We are in the midst of a loneliness epidemic: More than half of Americans say they feel isolated, and we’re getting together less and less. In 2023, only about 4 percent of adults said they went to a party on a weekend or holiday.
According to Imogen Willetts, a party historian and author of the book Up All Night: A History of Going Out, this moment is an outlier.
“For most of human history, the experiences that we associate with nightlife — drinking, dancing, music, hedonism — those experiences were simply part of religion because religion was so all-encompassing,” she told Vox.
If parties are so ingrained in humankind, then, what are we missing when we don’t get out the door on a Friday night anymore? And what lessons can we learn from the turnups of yore? We get into all of that and more — including how to throw a great party and how to be a good guest — on the latest episode Explain It to Me, Vox’s weekly call-in podcast.
Below is an excerpt of my conversation with Willetts, edited for length and clarity. You can listen to the full episode on Apple Podcasts, Spotify, or wherever you get your podcasts. If you’d like to submit a question, send an email to askvox@vox.com or call 1-800-618-8545.
Can you talk about the role religion played in early nightlife? Because I think we often think of religion and partying as two separate things, but that was not the case for all of history, was it?
[Religion] contained people’s hedonistic instinct. There was nothing really outside of it. And so there’s even evidence, which I love thinking about this, that the churchgoing experience in medieval England was actually quite rowdy and quite raucous.
On feast days there would be drinking, there would be dancing. And there’s one theory that wooden pews were introduced in Wells Cathedral in England to subdue the dancing because it was so raucous. And so in some sense, it takes us a while to get to nightlife because we sort of didn’t need it for a very long time. Religion contained hedonism quite comfortably within it.
Seventeenth-century Japan, I would say, is the beginning of modern nightlife because we have these commercial party scenes, nightlife environments, which have nothing to do with religion,
“Whether it’s at a sports match or a concert stadium, and even within religion — that is collective effervescence.”
Crucially, they’re also separate from court. Another part of party scenes is court spectacle — think Louis XIV and Versailles and all of that stuff that was contained within these monarchical structures. So the first real nightlife destination is Yoshiwara, which was built on the outskirts of Edo, which is now Tokyo.
The idea of church being a place to party is so interesting. I do get the same feeling I get at church when I’m on the dance floor and I hear Kaytranada. I can imagine how these religious experiences allowed people to access that feeling of release through music and through dance.
An expression that I came across when researching the book that I think really wonderfully kind of captures the essence of nightlife and partying is this term coined by the sociologist Émile Durkheim in 1912, which is “collective effervescence.” That’s the feeling that we experience during peak communal experiences.
Whether it’s at a sports match or a concert stadium, and even within religion — that is collective effervescence. That is the same sensation, that surge of euphoria that people feel on dance floors. I think parties and nightlife are such an important way to access this very important human feeling, particularly in societies that are increasingly atheist or increasingly secular.
We need nightlife to have these communal euphoric experiences and feel part of something bigger than ourselves.
You’ve written about how, yes, parties are fun, but they’re also at the epicenter of some pretty important cultural and societal shifts.
I think nightlife is very uniquely poised to allow for experimentation and innovation and transgression. Also, in a very practical way, if you’re part of the abstract expressionist scene of mid-century New York or something, you need somewhere to meet and talk to people and figure out how you’re going to sell your work that’s like nothing people have ever seen before.
These social spaces play a really, really important role in culture. The abstract expressionist artists were hanging out in the Cedar Tavern, and then you have things like the Viennese Secession Movement and Cabaret Fledermaus was part of that meeting space.
Similarly, you get things like dance and music that’s very much created for dance floors, for clubbing, for nightlife: the can-can and then disco and then techno. Nightlife has been so crucial to the propulsion of culture.
A lot of this is happening in the club, but what about parties happening in private homes?
One of the great examples of people opening up their homes in a sense of turning the home into a club was turn-of-the-century New Orleans. On Saturday nights, people would host fish fries: Basically, when you would open up your home to the public, you would charge entry at the door. Once inside, people were treated to this amazing spread of food, drink, and there would be bands that would perform. It was often a way for households who were struggling with rent payments to earn some extra cash.
It happened again in Harlem in the 1920s. Langston Hughes writes about the Saturday night rent parties, where people’s apartments would be opened up in the exact same way. He said they were more interesting than anything that was going on in the cabarets and the clubs. He was going to those as often as he could and collecting the invitations for them.
People would write their address on business cards, leave them in different shops and pubs and hairdressers or whatever, and then you would pick them up and then go to the party. Langston Hughes collected them, and they now are randomly in a Yale archive of all places.
As you think of parties over the centuries, are there elements that all the best parties have in common?
At their very core essence, you need good music, you need good lighting, and I think also you need to create this atmosphere where the sense that anything can happen. What you want is for the people that are at your party to feel like they can behave differently or do something a little bit wild.
I think that there’s something very satisfying in experiencing a domestic world upturned. I think seeing the kitchen become a gloomy cocktail bar, the living room becoming a dance floor — there’s something very satisfying in experiencing that.
It goes back to what the heart of nightlife culture or party culture is all about. We want to shed our daily lives. You want that sense of slight disorder that makes people feel alive.
