In the early 1980s, Downtown Manhattan's no wave scene transitioned from its abrasive origins into a more dance-oriented sound, with compilations such as ZE's Mutant Disco (1981) highlighting a newly playful sensibility borne out of the city's clash of hip hop, disco and punk styles, as well as dub reggae and world music influences. Artists such as Liquid Liquid, the B-52s, Cristina, Arthur Russell, James White and the Blacks and Lizzy Mercier Descloux pursued a formula described by Luc Sante as "anything at all + disco bottom". The decadent parties and art installations of venues such as Club 57 and the Mudd Club became cultural hubs for musicians and visual artists alike, with figures such as Jean-Michel Basquiat, Keith Haring and Michael Holman frequenting the scene. Other no wave-indebted groups such as Swans, Glenn Branca, the Lounge Lizards, Bush Tetras and Sonic Youth instead continued exploring the early scene's forays into noise and more abrasive territory. COUNT 9
QSN1 When did Manhattan's no wave scene start becoming more dance-oriented? ANS1 early 1980s QSN2 What formula did a lot of the artists emerging from the scene adhere to? ANS2 "anything at all + disco bottom" QSN3 What type of party could be found at venues like Club 57? ANS3 decadent QSN4 Who did the venues because cultural hubs for? ANS4 musicians and visual artists alike QSN5 What movement was the group the Lounge Lizards indebted to? ANS5 no wave QSN6 What did Downtown Manhattan's no wave scene transition into? ANS6 dance-oriented sound QSN7 What type of sound did no wave have before it began to transition to a more dance oriented sound? ANS7 abrasive QSN8 When was ZE's Mutant Disco released? ANS8 1981 QSN9 What clubs were frequented by artists in the emerging dance scene? ANS9 Club 57 and the Mudd Club