Article originally published June 7, 2012 by The Grid online (TheGridTO.com).

In this edition of her nightclub-history series, Denise Benson revisits the most sexcess-ful, celeb-studded gay house club of the ‘90s.

BY: DENISE BENSON

Club: JOY, 16 Phipps

Years of operation: 1995-1997

History: The rapidly changing streets surrounding Toronto’s Yonge and St. Joseph intersection were once a mecca for adventurous late-night dancers. Some of the hub’s gay and after-hours history was explored in earlier Then & Now pieces about influential 1980s venues Voodoo and Club Z; now, we return during the ’90s, before the area was transformed by the massive condo development we see today.

The tiny Phipps Street is tucked in just north of Wellesley and south of St. Joseph, running east-west from St. Nicholas to Bay. In the mid-’70s, while big gay dance club The Manatee drew crowds to 11A St. Joseph, Club David’s brought gay revelers south down the alley, to 16 Phipps, where a gold rendition of Michelangelo’s David presided over the dancefloor. In the ’80s, David was out and mirrors were in as the building became new gay club Le Mystique.

Although it later housed a variety of warehouse parties, early raves and other one-off events, the building still featured some of Mystique’s décor when John Wulff and silent partners went to view 16 Phipps early in March of 1995. The former storehouse, complete with its old loading dock and a small tunnel that connected it to 11A St. Joseph (it’s thought a conveyor belt once ran between the two), was in rough shape.

Outside 16 Phipps, pre-JOY. Photo courtesy of John Wulff.

Wulff—who’d been socializing “seven days a week” in Toronto’s downtown gay scene since he was 16, and had worked for clubs including Gilles Belanger’s B-Bar—was ready to produce something of his own. He saw the 6,000 sq. ft. space as being well-suited to his vision of an after-hours dance club, located near the gay village, that would feature house music, art, and performance.

“The space was big, raw, and warehousey,” recalls Wulff. “We ripped everything out, soundproofed the walls, sprayed everything black, and installed a sound system.”

Inside of 16 Phipps, pre-JOY. Photo courtesy of John Wulff.

“Physically, JOY was a big black box,” adds DJ Scott Cairns, who would become the club’s Saturday night resident. “It was mainly dancefloor, with a raised area in the back where people could get a bird’s-eye view of what was happening below. It was dark and sexy. The lighting was minimal, with the focus being the giant disco ball in the centre of the floor.”

JOY opened its doors at 1 a.m.—then last call at licensed bars—on Friday, March 17, 1995. Although the promotion of Fridays faltered at first, JOY’s Saturdays were an immediate hit and soon regularly exceeded the legal capacity of 472 people.

“JOY quickly became the late night go-to spot,” says Cairns. “Mainly a gay event, the Saturdays were heavily attended by a wide cross-section of people: drag queens, muscle boys, dykes, models—all the usual suspects—with a gay-positive hetero element. Straight girls and their terrified boyfriends were often on hand.”

JOY dancefloor. Photo courtesy of John Wulff.

Why it was important: The timing of JOY could not have been better. As a gay-heavy, house music focussed, late-night dance club, it filled a lot of gaps. The warehouse scene had slowed, raves had grown larger and younger, and the music at Toronto gay bars had become increasingly commercial.

“JOY was completely on its own,” says Wulff. “The gay clubs, like Boots, Colby’s and The Barn, were playing Top 40 with the occasional house song while raves were playing Euro-ish fast beats. JOY was playing the newest and best underground house music, and felt like warehouse parties in Chicago or Detroit. JOY didn’t feel like Canada; it felt very New York, and people were very excited to be part of the energy.”

“JOY was very important at the time as it offered an after-hours experience that was safe and close to home for a big portion of the gay community,” adds Cairns, a 30-year DJ veteran who, by then, had wrapped up popular residencies at both The Phoenix and OZ.

“There was a definite thirst for something new in the core. I feel we provided that big time.”

“The JOY space had cachet from being a gay and alternative club over many years,” says James Vandervoort, better known as James St. Bass, a friend and frequent DJ partner of Cairns’. Vandervoort had come out while dancing in nearby ’80s clubs like Stages, Avalon, and Voodoo, and had himself brought gay clubbers west of Yonge while DJing boys’ nights at both Go-Go and Boom Boom Room.

