‘It’s so important people know this. This is history.’
Here is the music test. What do you listen to when driving? I grew up with disco. But I don’t listen to anything. I don’t turn the radio on. I don’t listen to audiobooks. I don’t play CDs. I listen to my thoughts, which make me seem far more interesting than I am. I’m not for or against disco. I just don’t really care.
We’ve had classical music since the world began. Capitol, Mercury, Columbia, Decca and RCA. The 78 revolution per minute (rrm). Jazz. Ronnie Scott and the Ginsberg/Jack Kerouac beatnik poetry culture of first thought-best thought, which was more suited to 33 r.r.m.
Swing and the big bands and crooners like Dean Martin and Frank Sinatra. Bill Haley & His Comets didn’t Rock My Clock. Looking at them now, they seem middle-aged, middle-class extras that wouldn’t have hung around with the other middle-aged girls like Rozzo in Grease.
P.J.Kavanagh nails it when he talks about the forgotten war in Korea. ‘We went away to Glen Miller and came back to Elvis Pressley.’
We all remember Vietnam, the euphoria of it ending. Just as disco was Stonewalled. Climbing out of the black and gay clubs in New York. From loft apartments and basement bars injected into the mainstream. A generational change that gave us that white jacket John Travolta wore in Saturday Night Fever. I wore a similar white jacket following out of the fire-exit of bus and onto my arse. Perhaps I’m still on that bus somewhere in Ireland. Too drunk to care or wave my hands in the air.
I remember The Budgie Song. I fucking hated the fucking Budgie Song. If Steve Dogs or Steve Dolls, or whatever he was called, got together with Meatloaf at Comiskey Park and arranged to blow up The Budgie Song, I’d be there cheering him on with the other loonies from the Christian White is right party of good ole Ronnie Reagan, the vanguard of the moron’s moron Trump.
Funny that. How you can love and hate records. Cultural changes isn’t just the stuff left to the politicians. Disco allowed the black and brown and gay community to express themselves in ways that were not just acceptable but could be monetised and exploited. The seeds of its own destruction to quote Marx. Or somebody with a similar vibe.
Notes.
Episode 3. Stayin’ Alive 1979.
29 of 43 Grammy Awards went to Disco and Disco songs. We’d created a culture that was unstoppable.
Fashion industry created clothes to match the beat.
National magazines do articles about it.
A lot of people wanted to capitalise on that. It got bloated. It also got rich.
You’d songs that were powerful. Then you’d corny songs that killed the disco vibe.
In every successful thing have the seeds of its own destruction.
Disco started with soul. But totally lost it. This is we want the money. So let’s do this bullshit.
TOTP. Our Number 1 this week is Village People. YMCA.
Nicky Siano: Village People were a studio band. That means they were a group of musicians picked to record a song a producer wanted to make.
John Parikhal: Marketing and Media Strategist: The answer with the record company is if there’s money in it, I’m interested.
Jacques Morali (producer) Village People from France.
Ad: Must dance and have moustache. Greenich Village.
Village People: Village People (album)
2nd album Macho Man.
Village People. In the Navy.
Sharon White, DJ. They were a lot of fun. They brought energy to an audience. {Navy] didn’t realise, the guys behind the scenes couldn’t get into the navy because they were out and openly gay.
Larry could stop a room cold. They’d be chanting…Larry…Larry…Waiting for the next thing he’s going to do.
AnaMatronic, Scissor Sisters: Their songs are very repeatable and singalong. Not a lot of people understood. It was quite a Trojan horse.
Nicky Siano: The US Navy wanted to use In the Navy as a recruitment tool. It just proved to me, the US Navy didn’t get the song/band was filled with gay stereotypes. And it was kinda of an off-colour joke, to a lot of people.
The agreement was they would allow us to use one of their ships to shoot the song. If we allowed them to use it.
2 of their albums Platnium sold a million.
At the end of it they gave us jets that flew over.
Larry would take a ladder out at 2 o’clock in the morning. Get a ladder and clean the mirror ball. Have 2000 people sitting on the floor. Shut the lights Put a record on. The place would go crazy.
Honey DiJon, DJ Producer: That was great for those people in Kansas. But people of colour and gay people weren’t listening to it. Records in Clubs. This was a time when New York was the clubbing capital of the world. Clubs were church.
Studio 52 or Paradise Garage.
Bill Bernstein, Photographer. Paradise Garage was an old garage that was converted to this dance base. That was their life. They would become a persona that made them seem free. There was a smell of poppers in the air. A smell of marijuana. And they said the punch was spiked with acid.
No other club had a DJ like Larry. Who played the music he did. That made the decisions. As much in charge of the night as Larry.
Extremely loud. You could hear the base through the wall. And the quality of the sound was extremely good.
Michelle Saunders, Paradise Clubee. We used to make our own outfits. They had nothing to do with fashion. Gays, Straight. Any colour. It was mostly gay.
Dave Depino, DJ. No clocks. No mirrors. No alcohol. What could they had done to stay awake? Could it have been…drugs?
