article/dpn7jv/wyjatkowe-zdjcia-punkow-z-lat-80.
“Żyletka, Agrafki I Tiltowanie: Początki Polskiego Punka.” Culture.Pl, culture.pl/pl/artykul/nuda-wygonila-nas-na-ulice-miast-poczatki-polskiego-punka. Accessed 26 Jan. 2024.
Anahita:
Cabaretperformances. “The Pre and Post Revolution of Iranian Cabaret. – @cabaretperformances on Tumblr.” Tumblr, 6 Feb. 2013, www.tumblr.com/cabaretperformances/42438453707/the-pre-and-post-revolution-of-iranian-cabaret.
“D.” I, i-d.vice.com/en/article/vbe5qj/from-disco-to-diy-the-history-of-irans-electronic-underground. Accessed 13 May 2024.
“عکس های دیده نشده از کاباره های ایران قبل از انقلاب.” YouTube, 11 Apr. 2023, youtu.be/EXzY7Ro26Is?si=njc7EJCBarxzoSPF.
“کاباره شکوفه نو یکی از قدیمی ترین کاباره های تهران.” YouTube, 13 Mar. 2022, youtu.be/Yl8c3m68yFE?si=WOtdSGD5TnMoGQLp.
“کاباره مولن روژ ؛ آسیاب بادی که به جرم ف.ح.ش.ا تعطیل شد !” YouTube, 5 Aug. 2023, youtu.be/4OcV-T8RcNI?si=N-T--gr7c7-F2uvz.
Mina:
“Accueil.” Origines & Histoire Des Cabarets Parisiens | Paradis Latin, www.paradislatin.com/fr/histoire-cabaret-paris/. Accessed 13 May 2024.
“L’histoire Spectaculaire Des Cabarets Parisiens.” Theatre in Paris - International Paris Theatre Box Office - Theatre in Paris - Shows & Experiences, www.theatreinparis.com/fr/blog/lhistoire-spectaculaire-des-cabarets-parisiens. Accessed 13 May 2024.
“Sur Les Traces Des Cabarets Parisiens.” Moulin Rouge, 5 July 2023, www.moulinrouge.fr/les-cabarets-en-france/.
Sona
JEANS – they were unaffordable for the inhabitants of the socialist countries, so they were all the more desirable. They bore the stamp of revolt, so the regime banned them for the first few weeks.
“It was only at the end of the 1960s, when jeans became fashionable for everyone and lost their revolting charge, that their imitations began to be produced in our republic, but not from denim and not dyed with indigo," says Jana Skarlantová, who deals with the issue of fashion development and wrote the book. From a fig leaf to jeans.
The original jeans were only available at Tuzex for vouchers that only anyone had access to. Less fortunate applicants had to make do with imitations, the production of which was not easy. Domestic fabrics did not match the quality, and so the so-called moldy denim was born, a fabric treated with chlorine. Mouldings became a hallmark of the 80s, and along with them, high-rise pants, wild colours including neon, animal prints, shoulder pads and, of course, perms represent the era. If you want to see everything together, watch the movies Disco Story or A Friend in the Rain, for example.
https://www.ceskatelevize.cz/specialy/bigbit/ceskoslovensko/80-leta/clanky/172-prazske-kluby/
Now that we have divided the Prague music scene into boxes, we could assign a box to each style, which would contain information about which clubs from that or which box received the most. However, with exceptions, this is not possible, because genre overlaps in individual clubs used to be a matter of course - none of the organisers and music dramaturges at that time were interested in creating a one-sided club (this is finally confirmed by the head of Chmelnice, Luboš Schmidtmajer). Which was mainly due to the fact that interesting bands of various genres were constantly increasing, but there weren't too many places where these bands could play. And if the premises were already found, various cultural institutions, inspectors, officials and who knows what other state-controlled "cultural" recruitment were throwing sticks under the feet of the bands.
Nevertheless, over time certain general characteristics of these clubs were formed in the subconscious of the audience, which resulted from quite clear stylistic preferences of club dramaturgy. And so, for example, Klub Na Chmelnici was generally associated mainly with new wave and punk, Opatov with alternative, Barča (KD Barikadníků) with heavy metal, Strahovský klub 007 at the end of the decade with post-punk and gothic, Petynka with folk, etc... This of course, the general characteristics resulted, let's say, also from certain "band" communities - that is, from who liked to perform with whom, which ensembles were related stylistically or humanly, it also depended on the club leaders which musical genre they preferred. In the 1980s in Prague thus, there was a visible togetherness of certain bands, club connectedness and a certain sense of, let's say, stylistic belonging.
But back to the clubs - perhaps the only common feature of these rock (rather music) clubs and halls was the fact that they were mostly located outside the center, often in huge housing estates. Performer Milan Knížák talks about this in the series Bigbít: "If you take the first half of the 80s, you will find that all important things happened on the outskirts of Prague. Because the housing estate was forgiven from the beginning. The housing estate wanted to be humanised, the rulers felt that some kind of culture had to be created there. And so a kind of 'darker' culture arose. There were simply interesting exhibitions of modern art in a disgusting place in a disgusting house. And of course, a lot of bands played in these housing estate cultural houses."