“By the time JOY got started, it felt like coming home to gay after-hours dancing, but it was our time and our generation that was running it. JOY took the tradition of those earlier after-hours dances, but had more glamour, energy, and perhaps danger than the others that came before. It was raw, dark, sexy and, best of all, so central. JOY had the sound and feel of an illicit warehouse party, but was there every weekend—and with no chasing phone-line prompts to find it!”

Scott Cairns (left), John Wulff and Gilles Belanger. Photo courtesy of Wulff.

Cairns created much of the atmosphere with his music, often playing five full hours of the house he loved.

“Some of the best house was coming out in 1995 to ’96,” Cairns enthuses. “Big records for me at JOY included tracks from Farley & Heller a.k.a. Roach Motel, like ‘Wild Luv‘ and ‘Work 2 Doo.’ The dub of Joi Cardwell’s ‘Jump For Joi‘ was massive, as was H2O’s ‘Satisfied (Take Me Higher),’ and Robbie Tronco’s ‘Walk for Me.’ Tracks from producers like Danny Tenaglia, Roger S., MURK, Angel Moraes and Mousse T. were really big.

“And then came Boris Dlugosch and ‘Keep Pushin’,’” Cairns continues. “My friend Mitch Winthrop had just came back from visiting Boris in Germany, and arrived at JOY with a test press of this forthcoming single. I dropped it immediately and the reaction was intense. Later, in June of 1996, I had the pleasure of being joined by Boris at JOY. During his set, he dropped Giorgio Moroder’s ‘Chase.’ It’s one of my strongest memories from the club.”

LISTEN: Scott Cairns Live at JOY

The intense atmosphere of Saturdays at JOY can also be attributed to the dreams and antics of host John Wulff.

“My responsibility was to create an experience every week, and I’m proud of the events we put together,” he says.

For Halloween of 1995, Wulff performed as Carrie, complete with wig, white dress, pyrotechnics and Gilles Belanger as his Tommy Ross.

Another week, he recounts, “I rode into JOY on a motorcycle, in a star-spangled bikini, wrapped in an American flag and did Sandra Bernhardt’s strip tease from Without You I’m Nothing to [Prince's] ‘Little Red Corvette.’”

Frequently, Wulff could be found lying on a bed placed in the middle of the club on a scaffold.

“It was a mattress with gold satin sheets where whoever was feeling it would lounge or simulate sex shows,” says Wulff. “Various guests starred on that bed, from me to porn stars to beefcake male gymnasts stretching in silver sequin g-strings.”

He also recalls that JOY’s New Year’s 1996 party was perhaps the height of their (s)excess.

“We re-did the interior from black box to a glamorous ’30s speakeasy,” Wulff explains. “We installed two large chandeliers, and had an artist paint a 27-foot-long Tamara de Lempicka naked-woman portrait. We squeezed 1,200 people into that room. It was raining from the sweat and condensation—everyone was pretty much naked. I’ve never felt energy like that.”

JOY mural. Photo courtesy of John Wulff.

Wulff, in fact, starred alongside the many local and international celebs who passed through the club’s doors on weekends. Dozens of actors, models and musicians took part, ranging from Madonna and her tour dancers to Alanis Morissette, Terrence Trent D’Arby, John Goodman, Geena Davis, Montreal supermodel Ève Salvail, 90210 star Kathleen Robertson, and Heather Tom of The Young and the Restless, a soap widely adored by gay men.

But it wasn’t just Saturday nights and celebrity cameos that made JOY special. About a month after the club opened, Fridays were properly launched, with Jennstar at the helm. The promoter and hostess had already worked for years at Queens Quay nightclub RPM, was a columnist for TRIBE magazine, and was known for bringing warehouse heads, clubbers, and ravers of all sexual orientations together.

Jennstar at JOY. Photo courtesy of John Wulff.

Jennstar recruited fellow Futureshock crew members Gavin Bryan and Nnamdi Gryffyn a.k.a. DJ Gryphon, and they assembled a team that brought the Friday night concept called “Jennstar…She’ll Make You Famous” to life.

“We were inspired by fashion, fabulousness, fierceness, all the F words—including ‘famous,’” says Jennstar. “Everyone who attended JOY was fierce in their own way. This was a time when a lot of people were just starting their businesses—hair, make-up, graphic artists, performers, club-kids, you name it.”

