Sporty Parisian dandies of the 1830s: a girdle helped one achieve this silhouette. The man on the left wears a frock coat, the man on the right wears a morning coat

A dandy^[1] (also known as a beau or gallant^[2]) is a man who places particular importance upon physical appearance, refined language, and leisurely hobbies, pursued with the appearance of nonchalance in a cult of Self.^[3] Historically, especially in late 18th- and early 19th-century Britain, a dandy, who was self-made, often strove to imitate an aristocratic lifestyle despite coming from a middle-class background.

Though previous manifestations, of Alcibiades, and of the petit-maître and the muscadin have been noted by John C. Prevost,^[4] the modern practice of dandyism first appeared in the revolutionary 1790s, both in London and in Paris. The dandy cultivated skeptical reserve, yet to such extremes that the novelist George Meredith, himself no dandy, once defined "cynicism" as "intellectual dandyism"; nevertheless, the Scarlet Pimpernel is one of the great dandies of literature. Some took a more benign view; Thomas Carlyle in his book Sartor Resartus, wrote that a dandy was no more than "a clothes-wearing man". Honoré de Balzac introduced the perfectly worldly and unmoved Henri de Marsay in La fille aux yeux d'or (1835), a part of La Comédie Humaine, who fulfills at first the model of a perfect dandy, until an obsessive love-pursuit unravels him in passionate and murderous jealousy.

Charles Baudelaire, in the later, "metaphysical" phase of dandyism^[5] defined the dandy as one who elevates æsthetics to a living religion,^[6] that the dandy's mere existence reproaches the responsible citizen of the middle class: "Dandyism in certain respects comes close to spirituality and to stoicism" and "These beings have no other status, but that of cultivating the idea of beauty in their own persons, of satisfying their passions, of feeling and thinking .... Contrary to what many thoughtless people seem to believe, dandyism is not even an excessive delight in clothes and material elegance. For the perfect dandy, these things are no more than the symbol of the aristocratic superiority of his mind."

The linkage of clothing with political protest had become a particularly English characteristic during the 18th century.^[7] Given these connotations, dandyism can be seen as a political protestation against the rise of levelling egalitarian principles, often including nostalgic adherence to feudal or pre-industrial values, such as the ideals of "the perfect gentleman" or "the autonomous aristocrat", though paradoxically, the dandy required an audience, as Susann Schmid observed in examining the "successfully marketed lives" of Oscar Wilde and Lord Byron, who exemplify the dandy's roles in the public sphere, both as writers and as personae providing sources of gossip and scandal.^[8]

Etymology[link]

The origin of the word is uncertain. Eccentricity, defined as taking characteristics such as dress and appearance to extremes, began to be applied generally to human behavior in the 1770s;^[9] similarly, the word dandy first appears in the late 18th century: In the years immediately preceding the American Revolution, the first verse and chorus of "Yankee Doodle" derided the alleged poverty and rough manners of American-born colonists, suggesting that whereas a fine horse and gold-braided clothing ("mac[c]aroni") were required to set a European apart from those around him, the average American's means were so meager that ownership of a mere pony and a few feathers for personal ornamentation would qualify one of them as a "dandy" by comparison to and/or in the minds of his even less sophisticated compatriots.^[10] A slightly later Scottish border ballad, circa 1780,^[11] also features the word, but probably without all the contextual aspects of its more recent meaning. The original, full form of 'dandy' may have been jack-a-dandy.^[12] It was a vogue word during the Napoleonic Wars. In that contemporary slang, a "dandy" was differentiated from a "fop" in that the dandy's dress was more refined and sober than the fop's.

In the 21st century, the word dandy is a jocular, often sarcastic adjective meaning "fine" or "great"; when used in the form of a noun, it refers to a well-groomed and well-dressed man, but often to one who is also self-absorbed.

Beau Brummell and early British dandyism[link]

Caricature of Beau Brummell by Richard Dighton (1805).

