- 16 hours ago
an acclaimed 2012–2013 music documentary directed by Jozef Devillé. It explores the rich, untold history of Belgian electronic dance music, tracing the evolution of sounds from Decap organs and Popcorn music to EBM, New Beat, house, and techno.
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Short filmTranscript
00:00:05It's the beginning of a new and excitingly different story.
00:00:08We are a little country to get out of it.
00:00:10What do we need to do?
00:00:12Like your father said, track your plan.
00:00:14We have track our plan.
00:00:16We have made some movements that have influenced the planet.
00:00:36Belgium.
00:00:38The battle of Europe.
00:00:40It's where Napoléon will know the defeat in 1815.
00:00:43This battle of Waterloo will become the foundation of the modern world.
00:00:47A historical battle, of course.
00:00:49But Napoléon is far away from being the first to reign on the territory that will become, later,
00:00:56the Belgium.
00:01:11To conquer Europe, it had to pass by the Belgium.
00:01:14And to avoid that the nations are constantly in war, it had to create a Tampon Zone.
00:01:21That's how, in 1830, Belgium was created.
00:01:29Un territory envahi et conquis tellement souvent que plus personne ne se préoccupait encore de savoir qui était à la
00:01:34tête du pays.
00:01:36Les Belges ont donc continué à faire ce qu'ils avaient toujours fait.
00:01:40Travailler la terre.
00:01:42Travailler dur.
00:01:43Et ensuite, faire la fête.
00:01:47Les Belges ont été éaksi.
00:01:56Les Belges ont été écrits par mois.
00:02:10Les Belges ont été écrits par mois.
00:02:14And that was, that was the unique experience for to dance and, and maybe some of the young people to
00:02:22learn how to, because there was just nothing else at that time.
00:02:27Alignés les uns à côté des autres, les chapiteaux étaient tous pleins, remplis de Belges, piétinant, soutillant, dansant et swingant,
00:02:34jusqu'à ce que leurs poches et les fûts soient vides.
00:02:41Jeunes et moins jeunes montés sur la piste. Ils y rencontrent leur premier amour, leur première cuite, leur première vie
00:02:48blanche.
00:02:49Le danseur se retrouvait au centre de l'action. Seuls les gens, et la fête comptait.
00:02:55Oh, et je dis que c'est un orchestre, c'est juste un orgel qui joue.
00:02:59Peut-être que vous avieziez des grammopholes, mais dès qu'il y avait 50 personnes, ils ne pouvaient pas jouer.
00:03:08Et donc, si vous voulez faire quelque chose ou quelque chose, vous êtes obligés de chercher un orgel.
00:03:34Pour la première fois, la musique était mécanique.
00:03:37C'était évoilable, et je pouvais mettre la clock.
00:03:42Ah oui, c'était une mechanique clock, c'était une sequencer.
00:03:51C'est une keteltrommel, et c'est une trommel.
00:03:55Un petit peu, c'est un petit peu.
00:03:58Et donc, te-te-te-te-te-te.
00:04:02Té-te-te-te-te-te.
00:04:0910 mètres carton, c'est de 3, 4 kg.
00:04:14C'est un livre.
00:04:15Vous avez un livre livre.
00:04:16Vous avez un livre livre de livres où les livres sont des lettres.
00:04:21Et vous pouvez les prendre en mettre en poner les techniques.
00:04:24I am a jockey. Instead of putting a disc like the jockey says, I put a jockey in the work.
00:04:30The very first DJ, turning the jockey cards in the 1920s.
00:04:47The Second World War. A new army envied to Belgium.
00:04:54The Second World War.
00:04:56Once again, the vehicles of the
00:04:58The Second World War traverses the routes of the kingdom.
00:05:01The movement, under the old sea of Belgium.
00:05:06The end of the destruction caused by the war, a new hope lives the day.
00:05:11The Belges, the most industrialists ever,
00:05:13They launch into the reconstruction of their nation.
00:05:24The road creates space for even more movement.
00:05:27To the wind.
00:05:29The program made.
00:05:30The increase of about 1000 kilometers of vehicles.
00:05:36780 kilometers of vehicles.
00:05:38200 kilometers of use.
00:05:40Or, as well.
00:05:41The end of the day.
00:05:41Very useful work.
00:05:44The end of the day.
00:05:46The end of the day.
00:05:49The end of the day.
00:05:51The end of the day.
00:06:09The End of the day.
00:06:11Both of the years.
00:06:12This is in the prostitution.
00:06:13The end of the war.
00:06:19The men есть, in turn of the time.
00:06:20The apoyo.
00:06:21Helping.
00:06:23That Ba vineyard.
00:06:23The fed wise, too,
00:06:26the need.
00:06:27The many years.
00:06:37The two who've worked.
00:06:39Because that's the goal.
00:06:41Rapidly, the road was not only a way to move.
00:06:44It became a destination in itself.
00:06:46Everyone wanted to participate in the event.
00:07:01In the 14 buildings,
00:07:03I had Willem Tell, I had a blue angel,
00:07:06I had a few.
00:07:08They were all full.
00:07:11I saw all the people dancing,
00:07:13and turning,
00:07:14and dancing,
00:07:15and dancing,
00:07:15and dancing,
00:07:16and dancing,
00:07:16and dancing,
00:07:16and dancing,
00:07:18and dancing.
00:07:31And I thought,
00:07:32that's not to believe.
00:07:33Willem we from those bank cafes,
00:07:35and we had all six,
00:07:38seven hundred regels made.
00:07:40And there were the moment
00:07:42that they all had to play.
00:07:44The whole night door
00:07:46until tomorrow.
00:07:47And you said,
00:07:48how can that?
00:07:50The beer crows,
00:07:51the beer crows,
00:07:52the beer crows,
00:07:52and the beer crows didn't open.
00:07:53It was constant print until it was
00:07:54the water off.
00:07:56And then the water crows opened.
00:07:59They were going to open the beer crows.
00:08:18It was not the beer crows.
00:08:20It was the beer crows.
00:08:23It was the beer crows.
00:08:45And,
00:08:46as if the pressure
00:08:47of the petrol crisis
00:08:48had not been too hard
00:08:49for the festival industry
00:08:51in Belgium,
00:08:53the government decided
00:08:54to attack a other problem
00:08:56in the country,
00:08:57its thirst for beer.
00:09:01The beer crows,
00:09:03the beer crows,
00:09:04the beer crows,
00:09:05the beer crows,
00:09:05the beer crows.
00:09:05Then there was some
00:09:06of the people
00:09:07to drink.
00:09:08But because they
00:09:09can drink too much,
00:09:10they can also dance to
00:09:12and when they dance,
00:09:14they can dance too much.
00:09:15As soon as they dance,
00:09:30Le temps des orgues était révolu.
00:09:32Mais quelques décennies plus tôt, un autre Belge avait ouvert la voie vers un nouveau genre de fête.
00:09:38En 1907, un plastique non inflammable fut mis au point par le chimiste belge Léo Backland.