Flyer courtesy of Jennstar

Opening night was packed, with NYC’s Frankie Knuckles on the decks and Jennstarr performing as Sunset Boulevard’s Norma Desmond. Fridays consistently bridged crowds and communities, with ace rotating resident DJs Gryphon, Jason Hodges, Matt C, Mario J, and Kenny Glasgow working their musical magic.

“I remember walking down the alley, hearing the music get louder as you’d approach, and then turning the corner to see a lineup of people trying to get in every week,” recalls Hodges of his first real residency. “It was a rush.”

Lineup outside of JOY. Photo courtesy of John Wulff.

“JOY was a place where that warehouse vibe was strong,” adds Hodges, a now-established DJ/producer. “The sound was big, and the vibe was dope. It was a solid night that drew music-driven crowds who knew what was up.”

Most of Fridays’ cast of players—from door staff to DJs and dancers—very much knew what was up. Many would form the core of Industry Nightclub, which opened about a year and a half after JOY.

One of these people was Rommel, a house-music lover who danced many weekends away at JOY, and frequently hosted Fridays’ VIP room.

“JOY was my version of Studio 54,” says Rommel. “Favourite memories include Frankie Knuckles playing an amazing set, Franklin Fuentes performing his club hit ‘If Madonna Calls,’ and, of course, our very own Jackae [Baker], with her many fabulous performances.”

John Wulff (left) and Rommel. Photo courtesy of Wulff.

“Jennstar, Rommel, and Jackae brought the glamour and the fun,” says Vandervoort. “It was decadent for sure, but also very funny. There were feature shows and drag-fashion fabulousness that got sloppier the later it got, so it never had the heavy dark feeling of some raves; it was more pure gay lasciviousness and bold fun. You could be any orientation and be welcome at JOY, but you likely had a better time if you liked to take most of your clothes off and dance like a maniac.”

This video, with original JOY footage shot by Rob Cluff in August of 1995, serves as evidence.

“At JOY we got away with a lot,” agrees Jennstar. “There were no rules really back then. Warehouse parties had died and the cops were paying attention to the raves, so we skirted under the radar for quite a bit. Just a bit, but boy was it fun. JOY was a place where you could come and hear fierce music and be who you wanted to be. It was definitely a birthplace for many events and parties that followed.

JOY was named the Best Nightclub of 1995 in Toronto Life magazine. It also helped bring deeper shades of house back to gay bars.

Wulff offers this tidbit: “Colby’s opened Voodoo Lounge one year after JOY, and copied it directly.”

Matt C (left) with Jason “Deko” Steele at JOY on Hallowe’en. Photo courtesy of John Wulff.

At JOY. Photo courtesy of John Wulff.

Who else played there: Jennstar’s Fridays featured many guest DJs, with a heavy Montreal lean. Frequent visitors included Luc Raymond, Christian Pronovost, and Alain Vinet, now Musical Director for Cirque du Soleil.

“The biggest international artists who played JOY for us were Deep Dish,” says Jennstar. “It’s kind of a funny story. Ashley from [promotions crew] Better Days called to ask if they could come and play the night before the [Better Days’] rave; the Deep Dish boys really wanted to get a feel for the city. I said sure, but had no real idea who they were, and we didn’t have money to pay them. They showed up and rocked the house.”

While Saturdays at JOY were mainly a showcase of Scott Cairns, guests like Montreal’s Mark Anthony and Sylvain Girard were sometimes found. Matt C also guested one Halloween, as caught on film above.

JOY also occasionally opened its doors on other nights for special events, including a House of Trance Wednesday series produced by Don Berns a.k.a. Dr. Trance.

JOY dancefloor. Photo courtesy of Scott Cairns.

What happened to it: JOY closed abruptly in early 1997.

“I had a falling out with my partners,” shares Wulff. “They changed the locks, and changed the name of the club to the Cubicle. Also, I was very tired and didn’t want to fight it. The fire department was all over us for capacity and sound issues, plus [then City Councillor] Kyle Rae was not a fan and wanted us closed.”

The Cubicle was short-lived. After it closed, 16 Phipps opened very briefly again under the name of JOY, though Wulff was not involved. According to him, the building was demolished roughly five years ago. In its place stands the 20-storey condo build on the south side of Eleven Residencies at 11 St. Joseph.