The model dandy in British society was George Bryan "Beau" Brummell (1778–1840), in his early days, an undergraduate student at Oriel College, Oxford and later, an associate of the Prince Regent. Brummell was not from an aristocratic background; indeed, his greatness was "based on nothing at all," as J.A. Barbey d'Aurevilly observed in 1845.^[13] Ever unpowdered, unperfumed, immaculately bathed and shaved, and dressed in a plain dark blue coat,^[14] he was always perfectly brushed, perfectly fitted, showing much perfectly starched linen, all freshly laundered, and composed with an elaborately knotted cravat. From the mid 1790s, Beau Brummell was the early incarnation of "the celebrity", a man chiefly famous for being famous—in his case, as a laconically witty clothes-horse.^{[citation needed]}

By the time Pitt taxed hair powder in 1795 to help pay for the war against France and to discourage the use of flour (which had recently increased in both rarity and price, owing to bad harvests) in such a frivolous product, Brummell had already abandoned wearing a wig, and had his hair cut in the Roman fashion, "à la Brutus". Moreover, he led the transition from breeches to snugly tailored dark "pantaloons," which directly led to contemporary trousers, the sartorial mainstay of men's clothes in the Western world for the past two centuries. In 1799, upon coming of age, Beau Brummell inherited from his father a fortune of thirty thousand pounds, which he spent mostly on costume, gambling, and high living. In 1816 he suffered bankruptcy, the dandy's stereotyped fate; he fled his creditors to France, quietly dying in 1840, in a lunatic asylum in Caen, just before age 62.^{[citation needed]}

Men of more notable accomplishments than Beau Brummell also adopted the dandiacal pose: George Gordon Byron, 6th Baron Byron occasionally dressed the part, helping reintroduce the frilled, lace-cuffed and lace-collared "poet shirt". In that spirit, he had his portrait painted in Albanian costume.^{[citation needed]}

Another prominent dandy of the period was Alfred Guillaume Gabriel d'Orsay, the Count d'Orsay, who had been friends with Byron and who moved in the highest social circles of London.

By the mid-19th century, the English dandy, within the muted palette of male fashion, exhibited minute refinements -- "The quality of the fine woollen cloth, the slope of a pocket flap or coat revers, exactly the right colour for the gloves, the correct amount of shine on boots and shoes, and so on. It was an image of a well-dressed man who, while taking infinite pains about his appearance, affected indifference to it. This refined dandyism continued to be regarded as an essential strand of male Englishness."^[15]

Dandyism in France[link]

Joachim Murat, the French King of Naples, was dubbed the "Dandy King" because of his flawless appearance.^[16]

The beginnings of dandyism in France were bound up with the politics of the French revolution; the initial stage of dandyism, the gilded youth, was a political statement of dressing in an aristocratic style in order to distinguish its members from the sans-culottes.

During his heyday, Beau Brummell's dictat on both fashion and etiquette reigned supreme. His habits of dress and fashion were much imitated, especially in France, where, in a curious development, they became the rage, especially in bohemian quarters. There, dandies sometimes were celebrated in revolutionary terms: self-created men of consciously designed personality, radically breaking with past traditions. With elaborate dress and idle, decadent styles of life, French bohemian dandies sought to convey contempt for and superiority to bourgeois society. In the latter 19th century, this fancy-dress bohemianism was a major influence on the Symbolist movement in French literature.^{[citation needed]}

Baudelaire was deeply interested in dandyism, and memorably wrote that a dandy aspirant must have "no profession other than elegance ... no other status, but that of cultivating the idea of beauty in their own persons ... The dandy must aspire to be sublime without interruption; he must live and sleep before a mirror." Other French intellectuals also were interested in the dandies strolling the streets and boulevards of Paris. Jules Amédée Barbey d'Aurevilly wrote The Anatomy of Dandyism, an essay devoted, in great measure, to examining the career of Beau Brummell.^{[citation needed]}

Later dandyism[link]

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Robert de Montesquiou (1855-1921) portrait by Giovanni Boldini

The literary dandy is a familiar figure in the writings, and sometimes the self-presentation, of Oscar Wilde, H.H. Munro (Clovis and Reginald), P.G. Wodehouse (Bertie Wooster) and Ronald Firbank, writers linked by their subversive air.

The poets Algernon Charles Swinburne and Oscar Wilde, Walter Pater, the American artist James McNeill Whistler, the Spanish artist Salvador Dalí, Joris-Karl Huysmans, and Max Beerbohm were dandies of the Belle Époque, as was Robert de Montesquiou — Marcel Proust's inspiration for the Baron de Charlus. In Italy, Gabriele d'Annunzio and Carlo Bugatti exemplified the artistic bohemian dandyism of the fin de siecle.

At the end of the 19th century, American dandies were called dudes. Evander Berry Wall was nicknamed the "King of the Dudes".

George Walden, in the essay Who's a Dandy?, identifies Noël Coward, Andy Warhol, and Quentin Crisp as modern dandies. The character Psmith in the novels of P. G. Wodehouse is regarded to be a dandy, both physically and intellectually; Bertie Wooster, narrator of Wodehouse's Jeeves novels, does his most to be a dandy, only to have Jeeves undermine all his plans to this end. Agatha Christie's Poirot is said to be a dandy.