David Maroles, DJ: Grace Jones, Mick Jagger, Boy George, Michael Jackson, they’d all come and hang out.
Back in the day, the best crowd was the gay crowd. Never any arguments. Never any arguments. Never any drama.
Larry was ahead of his time. The first mixer. The first producer. The first artist.
Nicky Siano: Then I used to hear about Larry LaBelle the DJ, who was always upfront. Grand entrance. I’m here. I’m queer. Get used to it.
One afternoon he said Nicky, would you teach me how to play records? I’d work with him on mixing techniques. How to beat match. How to pick the next record.
He is the template of what a DJ is now. Larry would go into a recording studio. See through all the excess tracks and pull out the gold.
Eg Inner Life Feat, Jocelyn Brown, Ain’t No Mountain High Enough. Mixed by Larry Levan.
It’s what we call a Garage classic.
Mark Riley, Radio Presenter, Music Creator. He was obsessed with the music. He’d be messing with the records as people came into the club. To be sure the sound wrenched your guts out.
Joceyln Brown, Artist. You’d the trend of music you didn’t hear anywhere else. It was incredible. He allowed me to sing it in my way. It might not have been Number 1, but it was Number 1 in a lot of people’s hearts.
Performing this song at the Garage was one of the most major things I’ve ever been involved in my life. Everybody was singing. It was fantastic. I’m trying to stay a good girl inside. The way things were touching on that level. It was more spiritual than anything else. It tore me up.
Frankie Crocker, biggest DJ in New York city would come to the garage and steal things.
Francis Kervorkian, DJ Producer. He’d force Larry to give things to him. And the next day you’d hear on WBLS records that weren’t going to come out for six months. Suddenly, everybody was crying to get a copy of, but couldn’t buy it. Cause it’s not out.
Larry’s fame got the Garage bigger. Then the Garage got bigger and got Larry bigger.
John Parkihal Record companies then were like film companies. The big hits paid for the losers. The more you sold. The more money you made.
I think it was a racial backlash. Because so many of the stars, like Gloria Gaynor or Donna Summer were black. And I don’t think white, rock and roll America was ready for that in the seventies.
Every night, almost, the photographers were there showing people getting turned away from Studio 54. Showing people being turned into losers. Showing people being turned into unworthy. This is a country, only 10 years earlier had gone through a period of massive inclusion where racial walls were tore down. Everyone wanted to love. Kumbuya. Brother and sister and sing in a circle. Then all of a sudden, news cameras all over the country show people being excluded.
Anita Ward; Ring My Bell.
When I was younger. I never thought of having a hit record. That never came to my mind. I graduated from college in 78 with a degree in psychology.
After teaching for around 4 months, Ring My Bell came out. It was a hit. Overnight. Number 1 in 20 countries.
I was called a one-hit wonder. You’re a commodity. That’s what you are.
They weren’t seen as artists. They were seen by the producers as vehicles for their songs.
Nicky Siano: Most of the one-hit wonders were on independent labels. Always looking for the next hit. They weren’t looking to develop artists.
More marketing. Looking for more artists that sounded like that. Eventually, they began to fade.
They’d commercialised it so much, that every record sounded the same. I no longer had any interest in words like ‘Shake your booty.’ Or ‘Get up and disco dance’. I didn’t want to hear about it. this is turning into a shitshow.
Then you had the negative backlash like you sold me a record, with a disco banner that was absolute crap. My girlfriend went out again with those fucking gay guys to go dancing, instead of staying home with me.
Then you had Studio 54 turning around 1000 people away every night.
Vince Aletti, Music Critic. That’s what music labels do. They didn’t understand what was going on half the time. [50 songs in Billboard top 100 disco]. They saturated a market that couldn’t absorb it.
Jamie Principle. Artist/Producer. There were novelty songs.
Eg Ricky Dee and his cast of Idiots. Disco Duck.
Ana Matronic. You had garbage. Cash-grab music. Coming out of garbage. Cash-grab record labels.
Marshall Jefferson, DJ Producer. I really hated it. It was just so corny.
Robert Williams. Founder of the Warehouse. Artists just couldn’t get their music out. You’d put a record out and it was just a regular ballad singer or regular folk singer. You couldn’t get your music out. They were too busy discoing.
Jake Shears, Scissor Sisters. It was too much. People were sick of it. If you were going to oversaturate the culture with a sound to that degree. People are going to turn on it.
By 1979 200 radio stations had switched to all-disco formats.
Bill Bernstein, photographer. The fact that rock and roll was overtaken by disco for a while, for a lot of people had a really negative effect.
People saw disco as a threat to the white hegemony straight people had for a decade and a half.
America saw New York City in particular as this very wild, decadent city. Everybody sleeping with everybody else.
Lee Abarms, Media Consultant. I really wasn’t a fan of disco. I was definitely in the rock category. This Studio 54 image was terrible among rock listeners. Because you couldn’t get in unless you looked the right way or acted the right way. Or just had that look…
Ana Tronic. There was already in America a movement to turning the stations that were disco back to a rock format. You had a lot of stations doing things like disco demolitions.