00:09:44La bakelite.
00:09:47C'était le tout premier plastique suffisamment malléable que pour lui donner n'importe quelle forme.
00:09:52La bakelite fut le premier composant à être utilisé pour graver des sons enregistrés.
00:09:59C'est donc un Belge qui donnera naissance au disque.
00:10:16En 1958, alors que la Belgique construisait les plus grandes boules à facettes du monde,
00:10:22des inventeurs américains perfectionnaient le disque vinyle, donnant naissance aux 45 tours, la stéréo 7 pouces.
00:10:31Je mets doucement...
00:10:49Avec ce format inédit, un nouveau son conquis peu à peu la vie nocturne belge.
00:10:53La musique soul a traversé l'Atlantique.
00:10:56Le club ostendais The Groove allait devenir l'endroit privilégié pour expérimenter ces nouveaux sons.
00:11:01Le Groove avait des disques américains avant tout le monde.
00:11:04Les disques anglais.
00:11:05Et je pensais que j'avais beaucoup de musique, mais je ne connaissais pas une place.
00:11:11C'est ça en fait, le choc de cette musique.
00:11:15On a dit, c'est quoi ça ici ?
00:11:17Tu écoutes la musique avec la bouche ouvert comme ça.
00:11:19Je ne savais pas d'une monde.
00:11:23Je ne savais pas d'une musique, mais je ne savais pas d'une musique.
00:11:30Je savais pas d'une musique de chose.
00:11:39Là-bas, j'ai eu...
00:11:44Je ne savais pas d'une musique.
00:11:52The sound of the groove seemed contagious.
00:11:55Slowly, a sous-culture of love of music emerged.
00:12:00All were looking for sound and precise rhythm.
00:12:06That's what we call the popcorn scene.
00:12:09When you say popcorn, it's not a genre of music.
00:12:13It's the store that's called the popcorn scene.
00:12:17It's the temple of the popcorn scene.
00:12:20The temple.
00:12:22In one club in Vrasene, you saw a whole Belgia.
00:12:27Wale, Vlaming, but also the Netherlands, the Germans, the French.
00:12:33They came across there.
00:12:34Then I had a thousand people on a Sunday afternoon,
00:12:39together in the popcorn scene.
00:12:40Vrasene, Vrasene, Vrasene, or Papette.
00:12:44We didn't know where it was.
00:12:45It was in a little blest on the side.
00:12:47Really, in the fields.
00:12:49Really.
00:12:49I think it took us two or three hours to find where it was.
00:12:53Between the vaches and the chandeliers,
00:12:55no one could find this place.
00:12:57If it was again, thanks to the Belgian route.
00:13:01Vrasene, Vrasene.
00:13:01And then you saw on the side of the road,
00:13:03all the residents of the breweries,
00:13:06Vrasene,
00:13:07who were on the camping chairs,
00:13:10with a thermos coffee with a beer.
00:13:13And then they looked at the public,
00:13:15what went to the popcorn.
00:13:16The popcorn thing.
00:13:25D'habitude, the discothèques start at 9am.
00:13:28The popcorn starts at 11am.
00:13:30It's especially the fiestas in the afternoon.
00:13:32It was monstrous beers.
00:13:34And everyone drank in the bottle.
00:13:37It was the trend.
00:13:37It had to drink the tubor.
00:13:40There were trucks behind the tubor,
00:13:42with mountains of tubor,
00:13:45and everything was gone in one day.
00:13:48It was colossal.
00:13:5330 degrees, Menequet.
00:14:18Everything could and everything could be in the popcorn.
00:14:21That was the idea.
00:14:24The most people could go out of the ball
00:14:26and go out of the ball.
00:14:30I remember that on Saturday
00:14:32I went to the hospital
00:14:35to buy all kinds of medicines
00:14:38where they went out.
00:14:41I spent a long time
00:14:43with the captagon
00:14:44with the captagon.
00:14:45You take a bottle,
00:14:47you put the captagon,
00:14:48you scoop,
00:14:49and you drink something.
00:14:50It's like a fish.
00:14:52It's like a fish.
00:14:52There was a lot of people
00:14:55talking about.
00:14:57There weren't so many children
00:14:58who dance with the boys.
00:14:59It's the boys who dance with the boys.
00:15:01That couldn't be in any other club in Belgium.
00:15:04Because when you danced with each other,
00:15:05you got out of it.
00:15:07In the popcorn,
00:15:08or in the scene,
00:15:09it was like,
00:15:10come, you're welcome.
00:15:12And it's like
00:15:12if people shared a big secret.
00:15:27There was the groove,
00:15:29there was the Versailles,
00:15:30there was the popcorn in 71,
00:15:32there was a box in Versailles,
00:15:34there was a box in Bruxelles.
00:15:35And that's what was good,
00:15:37it was like
00:15:37it was like
00:15:39the audience
00:15:41and there was a huge audience.
00:15:48Soul, jazz, ska,
00:15:52but also rhythm and blues,
00:15:53doo-wop,
00:15:54Broadway,
00:15:55even the musicals
00:15:57were played.
00:15:58Cha-cha, Latino.
00:16:00Avant tout,
00:16:01c'est le rythme,
00:16:02c'est le tempo.
00:16:0480%
00:16:05van de nummers
00:16:06dat wij draaien
00:16:07worden niet
00:16:08op het exacte torentaal gespeeld.
00:16:17MUZIEK
00:16:23Maar als je hem dan vertraagt,
00:16:25dan krijgt die stem
00:16:26een hele andere klank.
00:16:28Dan gaat het van
00:16:2945 naar
00:16:3033
00:16:32plus 8.
00:16:33En dat is echt popcorn.
00:16:35MUZIEK
00:17:05TV Gelderland 2021
00:17:06ה�
00:17:0827
00:17:14MUZIEK
00:17:15Coming home baby
00:17:16Mel Toriman is een
00:17:17popcornklassiker
00:17:26Speciale platen.
00:17:27En voor ons zijn die allemaal
00:17:28speciaal die platen.
00:17:32Dat is de shocker.
00:17:33We never paid that much money, because everything we paid back to me.
00:17:45So there was a lot of experience with unknown singles, with unknown work,
00:17:50which had no one ever heard.
00:17:52I really wanted to look for it. It was the one who moved the most.
00:17:55I started to go to the United States in 74.
00:17:58New York, Philadelphia, Chicago, in the caves.
00:18:01To try to find better than what the other has.
00:18:06There was a huge cave of I don't know how many meters.
00:18:10There were millions of discs.
00:18:12I thought, what is this? He will never know how to get out of it.
00:18:15There was one place.
00:18:17It was just pallets of records and the guy had three dogs.
00:18:21And the dogs had been there for about three years, shitting and pissing on everything.
00:18:25And I was picking up records and scraping the shit off.
00:18:28You know, to go to the records underneath is, ah, fuck.
00:18:32But the Belgian boys must have done the same.
00:18:34That was to say that someone didn't have to vote.
00:18:35There were no collaborators in America.