The artist Sebastian Horsley described himself as a "dandy in the underworld" in his eponymous autobiography.^[17]

In Japan, dandyism became a fashion subculture during the late 1990s. Presently,^[when?] the term is also used to refer to an attractive but older, well-dressed man, usually a man in his late 40s or 50s^{[citation needed]}.

In Spain during the early 19th century a curious phenomena developed linked to the idea of dandysm; while in England and France individuals from the middle classes adopted aristocratic manners the Spanish aristocracy adopted the fashions of the lower classes called majos, characterized for their elaborate outfits and sense of style as opposed to the modern frenchified "afrancesados", as for their cheeky arrogant attitude. Some famous dandies in later times were amongst other the Duke of Osuna, Mariano Tellez-Girón, artist Salvador Dalí and poet Luís Cernuda.

Female Dandies[link]

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An 1819 Dandizette

The female counterpart is a quaintrelle.^{[citation needed]} In the 12th century, cointerrels (male) and cointrelles (female) emerged, based upon coint,^[18] indicating a person of beautiful dress and refined speech. By the 18th century, coint became quaint,^[19] indicating elegant speech and beauty. Middle English dictionaries note quaintrelle as a beautifully dressed woman (or overly dressed), but do not include the favorable personality elements of grace and charm. The notion of a quaintrelle sharing the major philosophical components of refinement with dandies is a modern development, one which returns quaintrelles to their historic roots.

Female dandies did overlap with male dandies for a brief period during the early 19th century when dandy had a derisive definition of "fop" or "over-the-top fellow"; the female equivalents were dandyess or dandizette. Charles Dickens, in All the Year Around (1869) comments, "The dandies and dandizettes of 1819-1820 must have been a strange race. Dandizette was a term applied to feminine devotees to dress and their absurdities were fully equal to those of the dandy." In 1819, the novel Charms of Dandyism was published "by Olivia Moreland, chief of the female dandies"; although probably written by Thomas Ashe, "Olivia Moreland" may have existed, as Ashe did write several novels about living persons. Throughout the novel, dandyism is associated with "living in style". Later, as the word dandy evolved to denote refinement, it became applied solely to men. Popular Culture and Performance in the Victorian City (2003) notes this evolution in the latter 19th century: "...or dandizette, although the term was increasingly reserved for men."

Quotations[link]

• A Dandy is a clothes-wearing Man, a Man whose trade, office and existence consists in the wearing of Clothes. Every faculty of his soul, spirit, purse, and person is heroically consecrated to this one object, the wearing of Clothes wisely and well: so that the others dress to live, he lives to dress ... And now, for all this perennial Martyrdom, and Poesy, and even Prophecy, what is it that the Dandy asks in return? Solely, we may say, that you would recognise his existence; would admit him to be a living object; or even failing this, a visual object, or thing that will reflect rays of light....

  —Thomas Carlyle, "The Dandiacal Body", in Sartor Resartus

• One should either be a work of Art, or wear a work of Art

  —Oscar Wilde

• The dandy creates his own unity by aesthetic means. But it is an aesthetic of negation. "To live and die before a mirror": that according to Baudelaire, was the dandy's slogan. It is indeed a coherent slogan. The dandy is, by occupation, always in opposition. He can only exist by defiance. Up to now, man derived his coherence from the Creator. But from the moment that he consecrates his rupture from Him, he finds himself delivered over to the fleeting moment, to the passing days, and to wasted sensibility. Therefore he must take himself in hand. The dandy rallies his forces and creates a unity for himself by the very violence of his refusal. Profligate, like all people without a rule of life, he is only coherent as an actor. But an actor implies a public; the dandy can only play a part by setting himself up in opposition. He can only be sure of his own existence by finding it in the expression of others' faces. Other people are his mirror. A mirror that quickly becomes clouded, it's true, since human capacity for attention is limited. It must be ceaselessly stimulated, spurred on by provocation. The dandy, therefore, is always compelled to astonish. Singularity is his vocation, excess his way to perfection. Perpetually incomplete, always on the fringe of things, he compels others to create him, while denying their values. He plays at life because he is unable to live it.