Wulff left the club business after JOY, moving into corporate branding and marketing. After recovering from serious health issues in 2011, however, he decided to “come out of retirement to do quarterly events,” beginning with a JOY reunion this Friday (June 8). Many of the JOY faithful will congregate in the rooms of Buddies In Bad Times Theatre (12 Alexander Street). Mark Falco DJs in the Cabaret, while Scott Cairns plays the main Chamber.

“I’ve been crafting the music for this night for months,” says an excited Cairns. “I’ve listened to probably a thousand records, trying to trim it down to the perfect set. I hope everyone has the best time, reuniting with friends and reliving the glory days of JOY.”

LISTEN: SCOTT LIVE at JOY mix 2

Jennstar, James St. Bass, Rommel and fellow JOY devotee Charles Pavia will host, while artists Drasko Bogdanovic and the Young Astronauts provide a wall of projections.

“With the reunion, it’s the old JOY mission: house music combined with artistic expression, through striking visuals, but on overdrive,” says Wulff. “I want to provide not only a good house-music party, but one that leaves you visually in awe.

“Also, Rommel will perform at 12:30 a.m., in something that I’ve described as her ‘Madonna Super Bowl Halftime Show.’ She’s accompanied by four clones of herself—you will die!

“I think that people are ready to have a different experience in nightclubbing,” summarizes Rommel. ”I would encourage attendees to put on their best boogie shoes, and to be as outrageous, if not courageous, in your club couture. JOY was especially known for that. Above all, I encourage everyone to just be you; that’s what JOY was and is all about.”

The post Then & Now: JOY appeared first on Then and Now: Toronto Nightlife History.

Article originally published February 16, 2012 by The Grid online (TheGridTO.com).

In this instalment of her ongoing nightlife-history series, Denise Benson looks back at the first club creation of Toronto nightlife magnate Charles Khabouth. At just 22 years old, he opened Club Z in 1984, but its groundbreaking legacy lives on to this day.

BY: DENISE BENSON

Club: Club Z, 11A St. Joseph Street

Years in operation: 1984-1989

History: Tracing the history of this city’s nightlife tells us much about its physical transformation and urban development. Nowhere is this more obvious than at the corner of Yonge and St. Joseph. Here, we’ve recently seen a few significant buildings largely demolished as part of their ongoing metamorphosis into Five Condos.

I had often wondered about the physical similarities between the original red brick buildings at 610 Yonge, 5 and 11 St. Joseph, and 15 St. Nicholas, but only recently noticed the plaque on 11’s easterly side. It turns out that moving and storage company Rawlinson Cartage built all of them, with the warehouse space of 11 St. Joseph constructed between 1895 and 1898.

Gay Torontonians who socialized in the 1970s and early ‘80s will remember 11A St. Joseph as popular all-ages discotheque Club Manatee, a three-level spot where the DJ booth was in the bow of a boat hanging above the crowd.

In September of 1984, directly after the Manatee’s closing, a 22-year-old Charles Khabouth debuted as a nightlife entrepreneur by opening Club Z in that very location. Now known as the CEO of INK Entertainment, whose many impressive properties include The Guvernment, La Société Bistro and the Bisha hotel/condo project, Khabouth started with just $30,000 and a desire to fuse his love of music, fashion and dance.

At the time, unlicensed (hence all-ages) after hours clubs were more common. Twilight Zone had opened in 1980 and was a bold new force on Richmond Street; Kongo Club (later Club Focus) would soon open on Hagerman; and Club Z neighbours Le Tube and Voodoo drew large fashion-conscious crowds, both gay and straight, with blends of new wave and alt disco.

“Back in those days, most nightclubs were limited to the confines of hotels,” recalls Khabouth. “In the early ’80s, the St. Joseph Street area was known to be the more underground social hub of nightlife. That area at night had an energy and vibrancy about it—an aura that you couldn’t get in hotel clubs. It had a bohemian feel, which is why it appealed to me.”