ANAHITA
Before the Islamic Revolution in 1979, the Iranian clubbing scene was marked by a relatively liberal dress code that reflected a blend of traditional and modern styles. The fashion of the time was influenced by a mix of Persian cultural elements and Western trends, creating a unique and eclectic look.
Women's attire included a variety of dresses, often colorful and adorned with intricate patterns. Many women wore knee-length or longer skirts, and it was not uncommon to see stylish blouses or tops paired with fashionable accessories. While some embraced Western fashion with mini skirts and sleeveless tops, others incorporated traditional Persian elements such as embroidered fabrics or Persian-inspired jewelry.
Men's fashion was also diverse, ranging from Western-style suits to more casual attire. Suits were popular among the urban population, often worn with ties or bowties. Traditional Iranian clothing, such as the qajari hat or a form of the Persian robe, was occasionally incorporated into men's clubbing outfits, creating a distinctive fusion of styles.
Footwear choices varied, with women opting for stylish heels or flats, and men often wearing polished dress shoes. Overall, the pre-revolutionary Iranian clubbing dress code reflected a society that embraced cultural diversity and modernity, allowing individuals to express themselves through fashion.
However, after the Islamic Revolution, the dress code underwent significant changes as the new government imposed more conservative clothing standards aligned with Islamic principles. This transformation marked a shift towards modest and traditional attire, affecting the social and cultural fabric of Iran.
Before the Islamic Revolution in 1979, Tehran boasted a lively nightlife scene with several renowned clubs that contributed to the city's vibrant social atmosphere. Some of the most famous clubs included:
- Tehran Javanan Club:
- A popular spot among the youth, Tehran Javanan Club was known for its energetic atmosphere, featuring a mix of traditional Persian music and Western tunes. It attracted a diverse crowd, contributing to the city's cosmopolitan character.
- Shahr-e Now Cabaret:
- Shahr-e Now Cabaret was a well-known entertainment venue hosting live performances, music, and dance shows. It was a sophisticated space that attracted both locals and visitors looking for a memorable night out.
- Homa Hotel Nightclub:
- Located in the Homa Hotel, this nightclub was a hotspot for both locals and international guests. It offered a classy environment, often featuring live music performances and providing a space for socializing and dancing.
- Shahram Club:
- Shahram Club was a popular choice for those who enjoyed a mix of Persian and Western music. It was known for its lively ambiance and social gatherings, drawing a diverse crowd.
- Leila Club:
- Leila Club was celebrated for its glamorous setting and entertainment offerings. It attracted a fashionable and upscale clientele, hosting events that contributed to Tehran's reputation as a cosmopolitan city.
These clubs played a significant role in shaping Tehran's pre-revolutionary nightlife, providing spaces for people to unwind, socialize, and enjoy a variety of entertainment. Unfortunately, with the Islamic Revolution, many of these venues were closed or transformed as the new government implemented stricter regulations on social and cultural activities.
Before the Islamic Revolution (Pre-1979):
- Liberal Atmosphere: The period before the Islamic Revolution was marked by a relatively liberal and cosmopolitan atmosphere. Nightlife, including clubbing, was vibrant and diverse, with a mix of traditional Persian and Western influences.
- Fashion Diversity: Clubgoers enjoyed a diverse and eclectic dress code that incorporated both traditional Persian attire and Western fashion. Women often wore colorful dresses, and men embraced a range of styles from Western suits to traditional Iranian clothing.
- Music Fusion: Clubs played a mix of traditional Persian music and Western tunes, catering to a broad audience. This cultural fusion contributed to a dynamic and inclusive social environment.
- Cosmopolitan Cities: Major cities like Tehran were cosmopolitan hubs with a thriving nightlife. Various clubs, bars, and entertainment venues contributed to a rich cultural exchange and social diversity.
After the Islamic Revolution (Post-1979):
- Islamic Regulations: The Islamic Republic of Iran implemented strict Islamic principles after the revolution, leading to significant changes in social and cultural practices, including nightlife.
- Conservative Dress Code: The dress code became more conservative, with an emphasis on modesty. Traditional Islamic clothing became more prevalent, and the mixing of Western and traditional attire diminished.
- Restrictions on Music: The type of music played in clubs became subject to more regulations, with authorities discouraging or restricting Western music. Traditional Persian music gained more prominence.
- Closure of Venues: Many pre-revolutionary clubs were either closed or transformed to align with Islamic values. The once-vibrant nightlife experienced a decline as a result of increased regulations and restrictions.
In summary, the shift from a liberal and diverse pre-revolutionary clubbing scene to a more conservative and regulated post-revolution environment reflects the broader societal changes that occurred in Iran during and after the Islamic Revolution.
Kamila
Polish Nightlife Scene
At first punk music was like a myth in Poland, you could read about bands from the west in illegally transported magazines or hear parts of the songs on the radio, teenagers were getting more and more curious and this is how the underground scene started to form.