  —Albert Camus

Famous dandies[link]

• 

  Lord Byron (1788-1824)

• 

  Charles Baudelaire (1821-1867)

• 

  Oscar Wilde (1854-1900)

• 

  Alfred Guillaume Gabriel d'Orsay, comte d'Orsay (1801-1852)

• Berry-wall-king-dudes.jpg

  Berry Wall (1860-1940)

See also[link]

• Flâneur
• Fop
• Incroyables
• Macaroni
• Swenkas
• Metrosexual

References[link]

Further reading[link]

• Barbey d'Aurevilly, Jules. Of Dandyism and of George Brummell. Translated by Douglas Ainslie. New York: PAJ Publications, 1988.
• Carassus, Émile. Le Mythe du Dandy 1971.
• Carlyle, Thomas. Sartor Resartus. In A Carlyle Reader: Selections from the Writings of Thomas Carlyle. Edited by G.B. Tennyson. London: Cambridge University Press, 1984.
• Jesse, Captain William. The Life of Beau Brummell. London: The Navarre Society Limited, 1927.
• Lytton, Edward Bulwer, Lord Lytton. Pelham or the Adventures of a Gentleman. Edited by Jerome McGann. Lincoln: University of Nebraska Press, 1972.
• Moers, Ellen. The Dandy: Brummell to Beerbohm. London: Secker and Warburg, 1960.
• Murray, Venetia. An Elegant Madness: High Society in Regency England. New York: Viking, 1998.
• Nicolay, Claire. Origins and Reception of Regency Dandyism: Brummell to Baudelaire. Ph. D. diss., Loyola U of Chicago, 1998.
• Prevost, John C., Le Dandysme en France (1817–1839) (Geneva and Paris) 1957.
• Stanton, Domna. The Aristocrat as Art 1980.
• Wharton, Grace and Philip. Wits and Beaux of Society. New York: Harper and Brothers, 1861.

External links[link]

Wikimedia Commons has media related to: Dandies

• "Bohemianism and Counter-Culture": The Dandy
• Il Dandy (in Italian)
• Dandyism.net
• "The Dandy"
• Dandies and Dandies by Max Beerbohm
• "Duchamp is Dandy" by Michael Beyer
• Shubow, Justin. "The Prince and the Dandy": a review of Nicholas Antongiavanni's The Suit: A Machiavellian Approach to Men's Style. The Claremont Review of Books, Fall 2006.
• Walter Thornbury, Dandysme.eu "London Parks: IV. Hyde Park", Belgravia: A London Magazine 1868

The Dandy Warhols
The Dandy Warhols at the London Forum in 2012
Background information
Origin	Portland, Oregon, United States
Genres	Alternative rock, neo-psychedelia, power pop
Years active	1994–present
Labels	Beat the World, Capitol, The End, Tim/Kerr
Associated acts	The Brian Jonestown Massacre
Members
Brent DeBoer Peter Holmström Zia McCabe Courtney Taylor-Taylor
Past members
Eric Hedford

The Dandy Warhols are an American alternative rock band formed in Portland, Oregon in 1994. The band was founded by singer-guitarist Courtney Taylor-Taylor and guitarist Peter Holmström, with keyboardist Zia McCabe and drummer Eric Hedford. Hedford left in 1998 and was replaced by Taylor-Taylor's cousin Brent DeBoer. The band's name is a play on the name of American pop artist Andy Warhol.

The band gained popularity after they were signed to Capitol Records and released their major label album debut ...The Dandy Warhols Come Down in 1997, featuring the popular single "Not If You Were the Last Junkie on Earth". In 2001, the band rose to international attention after their song "Bohemian Like You" was featured in a Vodafone advertisement. The band have released nine studio albums to date.

Biography[link]

Early years[link]

The band was formed in Portland, Oregon in 1994 by Courtney Taylor-Taylor and Peter Holmström. Soon after, drummer Eric Hedford joined, and following an unsuccessful experiment with Taylor-Taylor's girlfriend on bass guitar, keyboardist Zia McCabe joined the band after Taylor-Taylor saw her working in a coffee house.^[1] Taylor-Taylor described the band's beginning as a group of friends who "needed music to drink to".^[2] The Dandy Warhols performed in bars throughout Portland and became well known for their nudity-filled live shows. At their first gig in 1994, they were approached by Tim/Kerr Records, who offered to pay for the recording of an album.^[3] The result was 1995's Dandys Rule OK, which combined elements of 1960s garage rock and 1990s shoegaze music.

