Christopher Culver Until the 1970s, the jukebox was the main way of listening to music in New York City clubs, but then DJ-centered dance music as we know it today arose in the legendary venue Paradise Garage. Opening in the disco boom, Paradise Garage quickly became famous for the eclectic music choices of its DJs and later would play a key role in the spread of house music from Chicago to clubs worldwide until it closed in 1987. Josell Ramos's MAESTRO is a 90-minute documentary from 2003 about the Garage, the demographic it drew, and especially the DJ Larry Levan.The documentary maker goes back to describe The Loft, the invitation-only parties that inspired the Garage, as well as the creation of the 12" record. There is some archival footage, but mainly this is an interview-driven documentary. There are interviews with DJs Antony Ocasio, Nicki Siano, Frankie Knuckles, Tony Humphries, "Little" Louie Vega, Derrick May. Especially shocking is an interview with Francis Grasso, who was only in his early 50s at the time, but worn down by drugs he looks like he's in his 80s (he would die soon after the interview). Also heavily featured are vox pop interviews with people outside a NY club who remember the Garage.While not dedicating much time to it specifically, MAESTRO aims to depict the prominence of African-Americans and gays (and African-American gays!) in the Garage scene. Viewers whose experience with dance music is the more mainstream form in Europe will probably be surprised by how many men in this documentary talk swish. The impact of AIDS is briefly remembered.While I enjoyed learning something about the early years of NYC club culture, I was rather disappointed by how padded this documentary was: the main reason that the documentary is 85 minutes long is that the subjects interviewed speak very slowly with a lot of "uh" and "like". If Ramos had approached this material in a different way, he could have tightened things down to an hour.

FILMFORUM2 When I saw the film in Mass. I thought it was a great piece of work.In fact it was an in-depth look at the underground like never before. The profoundness of the music was on point, specifically the scene in which one of the main individuals is introduced with melodic keys overlayed with a poetic voice over; it's hypnotic.From the opening shots along the street from the train, to the entry of the club then on into it's inner sanctum, viewers will be sucked into the screen until the final credits roll, and glued to their seat long after that. It is powerful, sincere and an accurate representation of "What is dance music culture", and required viewing for those who want to know. Audience members testified along with the soundtrack, hollered as their hero DJs appeared on-screen and cried as they were reminded of all we've lost. Yes, it was worth the wait and it will be large.The movie finds its strength in the gritty video footage of David Mancuso's Loft, Nicky Siano's Gallery and of course the final weekend at the Garage. Never widely seen, these priceless nuggets of history offer a spine-tingling visual of the dancers in their hallowed rooms, while showing the youthful exuberance of the DJs as they blazed their musical trails. It also excels in the presentation of uncommonly heard voices of the movement like the Sanctuary's Francis Grasso, Tony Humphries and Alex Rosner who spoke about aural pioneer, Richard Long. Josell augments the overall impact of all this by employing interesting camera angles, slow motion replay and the effective use of silence. Calling each viewers individual Theater of the Mind into full-effect, and capturing the tacit truth of just how powerful this all really is. It's greatest weakness is that it can't tell every story, recall every influential party during this period and beyond, name every name, or reflect every partier's experience but for what it does explore, specifically Larry and those around him, it paints a realistic picture from an excellent starting point.I think all those people in the public that wonder about studio 54 or disco or house or the underground should witness this great piece of work. It worked for me and many of my friends.the beauty of film Phil undagroundArchives

safe600x-1 When I saw the film in Mass. I thought it was a great piece of work.In fact it was an in-depth look at the underground like never before.The profoundness of the music was on point, specifically the scene in which one of the main individuals is introduced with melodic keys overlayed with a poetic voice over is hypnotic, got goose bumps.This doc explores the evolution of the club scene from its roots in the late 60's, to it's height with the Paradise Garage and Larry Levan in the seventies, then on to it's depths with the AIDS crisis in the 80's. It is a story that outlines the genus of a now global musical movement and is told by the people who created it, the dancers who witnessed it and the pioneers who survived to tell the tale.From the opening shots along the street from the train, to the entry of the club then on into it's inner sanctum, viewers will be sucked into the screen until the final credits roll, and glued to their seat long after that. It is powerful, sincere and an accurate representation of "What is House 101", and required viewing for those who want to know. Audience members testified along with the soundtrack, hollered as their hero DJs appeared on-screen and cried as they were reminded of all we've lost. Yes, it was worth the wait and it will be large.The movie finds its strength in the gritty video footage of David Mancuso's Loft, Nicky Siano's Gallery and of course the final weekend at the Garage. Never widely seen, these priceless nuggets of history offer a spine-tingling visual of the dancers in their hallowed rooms, while showing the youthful exuberance of the DJs as they blazed their musical trails. It also excels in the presentation of uncommonly heard voices of the movement like the Sanctuary's Francis Grasso, Tony Humphries and Alex Rosner who spoke about aural pioneer, Richard Long. Josell augments the overall impact of all this by employing interesting camera angles, slow motion replay and the effective use of silence. Calling each viewers individual Theater of the Mind into full-effect, and capturing the tacit truth of just how powerful this all really is. It's greatest weakness is that it can't tell every story, recall every influential party during this period and beyond, name every name, or reflect every partier's experience but for what it does explore, specifically Larry and those around him, it paints a realistic picture from an excellent starting point.I think all those people in the public that wonder about studio 54 or disco or house or the underground should witness this great piece of work. It worked for me and many of my friends.I'm not sure what you were talking about D (aka little siddie) but the film had no techno music what so ever, not sure if you saw the same film.the beauty of film C\ undaground

camp560370 This doc is not a hollywood thing, definitely on the indie tip. loved what the creative team did with the raw visuals. It really touched me.I'm tired of seeing these super hereo movies, so Maestro is def refreshing. a definite go!Kris