attendee before being asked to play. His sets at Shoom were built on a blend of Detroit and acid house, interspersed with tracks by artists such as Ravi Shankar, Chris & Cosey, Public Image Ltd and Dub Syndicate.{5#] Lighting and design Shoom's interior design tended towards minimalist architecture, mirrored walls and decorations containing smiley face logos.{4l52] The Ramplings's early adoption of the smiley logo reflected the prevailing feeling of positivism in dance music culture. Coleman, who later became a well-known fashion designer,53) said that at Shoom "everyone was smiling and losing themselves in this incredibly powerful music ... [and] new youth culture."41 The strawberry-scented smoke machine produced a haze so thick that the club often became claustrophobic, and combined with flashing strobe lights, dancers were often unable to see more than a few feet around them.""9] Mark Moore of S'Express remembers that during his first night at the club, he did not realise until the smoke lifted during a breakdown that everybody around him “was on BU Dress style and culture Shoom was among the first clubs to bring US house music to the UK, and was thus at the forefront of the development of the movement's look and style. Clubbers typically wore baggy clothes and tie-dye or dayglo colours, with items such as bucket hats, bandanas, dungaree jeans, ponchos and converse sneakers becoming popular.{4IL54I551[56] While the baggy style was born of necessity to combat the intense heat in the original small gym, the trend spread outside of the regular Shoom crowd, and celebrity fashion designers such as Vivienne Westwood produced clothes influenced by the scene.{57] The DJ Jay Strongman observed how, after Shoom's launch, well-established figures in London's club scene became "dinosaurs" overnight.'58] Similarly, Nick Coleman wrote that after visiting the club in July 1988, he immediately went from designer clothing and standing around "trying to look cool", to ‘wearing t-shirts, jeans and ...[and having] 50 new friends".!4! He views Shoom as initiating a move away from expensive clothes in favour of the casual, baggy style that typified the 1990s trend of "dressing down" [59] Until the summer of 1987, ecstasy was only known to a few British dance music enthusiasts, including Boy George, Mare Almond of Soft Cell and New Order's Bernard Sumner, who frequented US clubs such as Studio 54 in New York, and the Warehouse and Muzic Box clubs in Chicago, where they heard DJs such as the early 1980s pioneer DJs Ron Hardy and Frankie Knuckles.{6°ll™ 4] As little was popularly known about ecstasy, there was a common misconception that it was legal,!48! when it was in fact listed as Class A under the UK Misuse of Drugs Act.{61] While house music and the ecstasy sub-culture developed independently, they did not become mainstream until ff-white ecstasy pills wth brand imprints combined at London clubs in 1987.!! Sheryl Garratt, one of the earliest journalists to write about the scene, believes the music worked so well with the drug because the warm and empathetic high from ecstasy aligned with the small, intimate size of the early London clubs, and the shared excitement of discovering a new and revolutionary form of electronic music.!®3) Bottled water and the energy drink Lucozade