Khabouth describes Club Z’s aesthetic as “Do it yourself industrial design,” with much of the décor reportedly purchased at Canadian Tire. The club was bare bones, dark, but splashed with neon paint and squiggly lasers projected onto screens. It was multi-level, with two dancefloor/stage areas, high ceilings and a raised DJ booth accessed by a ladder. The back of the club contained a juice bar and video games like Pac-Man.

Club Z’s soundsystem was huge, and the space was reportedly licensed for 700-plus, but attendance was dauntingly low at first—until Khabouth rented a tiger to build buzz.

“After only being open for two months, and having no budget for advertising a Halloween event, I had to be creative,” he explains. “I had heard about a zoo up north that had tigers, and before I knew it, I had one delivered to the club. My office at the time had a large window and was street level, so it made for the perfect observation space. It caused quite the commotion.”

That’s an understatement. The tiger smashed the window in the early morning, and though still confined by a metal grille, it drew large crowds of people, the police, and the Humane Society. The incident made headlines and Club Z became a sensation.

Charles Khabouth was only 22 years old when he opened Club Z in 1984.

Why it was important: Club Z was one of Toronto’s first clubs to feature breaking sounds in dance music, with house mixed alongside freestyle, electro, early hip-hop and new wave. Khabouth himself took regular trips to New York, Detroit and Chicago “To hunt for new sounds in record shops.”

Music was central to creating an atmosphere that brought together a diverse downtown crowd Friday-through-Sunday, with Sundays a dedicated gay night that included drag shows.

“The crowd was very urban and eclectic,” recalls Toronto house music bricklayer Dino Demopoulos, who got his DJ start at Z, playing with twin brother Terry on occasional Fridays.

“There were a lot of alternative types there, the kind of freaks that you only had in the ’80s,” he says lovingly.

“During the Charles years Club Z was very hip downtown,” agrees journalist, DJ and then-Starsound Records employee Johnbronski, a regular at the club who later tended to its sound system.

“Gay, straight, new wave, hip-hop, disco, black, white, Chinese, Indian—it didn’t matter because the music came first. Remember, no booze was sold; it was just a big warehouse type space for dancing to some serious bass. The shared love of hip-hop and dance music culture was a very big part. You really needed to have an ear to the streets to know what was up back then.

“It was a place where a teenager could escape,” Johnbronski adds. “You’d sneak out of your house at midnight and head downtown, meeting and making new friends that you’d only see between 1-to-6am on weekends. Teachers and school friends thought I was making up stories about an all-ages dance club that opened at 11pm.”

Khabouth, who could often be found by the club’s front door, built his own career foundations at Z. He’s clearly proud of it to this day.

“I believe that Club Z pioneered a whole new music direction and a generation of club culture in Toronto. That’s why I am still looking for the latest sounds, and still find it crucial to invest in the best sound systems. Music is everything, and it’s the soul of any club.”

Club Z’s rise, in fact, can be heavily attributed to its star DJ: JC of the Sunshine Sound Crew, a Z resident from 1985-1988, long before he helmed the Phoenix’ famous Planet Vibe Sundays.

“Club Z was really all about JC,” says Demopoulos. “His talent put Z on the map because the club was known for having a shit-hot DJ playing all the best electronic music in Toronto, in my opinion. Though he didn’t play that much house, he covered a lot of ground musically, from Kraftwerk and Alexander Robotnik to New York electro and freestyle stuff like Debbie Deb’s ‘Look Out Weekend,‘ and just a lot of great club music like Denise Edwards, Joyce Sims, Nu Shooz, Madonna, and Colonel Abrams.

“JC was also the first DJ that we saw who had a drum machine—a Roland 808—up in the booth, and he would do much more than just play records. He was super professional at what he did, the most technically perfect DJ we had ever heard, so he really raised the bar for what a DJ could and should do in a club. He was that good.”

Dino & Terry were Club Z regulars, not only listening to and learning from JC, but also throwing occasional parties there and guest DJing alongside Dave Ahmad during his Friday night tenure between 1986-87.

“We’d been DJing at house parties, school parties and things like that,” says Demopoulos; “But this was our first real club, playing the kind of music that really changed our lives and put all the rest of our music career things in motion.

“At the time, pretty much only the Twilight Zone was playing underground house from Chicago, Detroit techno and New York stuff, and we were pretty crazy collectors of anything in the genre. We would take all the latest and greatest white labels and hard to find stuff to play at Club Z on Fridays. A fun story: we used to make sure to pour very stiff drinks for Dave Ahmad so that he would get really drunk and let us play for longer. He was so cool, and really progressive with the underground music at the time. Although JC would play some underground house stuff, Dave and us played a lot more of it.”