00:18:39That's not worth it. Just the Zotte Belgen came to buy that.
00:18:42Hmm. I've got 75.000 records here, but there's no good ones.
00:18:46Where have they all gone? Have you had someone through recently?
00:18:48Oh, we had a couple of boys from Belgium in a few weeks ago.
00:18:50Yeah, they took about 2.000 records. I'm like, oh, fucking bastards.
00:18:53Well, let's go.
00:19:03Well, let's go.
00:19:19Well, let's go.
00:19:20Well, let's go.
00:19:20It's best for the prices.
00:19:28I think it's over some fleshy, a classic,
00:19:30it's hard to find.
00:19:32And it's always hard to get rid of it.
00:19:36It's in less condition.
00:19:37It's easy to sit around 300-350 euros.
00:19:40That can also be even higher.
00:19:51That's the door tennis,
00:19:53because some are going to...
00:19:57500-6000 euros.
00:19:59At a moment,
00:20:01there were people who said,
00:20:02why would we not do bootlegs?
00:20:04It's a pirate plate.
00:20:06I made small 25 cm,
00:20:09like the 78 tours.
00:20:11I put two pieces on the side
00:20:13and two pieces on the other side.
00:20:14At that moment,
00:20:16I paid 30 francs to do that.
00:20:19It didn't cost me.
00:20:21And I sold it 2.000 francs.
00:20:24That's why you gained your life.
00:20:28The esprits the most entrepreneurs
00:20:31have started to make money
00:20:32thanks to the growth of the DJ's demand.
00:20:34All in Belgium,
00:20:36the stores of importations
00:20:37started to see the jour.
00:20:38The stores that responded exclusively
00:20:40to the demand of the train setters
00:20:42of the city's demand.
00:20:43I think that there were hundreds,
00:20:44hundreds, hundreds of places.
00:20:47In Belgium,
00:20:48it was the country of the DJ's demand.
00:21:02In Belgium,
00:21:03it was the country of the DJ's demand.
00:21:05They opened containers
00:21:08and they said
00:21:09everything is at 5 francs.
00:21:10You can go to the container
00:21:12and take everything you want
00:21:13at 5 francs.
00:21:14It was imaginable
00:21:15in the 70's.
00:21:16It was crazy.
00:21:18With Belgium,
00:21:19we accept it.
00:21:20We are really open
00:21:22to importations.
00:21:23You can sell 10,
00:21:2620,
00:21:27within your
00:21:29or 100,
00:21:30but 200.
00:21:31It doesn't matter.
00:21:32Everybody wants to live together.
00:21:34Why can't we live together?
00:21:36If you make your own version,
00:21:38you can sell a million.
00:21:41Everybody wants to live together.
00:21:44Why can't we live together?
00:21:46You need to sell some plates.
00:21:58You have to go ahead.
00:22:00If the train is passing,
00:22:01you have to rise up.
00:22:03It's the train of Moscow Disco that arrives.
00:22:10There's a groove in the machine.
00:22:25If we were to make a title on a discotheque on a train,
00:22:30we'd say, what do we do?
00:22:31If we were to make a train, we'd go.
00:22:34We'd go.
00:22:36We'd go.
00:22:37We'd go.
00:22:38We'd go.
00:22:39We'd go.
00:22:39We'd go.
00:22:39We'd go.
00:22:40We'd go.
00:23:06We'd go.
00:23:07We'd go.
00:23:08We'd go.
00:23:09We'd go.
00:23:10We'd go.
00:23:10We'd go.
00:23:10Disco, disco, disco, disco, disco, disco.
00:23:18All slowly came the time of disco, and that's where it exploded.
00:23:23Fresh light on a disco night, move up your body, it's alright.
00:23:30Fresh light on a disco night, move up your body, it's alright.
00:23:37Dans les productions pop de l'époque, tout le monde a voulu ajouter un peu de synthétiseur pour suivre un
00:23:45peu l'évolution de la musique.
00:23:51Le son d'ailleurs de Brasilia Carnaval, c'est plein d'oscillateurs avec, passant là-dedans, un son très nid.
00:24:06Moi, j'ai programmé le son.
00:24:20En uiteindelijk werd het zo commercieel, dat iedereen de kotsende beu was, en zo had het dan ineens, blaaaah, punk.
00:24:28Ouais, ouais, Vacherco, ouais, Vacherco.
00:24:34Er zijn ruige sounds geweest wereldwijd, om maar te noemen de sekspistool, noem maar op, er zijn er oneindig veel,
00:24:40maar wij deden het, als eerste, met elektronische muziek.
00:24:44Bourdonnement feroz, synthét qui grondent et écho en pagaille, hurlant à l'apocalypse.
00:24:55Jean-Michel Jarre, prachtig, niet echt ruig, kunnen we bestellen.
00:25:01Kraftwerk, onwaarschijnlijk, zelfs donker en heel mathematisch, tot in de puntjes in orde, maar ook niet echt ruig.
00:25:11Er zit geen punkskin in, er zit zo geen rebelle in, er zit zo geen robotten genoeg in, maar geen
00:25:17rebelle.
00:25:17En dat is wat er hier wel gebeurd is, die rebelle in de dansmuziek.
00:25:26Ik heb dat hier heel hard gevoeld, dat al die kerenraketen van Moskou op onze kop gericht stonden.
00:25:32De eerste keer, een donkere sfeer, en de 80's vooral hadden dat heel hard gevoeld.
00:25:50Er zat iets, die koude oorlog was heel present.
00:25:55En dat heeft zich heel hard gemanifesteerd in de sound van die groepjes die er toen bezig waren.
00:25:59Le vernis futuriste des decennies passées s'était complètement craquelé.
00:26:05La prospérité du début des années 70 avait été quasiment entièrement consommée.
00:26:29It's here, it's here, it's here, it's here, it's here, we need to see me, drink fashion, don't Carlos Lozner.
00:26:38Between it, between it, you see it.
00:26:40Wonder why fashion foods, these different sizes, let it be...
00:26:44Het waren nieuwe wevers, kool wevers, elektro wevers, noem op, maar...
00:26:49It's black. I see it all as black for me.
00:26:52And the music sounded black, dark, dark, the max.
00:27:31I think a group like Front 2-4-2 could not be anything else than Beige.
00:27:36It would be a unique thing to do with the rules of the規制 of the規制 of the規制 of the規制 of
00:27:43the規制 of the規制.
00:27:58The German music sounds were programmed, recorded, hard and repetitive.
00:28:07In mixing the sounds of the new wave the most sombre, with obscure songs out of the music pop,
00:28:13the clubs gave to Belgium an incomparable sound.
00:28:18It was very special. We didn't have a special name for that.
00:28:22We said the music of Tissi, Carrera, or the music of Jean-Claude in Mirano.
00:28:29The AB was the hall of Antwerpen. They were on the other side.
00:28:38And sometimes there were two parties around, that people had two parties on the door, that they had to go
00:28:45inside and outside.
00:28:47They had to go outside, they had to go outside, they had to go outside, they had to go outside,
00:28:52they had to go outside.
