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The crowd was gay and mostly male.Įzebukwu spun at Jeffrey Pub from August, 1978 to 1980, but he was fired for playing too loud. Ezebukwu describes Jeffrey Pub as a “nice, finished club” with a new dancefloor, DJ booth, and lights. to play at Catch One (where he would lure Ron Hardy after Den One closed), but he had seen Ezebukwu spin at the Sculpture Room. The previous DJ, Bill Alexander, was moving out to L.A. And I started seeing the magic of how it was all a pattern, and I was able to manipulate the pattern.”Īfter that moment of epiphany, Ezebukwu’s skill increased. “And then I was playing an Emotions song, ‘I Don’t Want to Lose Your Love,’ and I was counting the beats, and I counted all the way up to a 54-count, and then in the middle of the song the beginning came-the song started to repeat and I started to see the actual format of music as far as how the beats are arranged and how long the vocals are and the choruses and this, that, and the other. You know, you just need to work on that.’ So I went home that night and I just started listening to songs, and then I started counting the beats of the music and I started seeing a pattern. But,’ he said, ‘you’re mixing a 8-count on a 16-count on a 32-count with a 4-count…. He pulled me to a side to explain, ‘The music and everything is nice and the energy is nice. It was a minister who used to come down-he had a church, and he used to hang out there, and he was also a musician….
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King Dr., which he describes as “a step up from a hole in the wall.” The previous DJ stole the equipment, so Ezebukwu had to bring his own.Įzebukwu explains, “I had learned somewhat how to mix but I wasn’t accurate as far as mixing on the right beats and stuff. In May, 1977, Michael Ezebukwu started DJing at Private Sculpture Room, 6403 S. Then the River’s Edge and Ron Briskman’s Hideout.” that folks were just doing parties there. And then there were places like Sauer’s, which was a restaurant near 22nd St. A guy Lonnie Fulton, that passed, he had a place, Social Sounds, 178 W. There was another group called The Bowery. Robert Williams, they had the Warehouse. It was Den One it was the Ritz there was Le Pub, Broadway Limited, Blinkers.
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That was one of my most important influences.”Įzebukwu reminisces, “Back then Chicago was full of clubs. I would hear him do mixes, and I would go home and practice and do the same mix. He was the first DJ I heard that really just fascinated me with blending, because his blends were so harmonious…. It was a discount night, but a real nice crowd. He used to play at Le Pub on Thursday nights. Ezebukwu recalls, “He used to spin at Alfie’s and another club, Le Pub. Double Exposure, I think they were hot on the scene-they were just starting off.”Īnother inspiration was DJ Peter Lewicki. It was a lot of new stuff coming out at the time, just like ‘Love in C Minor,’ and the 12-inches started coming out. The DJ, Artie Feldman, used double copies of songs to create his own arrangements.
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You know that was first time actually hearing a DJ mix records and just hearing the music continuously flowing.” It was over on Wells, and I was just amazed about the sound system and then the music. He recalls, “I think the first club I went to was Den One.
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As a teenager, he would take charge of the music at his friends’ parties.Įzebukwu began studying radio and TV broadcasting at Columbia College in 1977, and it was then that he discovered the disco scene. While he is best known for spinning at Club LaRay and Rialto Tap during the house music era, Ezebukwu started out in Chicago’s discos in the late seventies, when there was a vibrant gay African-American scene.Įzebukwu grew up on the South Side, attending Holy Angels grammar school and St. DJ at Club LaRay, Rialto Tap, the Clubhouse, and moreįew Chicago DJs have had a career as long and varied as Michael Ezebukwu (52).