The album impressed Capitol Records, who decided to sign the band, and in 1997 they released their second studio album and major label debut, ...The Dandy Warhols Come Down, which produced the popular single "Not If You Were the Last Junkie on Earth". The extravagant music video was directed by celebrity fashion photographer David LaChapelle and earned them fame outside the United States.^[4]

In 1998, drummer Eric Hedford left the band after a dispute over royalties and was replaced by Taylor-Taylor's cousin, Brent DeBoer.^[5] The single "Every Day Should Be a Holiday" featured in the 1998 comedy film There's Something About Mary.

[edit] Thirteen Tales from Urban Bohemia

In 2000, the band released their third studio album, Thirteen Tales from Urban Bohemia, to critical and commercial success, after the re-release of their single "Bohemian Like You" was featured in a popular Vodafone advertisement. It has since become the band's most well-known song^[6] and has been featured in a number of films and television shows.^[7]

Around this time, Taylor took out a loan to acquire an industrial warehouse space in downtown Portland, dubbed "The Odditorium", occupying a quarter city block. The Odditorium is the band's eclectic rehearsal space and recording and mixing studio. It also serves as an art space and clubhouse for parties and other events.^[8]

After becoming a fan of the band after seeing them play at the Glastonbury Festival in 2000,^[9] David Bowie personally selected them to play at the 2002 Meltdown festival. Bowie and The Dandy Warhols played a rendition of "White Light/White Heat" together as an encore to the July 29 gig, which was billed as The New Heathens Night.^[10] The band also supported David Bowie on his 2003 A Reality Tour.^[11]

[edit] Welcome to the Monkey House

The band's fourth studio album, Welcome to the Monkey House, was produced by Nick Rhodes of Duran Duran and released in 2003. This album constituted a change of style for the band, featuring synthesizers and a strong eighties influence. One of the album's singles, "We Used to Be Friends", went on to become one of the band's most popular tracks, gaining exposure through use as the theme song for the American cult drama Veronica Mars, and later, the Australian reality television series My Restaurant Rules.

In 2009, the band released an earlier mix of this same album as The Dandy Warhols Are Sound on their own Beat the World label. This version of the album was the initial mix by Grammy Award-winning soul producer Russell Elevado that was rejected by Capitol Records and shelved for six years.

[edit] Dig!

Along with The Brian Jonestown Massacre, The Dandy Warhols were the subjects of the 2004 documentary film Dig!. The film captured a love–hate relationship between both bands, highlighting the interaction of Taylor-Taylor and BJM frontman Anton Newcombe. It was recorded over the course of seven years by Ondi Timoner, and won the Documentary Grand Jury Prize at the 2004 Sundance Film Festival.

In the same year, the band released a double album, The Black Album/Come On Feel the Dandy Warhols, comprising The Black Album, an album recorded before ...The Dandy Warhols Come Down that was rejected by Capitol Records and dismissed by the band themselves,^[3] and Come On Feel The Dandy Warhols, a collection of B-sides, covers, and unreleased songs.

[edit] Odditorium or Warlords of Mars

The Dandy Warhols at the Summercase festival in 2006

The band released their seventh studio album, Odditorium or Warlords of Mars, on 13 September 2005 to a mixed critical response. It was partially named after and recorded in the band's own Odditorium studio. The album was a return to the psychedelic guitar-oriented rock of ...The Dandy Warhols Come Down, moving away from the synth-heavy sound of Welcome to the Monkey House. Two singles were released from the album, "Smoke It" and "All the Money or the Simple Life Honey".

Around about this time, the band contributed to the Stubbs the Zombie in Rebel Without a Pulse video game soundtrack with a cover of "All I Have to Do Is Dream" by The Everly Brothers.

On 17 July 2006, the band released the stand-alone single "Have a Kick Ass Summer (Me and My Friends)", which was later re-recorded as "Mis Amigos" for their 2008 album ...Earth to the Dandy Warhols....^[12] The song was later featured in the downloadable song-pack for the Xbox video game Dance Dance Revolution ULTRAMIX 4.

[edit] ...Earth to the Dandy Warhols...

The band released their eighth studio album, ...Earth to the Dandy Warhols..., on 19 March 2008. It was their first album to be released on their self-founded Beat the World Records label, after splitting with Capitol Records in 2007. The album featured collaborations with Mark Knopfler and the Heartbreakers' Mike Campbell on the track "Love Song".