00:29:04The AB was mythic because it had a very specific style.
00:29:09There was no other style where you could find this match, so you could hear Au Pair, Max Bernard.
00:29:15It was a super avant-gardeist.
00:29:18You could hear the music.
00:29:28All the other people.
00:29:36It had to be a cultured.
00:29:41You could hear the music.
00:29:42You could hear the music.
00:29:45You could hear the music.
00:29:48The whole Belgians.
00:29:48It's a patchwork of a lot of things.
00:29:51The hook of Bella the Goose is that.
00:29:53It's not a simple thing.
00:29:58It's not simple.
00:29:58It was the first Steve Fry to play.
00:30:00It was the first Klaus Schulze to play.
00:30:02That's abstract music in a club.
00:30:04The DJ-fire of the moment was ironic.
00:30:11I had a full vision on the dance floor.
00:30:16And then I said,
00:30:17Is this what?
00:30:18I said, do all the lights out.
00:30:20When it comes.
00:30:22And then,
00:30:25I knew all that was going to happen.
00:30:28But we didn't know what.
00:30:29And at the end of the day,
00:30:31I looked at Elle et moi.
00:30:34Elle et moi.
00:30:41And at the end of the day,
00:30:43I had a few days.
00:30:44And I went to the dance floor.
00:30:45And you did it not.
00:30:46And you just had to spend it,
00:30:48and you could spend it.
00:30:49And just with the money.
00:30:50I have 5.000 francs.
00:30:51Who gives it?
00:30:52You don't find it.
00:30:53It's not to find.
00:30:55I saw two years after a certain piece, but when I saw this, it was a week feast,
00:31:01because I had it at the end.
00:31:03But now, I was about to put a thousand times behind me.
00:31:07What did you do was to shop the whole town a little bit.
00:31:10You went to shop and to make sure you had the pieces where the most examples were.
00:31:18I didn't care if I could do that after 5 or 6 hours,
00:31:22and I thought, wait, wait, wait, I'm still sitting here, I'm still sitting here.
00:31:30And then, I don't know, but I took that day and took me to the mobile room.
00:31:39The incredible disclaimers of Belgium were a mine of gold for the DJs
00:31:44in the search of unknown treasures.
00:31:57It's dangerous for people who are super cool.
00:32:02In 1985, in Antwerpen, a very popular program on Saturday, on radio SIS.
00:32:08And then, it's dangerous.
00:32:10I was at the time when we started Les Endangerous,
00:32:14I was at the time when we started Les Endangerous.
00:32:15The other people from Vry Radio SIS, they were like,
00:32:18there's no music for the radio.
00:32:21Les Endangerous, it's radio program that since the end of 1983
00:32:24the alternative dance music from the discotheque
00:32:27had and slurred on the radio.
00:32:29Where are they going?
00:32:30We're going to do something else.
00:32:31We all are wearing that cold peep every day,
00:32:34out with a happy mood, and with all these groups of people.
00:32:37That was our only way to come to the track of radio SIS
00:32:42from 8 to 16h.
00:32:44We'll play two games for the rest of the game.
00:32:48Our old, completely retired and almost pensioned BRT-radio colleagues...
00:32:53...do their best to make young programs.
00:32:55Let's go further into their Evo-retore with Eddie Walli and consorten.
00:32:59We know what young listeners want.
00:33:02Fun is the game, new beat is the name.
00:33:11He's so dangerous.
00:33:13We have now Leo Kant on the phone. Leo.
00:33:16Hello.
00:33:17Tell us, what do you think of the new beat is currently here in Belgium?
00:33:22Eh, yeah.
00:33:24It's so new. There are a few new clans.
00:33:27They speak here directly about a new beat, but...
00:33:30...what is that actually, a new beat?
00:33:32The first new beat, according to many people...
00:33:36...the split-second flash.
00:33:47But when you played the album on 33 plus 8...
00:33:50...it sounded completely different.
00:33:52The basses were completely...
00:33:54...and suddenly you could move it differently...
00:33:56...because you could listen to everything too well.
00:33:58I don't know, we hear it very well.
00:34:00The basses bring a lot more round.
00:34:03So the beat is starting to play wrongly...
00:34:06...opzettily.
00:34:07And then there are beginning people...
00:34:09...to make things like that...
00:34:11...because that was indeed an interesting sound.
00:34:13We interpret the discs in a different way.
00:34:21We interpret the discs in a different way.
00:34:28In other words...
00:34:37...because the original version...
00:34:39...in its original speed wasn't successful...
00:34:40...but when you play it too well.
00:34:42They have it too well.
00:34:44And so many new beats are happening.
00:34:46Well, we're not going to lose the train...
00:34:48...but we're going to make productions...
00:34:49...and all our Belgian friends...
00:34:51...we're going to say...
00:34:52...yes, wait, wait, wait...
00:34:53...we're going to wait...
00:34:54...that the English or the Americans decide...
00:34:57...we're going to do it ourselves.
00:34:58Like Lily Popcorn had done earlier...
00:34:59...with the music soul...
00:35:01...the new generation of Belgian DJs...
00:35:03...it returned to its roots...
00:35:04...the one that consists...
00:35:06...to redefine the history of the music.
00:35:18That's more news...
00:35:19...of numbers...
00:35:24...I try to get out...
00:35:25...of what it is now.
00:35:28That's the Sequencer...
00:35:30...and that's the Prophet 3000.
00:35:36I did everything in my bedroom.
00:35:37Everything.
00:35:38Drum rhythms, sequences...
00:35:40...in Atari.
00:35:41We create everything at home...
00:35:43...and we just go...
00:35:45...to the studio...
00:35:46...to mix the record.
00:35:48That's all.
00:35:49If you want to give me something...
00:35:51...zoeken...
00:35:52...we are all...
00:35:54...so I had to be prepared...
00:35:57...in my chaotic life...
00:36:00...was it then...
00:36:01...opschrijving...
00:36:02...TX7, Karimba...
00:36:04...of that number...
00:36:16...com kork?
00:36:17When I enjoy music...
00:36:17The new blues give me it...
00:36:20...of this provinceance...
00:36:24...like music...
00:36:27...and...
00:36:30...what uniform you get.
00:36:32...it's...
00:36:32It's not bad I have?
00:36:34Are you talking about music...
00:36:35It doesn't make it easy, isn't it?
00:36:53And then there's the Bucaccio
00:36:55who made this music explode.
00:37:07Everyone had to be there, because this was special.
00:37:11And they couldn't find anything else.
00:37:12It was a religion, too.
00:37:14People would go out on the weekends to get this music.
00:37:18It didn't exist anywhere, only in Belgium.
00:37:20It was a kind of mess of electronic music.
00:37:23The Bucaccio became the sacred temple of the New Pete Underground.
00:37:30On the Sunday, you could stay at 3 hours in the house.
00:37:33You were not in the house.
00:37:34And about 5 hours in the morning.
00:37:36Sometimes we arrived at 8 hours in the morning.