As for Ahmad himself, he’s one of Toronto’s true dance music pioneers. From 1981-2000, he hosted a variety of programs on CKLN 88.1FM, most notably influential Sunday afternoon program Dave’s Dance Music. He also DJed at Toronto hotspots including The Copa, Twilight Zone and Fresh.

“We played mainly house, but threw in some heavier electro and some wave; Kate Bush’s ‘Running Up That Hill‘ was a big one then,” Ahmad recalls of his Fridays at Z. “The crowd loved their music, but took time to rock out to anything new.

“I remember breaking out ‘Erotic City‘ by Prince there. Half of the crowd went nuts while the others didn’t know what hit them. [Dancer/choreographer] Steve Bolton was in the crowd, and ran up to the booth. I showed him the cut—it had just come in at Starsound that night. So the crowd was not all trendsetters, but they loved their music. Hot clothes too!”

Charles Khabouth (far left) and friends at Club Z

Who else played there: Other Club Z residents included electro, freestyle and new wave DJs Chico and Sherwin, who also opened popular after hours spot Amadeus right around the corner.

“I used to make my pilgrimage down to Z to hear Sherwin,” says Johnbronski. “I loved the way he mixed stuff like ‘I Love You‘ by Yello with Pet Shop Boys and Depeche Mode—those were essentially house beat records before house was even a concept. He was ahead of the curve on that, and mixed on three turntables, taking pieces from here and there, and layering in acapellas.”

International guest DJs and performers at Club Z included Grandmaster Flash, Newcleus, De La Soul, and Joyce Sims.

Also interesting to note is that famed New York nightclub operator and restaurateur Jeffrey Jah got his start producing parties at Club Z.

11A St. Joseph Street today

What happened to it: Charles Khabouth sold Club Z to Warren Webley, father of Sunshine Sound Crew and owner of Sunshine Sound and Lighting, in 1987.

“I had opened up Stilife and needed to focus strictly on that,” says Khabouth of the trendsetting, sophisticated spot he opened at Richmond and Duncan in 1986. “Although I was still involved with Club Z, it broke my heart to sell it.”

While DJ JC continued to play at Club Z, a lot of the house heads switched their allegiances fully to Twilight Zone.

Johnbronski, who began to work for Warren Webley as a DJ, sound tech and occasional doorman, recalls that his boss—also owner of Club Focus on Hagerman Street—closed Club Z’s doors for a period. It was re-opened as the new Club Focus in 1989. By that time, the area had become much rougher, with vandalism, muggings and overdoses all associated with the St Joseph Street clubs. Racist and homophobic skinheads were also a problem.

A young man named Jamie Withers was, in fact, stabbed and killed inside Club Z in 1989. His death is said to have prompted Webley to close Club Z and later re-open the space as Focus.

“My memory is that the fights and stuff were mushrooming and that I wanted to stay away from there,” says Johnbronski. “It was at a time when Toronto was beginning to go through a real urban expansion. I mean, think about it—it’s Toronto after hours, it’s near Yonge Street and we’re talking before Richmond and the whole club district existed. That area attracted a lot of everybody.”

11A St. Joseph later became dark after hours spot Playground. In the late ‘90s, Steve Ireson and partners cleaned the space up and opened it as The Pad. Between 2002 and 2004, 11 St. Joseph was redeveloped for residential use. It’s now marketed as Eleven Residencies.

As for Charles Khabouth and INK, they recently launched Chroma inside The Guvernment. Their newest nightclub, Cube, will open at the end of February, replacing INK’s Ultra club at 312 Queen West. Many Torontonians will most strongly associate this address with the BamBoo, a legendary restaurant and live music venue that was at the heart of Queen West for decades.

Thank you to all who contributed to this piece, including Paul E. Lopes, Hal Wong, Steve Ireson, Carlos Mondesir and Chris Torella. Sadly, despite much searching, very little photographic evidence of Club Z could be found. Please let us know if you have photos!

The post Then & Now: Club Z appeared first on Then and Now: Toronto Nightlife History.