“Remont” was a student club, kind of like a safe space, where people could express their own identity, without authorities finding out. This is where most punk bands debuted, like Brygada Kryzys or Tilt.
Of Course Polish students didn't want to be behind in terms of style, their manifesto included stud-studded belts, ear cuffs, upholstered hairstyles, sugar mohawks, bold colours, and make-up. Since there was nothing in the stores, they created the outfits and haircuts on their own. They pulled stuff from a variety of odd stores to make their individual style. Additionally, they frequently altered clothing from the alleged Western packages.
They were definitely standing out in the crowd on the street, which could cause a lot of troubles with the police. Authorities wanted to kill any signs of individuality, they took it as a threat and signs of anarchy, but punk life in the 1980s in Poland was not very radical. “It is difficult to talk about squats at this time. Most lived at home with their parents. Those were the times when everyone had to study or work. Even life on tour seems incredibly polite. There were never any fights or arguments. The system considered this society a bunch of hooligans, but these groups had incredible ethics, everyone came only to have fun.
https://youtu.be/FTTD3i07lUw?si=Hy3pE2MYLCuyKsFt
https://www.vice.com/pl/article/ezzx8m/historia-polskiego-punka-w-obrazkach
https://culture.pl/pl/artykul/nuda-wygonila-nas-na-ulice-miast-poczatki-polskiego-punka
Although politicians were strongly against punk or rock, they themselves didn't shy away from parties. In Warsaw you could find clubs and restaurants with strippers everywhere.
It was extremely popular to order herring, with cheap beer or 2 shots of vodka, dance to live music and admire dancers getting completely naked.
In the 1970s, the Congress restaurant offered the best stripteases. In the cult series "Alternatives 4", where one of the heroines works in nightclubs, Stanisław Bareja makes reference to them. Saddler recalled that the custom of taking off one's clothes while dancing originated in the neighbouring country of the Czech Republic, where Czech ladies first bared their bodies in Warsaw. The Bristol Hotel was the venue for the candidate screenings. The specifications weren't excessively demanding.
These places were not a nightclub, but people were staying to party for hours, most of them didn't want to leave and would fall asleep on the chairs until the next morning.
It was also a wild scene of prostitution, a lot of these places were connected with a hotel, so it was easy for sex workers to get clients drunk and invite them upstairs.
Despite the fact that those restaurants sound like cheap places to get wasted, they did have a strict dress code, you could not enter without a tie and a white crisp shirt
Ordinary workers couldn't afford to go out every weekend,
that's why the most popular way of spending time was house
parties. Friends and family were sitting at the table, eating and
drinking for hours, you would always have enough vodka.
The dress code was actually the same - shirt and a tie for men,
and nice dresses for women from "Polska Moda" , the only
difference was, no shoes allowed!
MINA
The cabaret originated in Paris in the mid-18th century. They were places where people ate, drank and, above all, watched a show. The formula then expanded, and famous establishments sprang up on or near the Butte Montmartre. At the end of the 19th century, painter Rodolphe Salis left Châtellerault to settle in Paris. He opened an establishment there, the Chat Noir. This later led to the invention of the Moulin Rouge, with its characteristic decor, still famous today and much frequented by tourists. It was at the Moulin Rouge that a group of Parisian working-class women, known as lingères, spontaneously invented a dance that was for them a form of outlet for their harsh working conditions.
The "French cancan" was born. Among the first famous dancers, we remember "La Goulue" (who got her nickname from her adolescence, when she "dried the glass bottoms in the cabarets") who, passionate about dancing since her early youth, made her frills spin in the ballrooms until Joseph Oller decided to hire her at the Moulin Rouge for the grand quadrille, which became one of Toulouse-Lautrec's must-see paintings. Lautrec, who was an avid spectator of Parisian shows and nightlife. This highly physical dance imposed acrobatic figures on its dancers, such as the grand écart while jumping.
The outfits were very elaborate, with petticoats and breeches made up of dozens of meters of "frou-frou" (representing 200 meters of frou-frou per petticoat and 32 meters per pair of breeches), and brightly colored fabrics. Rhinestones, bows and ribbons were assembled by hand. A dancer's dress is entirely designed by the Moulin Rouge's grouping art houses:
Le ballet (all the dancers), le costumier (to make the costumes), le plumassier (la 'maison fevrier has been working since 1957 on feathered creations for the artists of the moulin rouge), le brodeur (working with precision on rhinestones and sequins, an essential part of the French. Cancan), the bootmaker ("la maison clairvoy" has been making shoes for the Moulin Rouge dancers since 1945), the caterer and the brigade.
The boisterous, upbeat music, complemented by the screams of the dancers, shocked, then fascinated and enthralled the audience, a mix of aristocrats on their way to "s'encanailler", curious bourgeois and commoners, artists and more. Other cabarets, such as the Ambassadeurs café-concert, were portrayed by Edgard Degas and other figures such as "Valentin le Désossé", as well as by Édouard Manet.