00:37:38And it was like, boom, boom, boom.
00:37:49The Bucaccio, the first time I came in with the new beat,
00:37:56this was turned out.
00:37:59And I kept standing by the entrance.
00:38:02And I was so caught by the music that I was crying.
00:38:04I still get crouperillings on them.
00:38:07And this is so intense.
00:38:13I came in a black hole, a strange film.
00:38:18Yes, strange.
00:38:20But the DJ was precisely looking for that strange atmosphere.
00:38:25My tempo was like a Chinese plan.
00:38:28It was like a drum.
00:38:31It was like a drum.
00:38:32It was really like that.
00:38:32We could go all night without getting tired and having to get tired.
00:38:38The whole night it was the same tempo.
00:38:40It was hallucinating.
00:38:42It was psychedelic.
00:38:59The new beat and the horse music.
00:39:03Roulez, Jeunesse!
00:39:05I became part of the West.
00:39:10And by the way they would take theirASSDICK.
00:39:20Oh, it's most இ 45 years.
00:39:21It's like a newsroom.
00:39:23I love this place!
00:39:24I love this stuff!
00:39:28I love it!
00:39:37Catch you all was like a very glamorous club, you know?
00:39:41Nice lights, beautiful glass dance floor.
00:39:44The DJ box was at the top.
00:39:46Mirrors everywhere.
00:39:48It kind of just, I don't know, just kind of had a discotheque vibe,
00:39:51which made it even more weird.
00:39:53Because when you walk in, you expect to hear like Donna Summer
00:39:56or I Feel Love or something like that.
00:39:58For me, coming from New York.
00:40:01And then you just hear the darkest, you know,
00:40:03some of the most evil sounding music I'd ever heard before.
00:40:14If you've never seen a laser in your life,
00:40:16the first time you make it happen, you're a very impressive weekend.
00:40:29Oh yeah, that's a lot.
00:40:31It's at the limit of the supportable.
00:40:48And later on, it's going to be packed full of 3,000 French, Dutch and Belgian kids
00:40:53all going mad.
00:41:093,000, 4,000 men stond daar.
00:41:12But that's awesome.
00:41:13The atmosphere was extremely low.
00:41:14I mean, as the show began, like I sit on assies.
00:41:21The heart on your arms was just above you.
00:41:23There was a lot of the atmosphere in everyone, dancing with you.
00:41:26I dance with you, I dance with you.
00:41:27That's what the rock flowed.
00:41:28Just like, darling, come here, fuck me up deep.
00:41:49It's all the robots that dance, like robots.
00:41:59I've never seen it anywhere else, neither before nor after.
00:42:04The people dressed up to go to a new beat, they dressed up to a new beat.
00:42:08For the moment, it's the mode, it's the crucifix, Jesus, it's the mode.
00:42:11You put everything, you put everything on your feet, and then you're well seen.
00:42:17In things like here, you go to the little village, but here it's fine, there are a lot.
00:42:24There was this mode of putting a sign of V-Way, the Mercedes.
00:42:29The smiley, the gadgets, the yellow hair, etc.
00:42:34So we started, dressed.
00:42:35The Gizzi.
00:42:48You should look at where you parked your golf with your logo.
00:42:53That's not even what happened to me.
00:42:58I'll give you a show.
00:43:01I'll give you a show.
00:43:05Be remarqued.
00:43:07You can be a pluck and win as a maçon.
00:43:11You're in a new beat, you're in a new beat.
00:43:13You're a star.
00:43:15You're all stars in a new beat.
00:43:20It's extraordinary.
00:43:24Y нами Okay for the competitive art.
00:43:34I'll be Arnold.
00:43:36Haha.
00:43:37On a Sunday, we put them on the real-to-real, they put them on the play, they put them
00:43:42on the play.
00:43:43And when they sprong not high enough, we went back to the studio, and it didn't happen.
00:43:46There was more high-hat, the crashes were later.
00:43:50That sound is not good.
00:43:53There was more distortion there.
00:43:56How does that sound sound?
00:43:57Well, that sounds not good, but a bit of a bass. Constant.
00:44:00And then back to the catch, at 7am, we put that on our band again.
00:44:04And then they said, oh, now go on.
00:44:06Sit go, sit go, okay. They're not. Master this.
00:44:27Okay, a lot of people in their house.
00:44:43We've got 60.000 singles from Mufi R S, but never on the radio.
00:44:48The drum machines, that's not real.
00:44:53As you do it on the clock, that can't be good.
00:44:57The media doesn't have a doubt about it.
00:44:59Man, we can be thankful.
00:45:01You don't hear it on the radio.
00:45:02So the only place you can hear is in a club, so you have to go outside.
00:45:08The band is playing.
00:45:09The guy who plays a song comes with an acetate.
00:45:12I'm going to tell you about my personal experience.
00:45:13You give him to the DJ, he plays it once.
00:45:15You let him.
00:45:17You return three weeks later.
00:45:19He plays a song.
00:45:21And he's still not released.
00:45:24and you see the first notes you see the crowd who arrives on the dance
00:45:28and the girls are starting to go and say wow, I managed, wow, wow, wow.
00:45:45If a DJ passed 10 times a song on a night, you could say that it was bingo.
00:46:02The people who came to this discotheque didn't listen to this style of music, they didn't want to hear anything
00:46:07else.
00:46:08At the time when Madonna did, I believe it was La Isla Bonita,
00:46:12she was drawn by a group of new beats that didn't come from anything.
00:46:17When I came here to Brussels in 1988, I mean, the whole place was crazy.
00:46:34At every shop I would see there would be like t-shirts with, you could be swaily faces on them
00:46:39everywhere,
00:46:39every bar you went into, they were playing.
00:46:46These stylists have developed t-shirts with the fujits of Boma.
00:46:50This grand-mère beige with a mortuary on a t-shirt.
00:46:54The grand-mères and the badges, and in fact, the whole range.
00:47:12The whole country had fallen in love with it, the pop charts.
00:47:19I remember seeing the top ten in Belgium at that time, and six or seven records were all like new
00:47:25beat records.
00:47:34The music industry called US Imports in Brussels and Anvers.
00:47:37They were on a Friday, the day of the discs out.
00:47:43People would take off the discs because they wanted to have the discs they heard at Bocaccio, at La Guetta,
00:47:50at 55.
00:47:51They wanted absolutely these discs.
00:47:52I was at a disquiaire one day, and there was a representative who arrived.
00:47:57He had a entire jacket.
00:47:59He said, yeah, I have some productions new beat.
00:48:02And the disquiaire said, I take everything.
00:48:04It was crazy.
00:48:06People had closed eyes.
00:48:07You could buy anything.
00:48:09The box was marked new beat.
00:48:11People bought it.
00:48:32People bought it.
00:48:35People bought it.
00:48:39That's why I made the new beat to the chain.
00:48:44La New Beat était toujours un mouvement underground,
00:48:47mais son succès avait tendance à distendre de plus en plus la définition même du terme.