In the same year, the band released an EP titled Earth to the Remix E.P. Volume One, consisting of electronic remixed versions tracks from the album, namely "The Legend of the Last of the Outlaw Truckers", "Welcome to the Third World", "The World the People Together (Come On)", and "Wasp in the Lotus". They followed it in 2009 with Earth to the Remix E.P. Volume Two, this time containing remixes of "And Then I Dreamt of Yes", "Talk Radio", "Love Song", and "Now You Love Me".^[13]

In 2008, the band covered The Cure's song "Primary" for the charity album Perfect as Cats: A Tribute to the Cure, which released on 28 October 2008 on Manimal Vinyl Records, with profits going to Invisible Children Inc. The band also contributed to the Love and Rockets tribute album No New Tales to Tell: A Tribute to Love and Rockets in the same year, covering the song "Inside the Outside".

In 2008, The Dandy Warhols announced they were releasing a collaborative album called Breathe Easy to benefit conservation projects.^[14] The recordings, which started on 21 October 2008, took place at the band's Odditorium studio in Portland, Oregon. They collaborated with bands such as The Bravery, The Kooks, Dinosaur Jr.'s J Mascis, and Spoon.^[15] Not much is known about the current status of the project and recordings are not readily available.

In 2009, the band covered The Beatles' "Blackbird" in tribute to the death of Michael Jackson, as a reference to the lyrics of their 2003 song "Welcome to the Monkey House" from the album of the same name: "When Michael Jackson dies/We're covering Blackbird".^[16]

[edit] The Capitol Years and This Machine

On 19 July 2010, The Dandy Warhols released The Capitol Years 1995–2007, a greatest hits album chronicling the band's years with Capitol Records. The album consists of singles and popular songs from the albums ...The Dandy Warhols Come Down, Thirteen Tales from Urban Bohemia, Welcome to the Monkey House, and Odditorium or Warlords of Mars, the original Russel Elevado mixes of "I Am a Scientist" and "Plan A" from The Dandy Warhols Are Sound, an alternate mix of "Every Day Should Be a Holiday", an extended version of "Godless", and a new track, "This Is the Tide", written by Brent DeBoer and Zia McCabe and featuring DeBoer on lead vocals. "This Is the Tide" debuted on Triple J on 18 June 2010^[17] and three different music videos were released for the song.

The band are currently in the process of recording a new album. While playing in Sydney's Enmore Theatre in May 2011 as part of their 2011 Australian tour, lead singer Courtney Taylor-Taylor announced the new album would be titled This Machine (after previously jokingly that it would be called either The Pastor of Muppets,^[18] Shitty Shitty Band Band,^[19] or Whirled Piece^[20] in blog posts on the band's official website). On the same tour, the band debuted two new tracks from the album, "Wow Signal" and "Rest Your Head".^[21] It is due for release in April 2012.

In 2011, The Dandy Warhols "rearranged and performed" the theme music to the popular science-based television show MythBusters.^[22] The updated theme music first appeared in episode 171, "Bikes and Bazookas". On 1 March 2012 the band announced the release of the album's first single, "Well They're Gone", on their website, allowing visitors to download the track for free after entering their email address.^[23] A video for the track "Sad Vacation" was released on 20 April on YouTube.

This Machine was released on 24 April 2012. The album featured a collaboration with David J on the track "Autumn Carnival".

Other developments[link]

In 2009, frontman Courtney Taylor-Taylor released the graphic novel One Model Nation, co-written by Jim Rugg. Taylor-Taylor also regularly writes "one sentence movie reviews" on the band's official website.^[24]

In 2010, drummer Brent DeBoer released a solo folk album called The Farmer. A music video for the song "You Win" was produced.^[25] DeBoer currently fronts the country band Immigrant Union. The band appeared on an episode of the Australian television show Adam Hills in Gordon Street Tonight, playing a cover of Rose Tattoo's "Bad Boy for Love".^[26]

Guitarist Peter Holmström currently fronts the neo-psychedelia band Pete International Airport,^[27] which was named after the Dandy Warhols song of the same name and features members from bands such as The Lovetones, The Brian Jonestown Massacre, and The Upsidedown. The band released their debut self-titled album in 2010. Holmström also appeared as a guest musician on The Dead Stars on Hollywood's EP Anthems for the Friendly-Fire Generation.^[28]

Keyboardist Zia McCabe currently plays in the country band Brush Prairie.^[29]

Musical style[link]

The Dandy Warhols' sound has included a variety of different genres ever since their conception. Dandys Rule OK (1995) featured garage rock and shoegaze influences, while their next album, The Dandy Warhols Come Down (1997) displayed a more commercial and polished sound (being their first record on a major label), abandoning the garage rock of the previous album and delving further into psychedelic soundscapes. Thirteen Tales from Urban Bohemia (2000) featured a matured, less overdriven sound, with less overt psychedelia and more power pop leanings.

