Lian Ross, whose Euro disco hits include "Fantasy," "It's up to you," "Say you'll never," "Scratch my name," "You're my soul" and others, is performing two upcoming shows this month -- on 20 September at R3 Social Lounge in Stanton, Orange County and on 21 September at Red Velvet in Houston, Texas. Both events will be DJed by DJ BPM and hosted by TQ.
If you're at all familiar with the European pop scene then you probably suspect that Lian Ross is a stage name -- if so then you're correct. Ross was born Josephine Hiebel, on 8 December 1962 in Hamburg, Germany. Throughout her career, Ross's partmer both in music and marriage has been Luis Rodriguez-Salazar, himself distinguished by an impressive musical career.
Time: Sunday, March 6 at 7:00pm - March 7 at 12:30am. Make sure to mark that on your calendar and in your mobile phones and tricorders.
Location: R Bar LA 3331 8th St - WILSHIRE CENTER / KOREATOWN.
CLICK HERE to see the Facebook event page and confirm that you're attending... then invite all of your friends.
Tim (DJ 2Tone) and Eric (DJ Poptone) DJing Asian/Vietnamese new wave, electro, eurodisco, freestyle, hi-NRG, Italo-disco, spacesynth and more. If you like '80s, beats, keytars, fun, synthetic fabrics, breaking, computers, booty-shaking, lasers, hairspray and drum machines you'll want to be there.
When you like a lot of the sci-fi movies from the mid-to-late 1970s, you frequently are treated to Rubellian utopias populated by horned-up hedonists, robots who are polished like (coke) mirrors and multi-racial aliens all getting together at the space disco/cantina/casino. As with almost all science fiction, it's more a reflection of the time of it's conception than any like future. This stuff was heavily indebted to the sexual revolution that preceeded it and was wholly clueless about the AIDS epidemic lying around the corner. In the tense, cold-war-fearing 80s, just a few years later, sci-fi frequently fell into two camps. On the one hand you have bands of marauders roaming the post-apocalyptic wastelands in churched-up dune buggies out to terrorize the few remaining civilized humans, who are attempting in a harsh world to preserve culture and science and maybe the knowledge of how to grow food. On the other you have gritty near-futures where market economics and technology have exploded into fearsome things, exploited by crusties who can access the internet through datajacks in their skulls. And they live in cities called Neo Tokyo and the like. But, for now, back to the 70s...
Are any of my readers out there Vietnamese? I was turned on to this amazing genre by "the Jewel of La Puente," the one and only (OK, one of thousands but still one of a kind) Ngoc Nuyen. I have asked the experts here at Amoeba Hollywood about "Vietnamese New Wave" (also referred to as Asian New Wave at times) groups and no one seems even remotely familiar with any of them, with the exception of Chris Matthews, to whom "Modern Talking" sounds familiar ...
First of all, when people talk about Vietnamese New Wave, they’re not talking about Vietnamese artists (although there is Thu Thuy, Lynda Trang Dai and supposedly a tieng viet cover of a Night Society song), but rather a movement that includes mostly German Euro-disco, Italo-disco and English synthpop artists who acquired, through means that no one seems to understand (although it definitely involves mixtapes) massive popularity amongst Vietnamese in Cali, Texas and Canada (and maybe elsewhere).
And whilst there’ve been at least four or five documentarians who’ve explored the still supposedly strange popularity of Morrissey amongst Mexicans and Mexican-Americans, to my knowledge no one has yet delved into the mysterious “Vietnamese New Wave” movement in which (in addition to OMD, Pet Shop Boys and Gazebo's "I Like Chopin") four German performers, with no radio play, no MTV exposure, no Amazon recommendations, no local performances came, against all odds, to achieve stardom in the Vietnamese immigrant population.