00:49:11Si en journée la Belgique était plombée dans le gris, ces nuits étaient tout sauf sombre.
00:49:16Les dancefloors s'illuminaient avec les lasers, les corps en sueur.
00:49:19Les studios baignaient dans la lumière tremblant des écrans, animés d'une toute nouvelle créativité.
00:49:25Et ça allait pas, on a tourné un pot.
00:49:30C'est un bon numéro, on a fait ça, mais on a pris une carte.
00:49:34On a vendu 30 000 de cartes.
00:49:37C'est ça.
00:49:40On a dû être vite, on a dit qu'ils étaient très fiers.
00:49:44On a pas duré, on a duré.
00:49:48J'ai deux ou trois trucs que j'ai fait qui sont des bons trucs.
00:49:52Le reste du temps c'est du remplissage.
00:49:56Mais l'hymne commercial de La New Beat était encore à venir.
00:49:59J'ai parlé avec Peter van der Allentoune, le chef et manager de Confetti's.
00:50:06Il s'est passé sur le parking.
00:50:08Il s'est dit qu'il avait tout le matériel.
00:50:09« Je ne suis pas à l'altre.
00:50:10Et pourquoi je ne fais pas ça dans ce style de nouveau nouveau ? »
00:50:15Je suis venu de la maison.
00:50:17Je m'a miséminent les synthéters.
00:50:19Je suis venu de la musique.
00:50:22And three hours later, I went to Confetus to come back to the song called This Is The Sound Of
00:50:27Sea.
00:50:29This Is The Sound Of Sea.
00:50:49And it's from here that we started to release the group. We created a whole image.
00:50:56I thought that NewBeat had to have a picture.
00:51:00He worked at me. He was over in his discotheque.
00:51:03And he always came up.
00:51:05People came to him to buy extra because he was so funny because he was so special.
00:51:09Now here's today's leading beat song, Confetus.
00:51:14This is The Sound Of Sea.
00:51:20It's actually not more than a play-back show, right?
00:51:23I think it's not. I think that's why it's right on the podium.
00:51:26This is the visual play-back show.
00:51:28This is the visual aspect of it.
00:51:30This is the visual aspect of it.
00:51:56All the NewBeats, one, two, three.
00:51:58All the NewBeat, one, two, three.
00:52:00And at some point, we're dancing diamonds in Halle.
00:52:06We didn't tell anything in this bus.
00:52:08It's like the new beat of playback. It's easy to surpass the group.
00:52:13The DJ had a place and you had a microphone that didn't have to march.
00:52:19Come on, dance. Move your ass. And get on the floor. Let's go.
00:52:28It was easy, inside and outside. Money in the pocket and go to the next.
00:52:33Do you know how many dissidents ask for this?
00:52:3840.000 francs.
00:52:40And how long did it take?
00:52:4120 minutes.
00:52:44We are the Eurotic dissidents.
00:52:48It was artificial. There was no pure talent.
00:52:53The biggest talent you could have in a new beat, when you were in a group,
00:52:56was your gesture. It was the attitude you had to represent your song.
00:53:05It allowed me to drag the girls into the new beat.
00:53:08Ladies and gentlemen, please welcome on stage...
00:53:13Be a normal boy, boy!
00:53:16I'm going to put you in my new beat group.
00:53:20It's a good plan to drag.
00:53:32There was a lot of money to do. And the other musicians noticed it.
00:53:36I came home from skivakanties.
00:53:40And my response was full of five or six messages from Rocco.
00:53:44I said, Serge, I would like to use machines like you used in new beat.
00:53:52And in the place of playing a song...
00:53:53...in place of singing...
00:53:53...pong, pong, pong, pong, pong...
00:53:55...to do you...
00:53:56...daka, daka, daka, daka, daka, daka, daka, daka, daka, daka, daka, daka, daka, daka...
00:54:03...to do you...
00:54:06...and I think that in 10 minutes of time...
00:54:09...was everything in 10 minutes...
00:54:11...in 10 minutes of time...
00:54:13...was...
00:54:15...Marina...
00:54:15...and as that came to the TV...
00:54:18...then boom, that was direct a success.
00:54:20Send my kiss!
00:54:22Set my kiss!
00:54:22Set your kiss!
00:54:22Six, five, coffee, two, one...
00:54:25Yo!
00:54:27Yo!
00:54:27Yo!
00:54:29Yo!
00:54:30Yo!
00:54:31Yo!
00:54:31Yo!
00:54:31Yo!
00:54:31Yo!
00:54:32and every day we had a new beat hit, and that macheteed all.
00:54:47It exploded in one time.
00:55:02Even the sinister release of the former Prime Minister was reduced to a commercial gadget.
00:55:08Who stole my odin?
00:55:11My pipe.
00:55:13As a result of the course, I'm staying in chemise and a suit.
00:55:19BDB, I'm from the minister.
00:55:22BDB, BDB, BDB, BDB, BDB, BDB, BDB, BDB, BDB, BDB, tu ne vas pas crever.
00:55:29Who?
00:55:30A trop-plein.
00:55:31Trop de tevel is tevel.
00:55:32A trop de tevel.
00:55:33Voilà.
00:55:34And that's what made me look like this.
00:55:37A new beat hit a year or two.
00:55:40And then, luckily, it was a failure.
00:55:43The new beat is dead.
00:55:44And you're still there.
00:55:46Because he's dead.
00:55:47A new beat.
00:55:48And he still lives a little bit.
00:55:50The new beat is dead.
00:55:53He's dead.
00:55:54Well, I think the music scene is always up and down.
00:55:56You know, it's always going up and then it goes down, you know.
00:56:00You know, it goes through shifts and changes.
00:56:03And yeah, I mean, yeah, of course, when new beat eventually was on its way down, something else was coming
00:56:09back up.
00:56:10It's time for techno.
00:56:14So more.
00:56:19Des cendres de la new beat, du savoir et de l'expérience ont cependant été récoltés.
00:56:24Les trainsetters avaient évolué vers quelque chose de nouveau.
00:56:32La new beat n'avait été qu'une phase.
00:56:35Un terrain de jeu infantile pour quelque chose de beaucoup plus important.
00:56:42...
00:56:42Goeienavond.
00:56:43Weten jullie wat IPEM is?
00:56:45Wel, IPEM zouden wij een muzikaal laboratorium kunnen noemen?
00:56:48Frequency response test.
00:56:54The Institute for Psycho-acoustic and Electronical Music is one of the most Belgian institutions with a world reputation.
00:57:02You make the lyrics, you make them to their sense, with the color that you mean, and so they are
00:57:09composed.
00:57:11As the basic element, the sinus first, later then also the other lyrics, especially the ruise.
00:57:24Your synthesizer, your specific keuze of a synthesizer, was very important.
00:57:29Because not everything is good.
00:57:34It was mainly to play with those bottles and bags.
00:57:39I want to demonstrate how important the sound is with techno.
00:57:45I'm not sure about that. It's a little bit on the top.
00:57:55The sound is amazing.