Welcome to the Monkey House (2003), produced by Nick Rhodes of Duran Duran, represented a significant leap in style, from guitar-driven alternative rock into eighties-influenced synth pop. Odditorium or Warlords of Mars (2005) featured a return to the overdriven psychedelic soundscapes of Come Down, whilst also incorporating the genre experimentation seen on Thirteen Tales from Urban Bohemia. ...Earth to the Dandy Warhols... (2008) incorporated more electronic elements into the mix. 2012's This Machine features a more stripped-down, laid-back style.

Personnel[link]

Current members

• Courtney Taylor-Taylor (1994–present)
• Peter Holmström/Peter Loew (1994–present)
• Zia McCabe (1994–present)
• Brent DeBoer (1998–present)

Former members

• Eric Hedford (1994–1998)

Discography[link]

Studio albums

• Dandys Rule OK (1995)
• ...The Dandy Warhols Come Down (1997)
• Thirteen Tales from Urban Bohemia (2000)
• Welcome to the Monkey House (2003)
• Odditorium or Warlords of Mars (2005)
• ...Earth to the Dandy Warhols... (2008)
• The Dandy Warhols Are Sound (2009)
• This Machine (2012)

References[link]

External links[link]

Wikimedia Commons has media related to: The Dandy Warhols

• Official website
• Beat the World Records website
• Slabtown.net – fan archive of interviews, articles, and reviews of the band
• The Dandy Warhols at Allmusic

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (June 2010)

Mousse T.
Mousse T.
Background information
Born	(1966-10-02) 2 October 1966 (age 45) Hagen, North Rhine-Westphalia, Germany
Origin	Germany
Genres	House / funk / pop
Occupations	DJ, producer
Years active	1990–present
Labels	Peppermint Jam
Website	Official website

Mousse T. (born Mustafa Gündoğdu, 2 October 1966, Hagen, North Rhine-Westphalia) is a German DJ and record producer of Turkish descent. He is best known for his collaboration with Tom Jones, "Sex Bomb",^[1] released on the album Reload.^[2]

Biography[link]

One of the first producers of house music in Germany, alongside contemporaries Boris Dlugosch, DJ Tonka and Ian Pooley, Mousse T. began his career in 1990 as keyboard player for a small band known as Fun Key B. At the same time, he set up his own recording studio and began DJing in the city of Hannover. Besides working on his own productions, usually with partner Errol Rennalls, Mousse T. also wrote and produced tracks for other artists. In 1993, he founded, along with Rennalls, Peppermint Jam Records, a label specializing in uplifting house music and melodic acid jazz.

His 1998 production "Horny" featuring Hot 'n' Juicy (and a chorus sung by Inaya Day) on vocals reached the top of the Billboard dance charts in the late 1990s and Top 20 in the UK and Australia. His first album, Gourmet de Funk, was released in 2001. In 2004, he once again entered the Single Charts with his song "Is It 'Cos I'm Cool?", which is featured on his second album, All Nite Madness, also released in 2004. The song features the vocals of Emma Lanford.

In 2006, Placido & Loo released a mash-up called "Horny As A Dandy". The song fused the vocals of "Horny" and the music of "Bohemian Like You" by The Dandy Warhols. In 2007, he wrote and produced the music for Marc Rothemund's film. Pornorama. His music has been featured in several films and TV series in both the U.S. and internationally.

Discography[link]

Albums[link]

• 2002 Gourmet de Funk
• 2004 All Nite Madness
• 2004 Right About Now
• 2007 Re-orchestrated (iTunes only)(Live-CD with the Deutsches Filmorchester Babelsberg/Scott Lawton, conductor)

Singles[link]

Mousse T.

Most tracks co-written by Errol Rennalls

• 1994 "Mine", as Davey Dee & Mousse T.
• 1995 "EP", as Davey Dee & Mousse T.
• 1996 "Come and Get It"
• 1996 "Everybody"
• 1997 "Bad Boy/Horny"
• 1998 "Horny '98" (with Hot 'n' Juicy); UK #2
• 1999 "Ooh Song"
• 2000 "Sex Bomb (with Tom Jones); UK #3
• 2002 "Fire" (with Emma Lanford)
• 2003 "Is It 'Cos I'm Cool?" (with Emma Lanford); UK #9
• 2003 "Brother on the Run"
• 2004 "Pop Muzak" (with Andrew Roachford)
• 2004 "Right About Now" (with Emma Lanford ) UK #28
• 2005 "Wow" (with Emma Lanford )
• 2006 "Horny as a Dandy" (vs. The Dandy Warhols, mash-up produced by Loo & Placido): UK #17
• 2009 "All Nite Long (D.I.S.C.O.)" (with Suzie); Germany #71