00:57:59What are all the possibilities of this cell?
00:58:01I'm going to start here, I'm going to start here.
00:58:02I'm going to start here, I'm going to start here, I'm going to start here, I'm going to start here
00:58:05and I'm going to start here.
00:58:06And then it's coming out.
00:58:06So, you need noise, you need white noise, then you need to go through a sequence, the filter, etc.
00:58:10You need to connect the VCO to the VCF and the VCF to the VCA.
00:58:14And VCF and the VCF, what that all just is and so.
00:58:17But everyone now knows what, everyone knows what in their laptop is, emulators and so.
00:58:23Okay.
00:58:26There are three oscillators that can destroy each other in a chaotic way.
00:58:35There are three oscillators that you haven't had to think about yourself.
00:59:09Vlaamse Wonder Boys
00:59:10die in het buitenland Poens scheppen
00:59:12en wat is de sleutel van hun succes?
00:59:14De Belgische sound, als buitenlanders erover spreken
00:59:19dan zullen ze niet bedoelen
00:59:20Plaza en Yo-Yo
00:59:23Dan denk ik eerder dat ze zullen spreken over platen
00:59:25zoals Lords of Acid, Ice It on Acid
00:59:35Dat was een typisch Belgische plat op dat moment
00:59:42En dat stegen elke dag
00:59:43En wij zaten daar in overvolle clubs
00:59:47En zelfs tot in Tokio 2
00:59:53Dan krijg je er nog kieke vlees van
00:59:56als ik eraan denk
01:00:22I think it's often a forgotten part of the history
01:00:25of België's importance in electronic music
01:00:28throughout the 1990s
01:00:29Maar pas uniquement sur la scène internationale underground
01:00:32Les producteurs de techno-belges
01:00:35changent la face de la musique pop
01:00:36à travers le monde
01:00:42That's when it really people started to know about Belgium
01:00:52People just weren't interested or didn't expect there to be music
01:00:55coming from Belgium
01:00:57Belgium was this uncool country in Europe
01:00:59What do they know about music?
01:01:01Clearly a lot
01:01:03Belgers had found the perfect formula to reach the top of the charts
01:01:07All around the world
01:01:12People here had a lot more experience of listening to and making electronic music
01:01:17So they were primed to produce it
01:01:20Which is why there was a very distinctive wave of Belgian technology
01:01:23Because producers here already understood electronic music and how to make it
01:01:27We had the ability to release some sounds
01:01:31And to employ some sounds that the others wouldn't have been able to employ
01:01:34Some things were very aggressive
01:01:35Some things were very aggressive
01:01:45This is what a lot of people said
01:01:52This music is too cold, too rewarding
01:02:02It was kind of an aggressive sound, I thought, which I liked
01:02:05You know, coming from rock
01:02:06I grew up listening to Led Zeppelin and Black Sabbath
01:02:08So this was the equivalent of the dance music version of that
01:02:12Which I thought was great, you know, just a darker
01:02:15Everything in New York was about happy and uplifting
01:02:17Here it was all about just, you know
01:02:35We have things like Olivia Abelos, Quadrophonia
01:02:41Quadrophonia
01:02:43This is a really typical song of a symphony
01:02:48Which has really a sound of a symphony
01:02:52With a brick beat English
01:02:53And something a little new wave in it
01:02:57There is a mix of everything
01:02:59We hear the side melting pot
01:03:01And then the side orchestral
01:03:03Typical music
01:03:15Everyone's gone that way now
01:03:16Everyone's trying to make the most hardest record around
01:03:21Everyone's just looking at Belgium
01:03:22What's coming out next?
01:03:24Right, well, I'll make that straight away
01:03:26Anything that comes into the shops
01:03:28Within two weeks you see it
01:03:29Someone else from England has already made it
01:03:31You know, and the DJs are playing it
01:03:33There's a big influence there
01:03:35The UK rave sign was completely based on being inspired
01:03:38By hearing those Belgian riffs in those records
01:03:41I could instantly back then
01:03:48If you put one of these records in the record shop
01:03:50That's Belgian, that's Belgian
01:03:56Getting the 4-4 beat
01:03:57The hardcore Belgian 4-4 beat
01:03:59The strength of one bar
01:04:02One riff
01:04:02I think, you know, this
01:04:04Is the emphasized
01:04:06In the hardcore techno
01:04:08So, well,
01:04:10For example in T99 Anastasia
01:04:12Le song
01:04:16This scene
01:04:19Was actually
01:04:20Exploded in Japan
01:04:22It's true that in 1999, when I was born, it was...
01:04:27It stopped all the time. There was something that was broken.
01:04:30Yes, it was...
01:04:31...which the others didn't want to do it.
01:04:44The better sound is better.
01:04:47It must be better, it must be better.
01:04:49They had to make you high without getting back to it.
01:04:53It's hard to explain to kids from today's age,
01:04:56but at that moment, the music was so shocking.
01:04:59You don't have any idea. It's such a big hit.
01:05:05I picked up a stack of R&S records and I started listening to them.
01:05:08They were all good.
01:05:10And I decided to send them some stuff.
01:05:16I was making tracks in New York,
01:05:18but they were selling loads of them in Europe.
01:05:21In my head, Energy Flash will always be a Belgian record.
01:05:26A week later, he did a man-tasm.
01:05:35I brought that shit. Are you sure, man?
01:05:38It's all. He sent that thing. It's all from the world express.
01:05:43I sent him the only copy that existed.
01:05:46What if he got lost in the mail, or got damaged somehow, or whatever?
01:05:51We wouldn't be able to recreate that track.
01:05:52The track would be gone.
01:05:54Renate has an unlikely time for the people who could be perfect together.
01:05:59They bring exactly the right people to the right place to the right place.
01:06:03Oh, R&S is the lady label.
01:06:33I was in the beginning to be shocked.
01:06:35We had one square meter to live, and the rest was studio.
01:06:38I didn't know where I was at all.
01:06:41That's the clue.
01:06:42You said, that's not nice.
01:06:44You're not material, you're not love for these things.
01:06:47But where are you going to go? Who knows?
01:06:49Draw on the end of that, that's the record.
01:07:05I was at the end of the world.
01:07:09I was in the middle of that.
01:07:14I was in the middle of that.
01:07:17I saw him when he was in my apartment.
01:07:20With a 16-17-year-old, with a jingle-jangle back, I think I'm crazy.
01:07:26I think I'm a half an hour ago.
01:07:27So it's probably what the people have tolerated.
01:07:31They live for what they were doing.
01:07:44We had a bit of privilege.
01:07:47For the first time we had that tea.
01:07:48And there was nothing done.
01:07:50So everything was new.
01:07:52Everything we did was new.
01:08:21And there was a single production in the world.
01:08:27Then you're worth it.
01:08:32And there's no recirculation in the world.
01:08:32So the old house is getting paid.
01:08:32Yes!
01:08:33Yes!
01:08:33Yes!
01:08:34Yes!
01:08:35Yes!
01:08:35Yes!
01:08:36Yes!
01:08:36Yes!
01:08:37Yes!
01:08:38Yes!
01:09:16If we want to party, we really come to Belgium.
01:09:47If we want to party, we really come to Belgium.
01:09:52It's really the route of the discotheques.
01:09:58And all these discotheques, in a moment, are all made to play this style.
01:10:07And it's more than a way to go, it's a youth culture with thousands of followers, a subculture with own
01:10:13codes and dresses, which are seldom understood by the outside world.
01:10:16It's party time!
01:10:50In Belgium, man, we were going out Thursday, Friday, Saturday, Sunday, you know?
01:10:54And that was, like, quite unique, man, you know?
01:10:56I remember you'd go to a club, like, on Thursday night, party until early hours of the morning, and then
01:11:05you'd go to another one.
01:11:06Check out what I'm saying, man, you know?
01:11:07It just didn't stop.
01:11:09There were people who went on Thursday night, who went on Thursday night, who went on Thursday night without having
01:11:16slept.
01:11:17And then, already, on Friday, it started with other buildings, which were located in Brussels, in Anvers, in Gans, or
01:11:26elsewhere.
01:11:26I slept on Thursday night, so there was the club, the after club, the after club, the after club, the
01:11:34club, and then...
01:11:38Chose, let's go to the party, let's go to the club, let's go to the party, let's go to the
01:11:46party, let's go to the party, let's go to the party, let's go to the party, let's go to the
01:11:47party.
01:11:48Something we found in Belugi, let's go to the party.Cha
01:11:50.com for all that Belgium can't even know theсти of the party's law and the party. I
01:11:55closed when there was no longer. I
01:11:59didn't have any hours.
01:12:11There's a lot of people who are in the UK.
01:12:13I'm not sure how to go.
01:12:17I'm not sure how to go.
01:12:18I'm not sure how to go.
01:12:19I'm not sure how to go.
01:12:19I'm not sure how to go.
01:12:19What's your name?
01:12:19This is a bizarre race.
01:12:21We are going to ride.
01:12:22You look at the places.
01:12:24French, Holland, Anglican.
01:12:26There was a whole lot of together.
01:12:30That was not a problem.
01:12:32It was not a problem in Belgium.
01:12:33Everyone was there.
01:12:35At the end, extreme style and everything.
01:12:38People were there for the music.
01:12:41They just heard a music that they didn't hear anywhere else.
01:12:46Electronic music did bring together more.
01:12:50It did connect more.
01:12:51How do you explain this?
01:12:53It's not a good thing.
01:12:57There's no difference in this movement.
01:13:01It approached everyone.
01:13:02There's no difference in the music.
01:13:03It's a good thing.
01:13:04It was a happy feeling.
01:13:05Of course, it's a good thing.
01:13:06I thought it would change the world.
01:13:11I think it's a good thing.
01:13:12The new culture.
01:13:12The new culture.
01:13:14It's a great thing.
01:13:18I didn't say it.
01:13:18There's a whole generation on the whole world.
01:13:53There's an ecstasy, love and peace in Guildenburg, but I didn't know what that was.
01:14:00Ecstasy, ecstasy.
01:14:02You don't have to worry about all these substances.
01:14:13Amfetamines are central stimulant substances.
01:14:16That means that they have an overwhelming effect, but mostly an overwhelming effect.
01:14:28Ecstasy, it gave a kind of euphoria and this music also gave a lot of euphoria.
01:14:34So it was a good mix, it was a good mix, at the beginning.
01:14:40Until the moment that VTM did a report on XTC.
01:14:45Danstempels, drugtempels.
01:14:50What's up, man?
01:15:15We were invaded by the democratization of drug.
01:15:21This is MDMA.
01:15:22We sell around 150, almost 300.
01:15:27And it's going for 700, 700 francs, 800 francs as well as the door.
01:15:32If you put a dealer there, there was another who arrived.
01:15:34So it was really, it wasn't easy to manage it.
01:15:37It wasn't easy to manage it.
01:15:54We were...
01:15:57We were the diable.
01:16:00We were the diable.
01:16:14We were the diable.
01:16:15We were the diable.
01:16:17We were the diable.
01:16:18We were the diable.
01:16:19Thank you very much.
01:16:21For May it is possible to visit the vocation in Paris.
01:16:24Also other discotheques are kept by the Rijkswacht in the door.
01:17:01On the first face, weinig spectaculair.
01:17:04A mess and something like a snowy hole.
01:17:08It's the sensation, it's not the information.
01:17:11Every week we did the creme open and there was always an attack in a discotheque.
01:17:16The Boccaccio, on Saturday, is today the Genbrookse dancing Balnoral.
01:17:21From the evening, the police of Stabrook, the Megadancing Globe.
01:17:25In October, the chairman of Locre, decided to close the Cherry Moon,
01:17:29one of the most successful Megadansings in Oost-Vlaanderen.
01:17:32Just three months ago, the chairman of Guns van Affelgham Dancing Extreme,
01:17:36in part of the part of Essenes, closed.
01:17:37All the razzies followed each other after the other.
01:17:41In two or three years.
01:17:44Of the ten Megadansings, where in the main house music is produced,
01:17:47all seven people were closed.
01:17:49And that only six weeks ago.
01:17:52Boccaccio, Balmeralto, Jerry's two in this.
01:17:56Where do we go?
01:17:58Today the building is made the same with the ground.
01:18:01There are plans to put a fast food restaurant in this place.
01:18:06For me, it's something that is...
01:18:09It's an attack to the freedom.
01:18:11But why, the dimanche, we always could do it?
01:18:13Why, the dimanche, we could not go to the discotheque?
01:18:17We could not all want to walk in the woods or do shopping the dimanche.
01:18:26We could also have a desire, the dimanche, to go to a beer and do it.
01:18:33Simply make a celebration, to celebrate life.
01:18:35This is part of the same nature of the Belgian.
01:18:38But to take control over a population who had tended to create its own rules,
01:18:43authorities were forced to make a movement in its own way.
01:18:47It was really 1985 to 1995.
01:18:51For me, it was really...
01:18:52Everyone looked at it.
01:18:54It was made in Belgium.
01:18:58The best music was made by the Belgian producers.
01:19:00Most of the labels were from Belgium.
01:19:03Yeah, it was...
01:19:04I can't say at a good time, because it was an ancient combatant,
01:19:07but...
01:19:08There were the Belgian movements that were very interesting.
01:19:11But now, it's a bit...
01:19:13It's a bit tired.
01:19:15Before, there was a lot of research.
01:19:17There was a lot of research.
01:19:18And then, they really got into their positions.
01:19:22On their positions.
01:19:23Ah, yeah.
01:19:23On is the best.
01:19:24Et voilà.
01:19:26Et on s'est bien fait dépasser.
01:19:33Un peuple mis sous silence.
01:19:35Divisé et paumé.
01:19:37Jusqu'à ce que l'inventivité et le génie belge
01:19:41renaissent à nouveau.
01:20:11CERCAL
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