Afropeans

• 2000 "Pianolick"
• 2001 "No. 1"
• 2003 "Everybody/Fallin'"
• 2004 "Afropeans EP"
• 2004 "Better Things" (with Inaya Day)

Other aliases

• 1989 "Don't Stop", as Fresh & Fly (with Hans Hahn)
• 1991 "African Rhythm", as Fresh & Fly (with Ralf Droesemeyer and Jörg Rump)
• 1991 "Family of Music", as F.O.M. (with Ralf Droesemeyer)
• 1991 "C'mon Get Up", as F.O.M. (with Ralf Droesemeyer)
• 1995 "Mind Flavor EP", as Mind Flavour
• 1996 "Odyssey One", as 'Federation X (with Grant Nelson)
• 1996 "Keep Pushin'", as Booom! (with Boris Dlugosch and Inaya Day)
• 1997 "Hold Your Head Up High", as Booom! (with Boris Dlugosch and Inaya Day)
• 2001 "Miami Special", as Peppermint Jam Allstars (with Boris Dlugosch and Michi Lange)

(Co-)Production for other artists

• 1991 Psyche - "Angel Lies Sleeping"
• 1992 Marc Davis - "Moviestar"
• 1995 Ve Ve - "We've Got Love"
• 1996 Raw Instinct - "De La Bass"
• 1997 Ferry Ultra feat. Roy Ayers - "Dangerous Vibes"
• 1997 Bootsy Collins feat. MC Lyte - "I'm Leavin U (Gotta Go, Gotta Go)"
• 1997 Byron Stingily - "Sing a Song"
• 1997 Randy Crawford - "Wishing on a Star"
• 1999 Cunnie Williams - "Saturday"
• 1999 Tom Jones - "Sex Bomb"
• 2000 Monie Love - "Slice of da Pie"
• 2001 Ann Nesby - "Love Is What We Need"
• 2002 No Angels - "Let's Go to Bed"
• 2004 Inaya Day - "Nasty Girl"
• 2007 Se:Sa feat. Sharon Phillips - "Like this Like that"

See also[link]

• Marianne Rosenberg

References[link]

External links[link]

• Official Mousse T website

This article incorporates information from the German Wikipedia. (English)

• Myspace page

Name: Eelke Kleijn
Residence: Rotterdam, Netherlands
Date of birth: June 11, 1983

Eelke Kleijn (born June 11, 1983) is a Dutch producer and DJ hailing from Rotterdam, the Netherlands. In his early career (between 2003 and 2005), he mainly produced electronic records as M.I.D.O.R. & Six4Eight, and he was responsible for some of the DJ Precision releases and remixes. His first release as 'Eelke Kleijn' was '4.5 Billion Years' in 2003 on Segment Records. From 2005 onwards, he solely released music under his own name. His breakthrough came in 2006 when Nick Warren used the track '8 Bit Era' for his 'Global Underground: Paris' compilation. As a result, Eelke released his first artist album 'Naturally Artificial' on Global Underground in 2007. Between 2008 and 2010, he remixed artists such as Way Out West,^[1] Hybrid, Sander Kleinenberg^[2] and Nadia Ali.^[3] In 2010 Eelke released his second artist album 'Untold Stories' on Manual Music.^[4] As a DJ, Eelke has played many venues and festivals including Extrema Outdoor, Dance Valley, Sensation, Warung Brazil, Privilege Ibiza and Moonpark Buenos Aires.^[5]
He also hosts a monthly radio show and podcast 'Outside the Box', and manages the record labels Outside the Box Music, Survival and Down Under.

Discography[link]

Albums[link]

Mix albums[link]

Production[link]

Remixes[link]

Remixed[link]

References[link]

External links[link]

• Official website
• Eelke Klein's future tourdates
• Interview with Eelke Kleijn on YouTube
• Eelke Kleijn on Facebook
• Eelke Kleijn on Myspace
• Eelke Kleijn on Soundcloud
• Eelke Kleijn on Twitter
• Eelke Kleijn on Resident Advisor
• Eelke Kleijn on Outside The Box website
• Interview with Eelke Kleijn on RomaInTheClub