Nicky Siano: I think it came to a head at Caminsky Park. 12th July 1979. Chicago Whitesocks and Detroit Tigers. Highlight a disco demolition.
Steve Doll. Demolition. Anti disco.
Tickets 99c. So it was packed. People brought their kids. Double header. Best bargain in the world.
Chicago a very segregated city. 90% of blacks prefer the Y-socks. Northside have a lot more white fans.
All these white people coming to a Whitesocks game to blow up disco records.
Steve Dog out in a jeep and wearing full military gear.
It was theatre. And everybody knew that. They knew it wasn’t real. But they wanted to play along. Listeners did.
It was an amazing promotion. Probably one of the best ever. It was kinda like Woodstock. The second game in the double header had to be cancelled.
Everyone was there. Of course they weren’t. But either, the greatest moment in rock and roll. Or evil. Like burning books. But at the time it was kinda the perfect storm.
The Christian Right. The Bible thumpers were trying to press it down. But it was coming up.
Nobody was ringing my bell. I had to go back to teaching.
Candi Staton. Shame on you Steve.
Events at Comiskey Park hastened the commercial demise of disco.
Two years later, change would also come to the dance floor.
1981. AIDS. [at the time referred to as a rare form of cancer]
Talking about this gay cancer and friends of theirs had it.
Nicky Siano: I was scared to death. We didn’t know how it spread. Or if it was going to be fatal to everybody. It was a horrific time. We quickly learned, having a diagnosis of AIDs meant you had 2 years to live.
1-5 chance a victim will die in the first year of illness.
Gays became stigmatised. People that went out to clubs didn’t want to go out to clubs with gays.
Allen Roskoff. Gay Rights Activist. It was scary shit. Because people you had know for decades were suddenly gone. I lost 2 partners from AIDs. So…many people disappeared. It’s like coming back from a war. Seeing people like, oh, you made it out. I’m serious. You made it out of a war.
Ostracism. Incomprehension. Total lack of sympathy from the public, whatsoever. You’re gay. You deserve it. Good riddance. It was just bad in every way.
There was never a time when the Garage looked emptier. But you’d look in a group and say, ‘where is he’? and you knew.
Nicky Siano: Most of my friends died of AIDs. Eg David Rodriguez (DJ) was the first person, close to me, that died of AIDS.
Huge backlash. That’s when Ronald Reagan came into power.
One of the worst days of my life was watching RR get elected. I knew how bad it would be.
Ronald Reagan wouldn’t close the blood banks. Blood was getting transfused. Straights were getting AIDS.
4 years after AIDs emerged. RR publicly acknowledged the epidemic for the first time.
RR: We will not rest. We will not stop. Until we’ve sent AIDs the way of smallpox and polio.
Alex Roscoff: I’m not sure how much disco came back after the AIDs crisis. I don’t think it did.
By the 1980s, some of disco’s pioneers had moved to Chicago (from NY). Sounds of a new underground movement (Candy Staton: You can’t stop creativity).
Marshall Jefferson. DJ/Producer; you got rid of the disco. Wait and see what you got next.
Ron Trent, DJ/ Producer: Chicago is an interesting place because you’d people coming from the South, eg Mississippi. That kinda thing. West Kansas. My folks were from Kansas. City more industralised. More opportunities. Factory work. Bar tending. Let’s be clear, big budding scene. Outside the factory, you could be a musician. That’s what we Afro-Americans do. We take the scraps off the table (gig economy) and turn them into high cuisine. And that’s exactly what house music is. Then later it became associate with a style and genre that came out of Chicago.
A formula lots of people don’t understand. Very simple. But very powerful.
Frankie Knuckles is considered the godfather of House.
Our version of going viral. Frankie would take one tape and give it away. Exponential growth. Giving the music to the people. That’s how a lot of records got introduced to the public.
Basically, disco breaks in R&B songs. And Frankie used to play a lot of things reel-to-reel and he’d drum machines. So he was using those drum machines and disco loops and he was creating this new genre of music without anyone really knowing it.
Frankie worked at the Warehouse. And the term House music came from the Warehouse.
Prof Francesca T Royster, Writer/Academic. House music was disco’s revenge. The very parts of disco that were lost. Black and brown creativity. Queerness. The way that disco was part of a soundtrack of exploration before its whitewashing. House music picked that up and ran off with it.
Jake Shears, Scissor Sisters. When the disco suck’s movement came, all the budgets got cut. Suddenly there was no money for them anymore. I think those cut budgets made people more innovative with the sound.
It was unique. It was different. It was fresh off the block.
Prof Francesca T Royster, Writer/Academic. In the way hiphop grew out of the physical disinvestment in the black and brown community’s of NY, house music out of these neglected spaces became communities of creativity. And entrepreneurship.
Robert Williams. Founder of the Warehouse, Chicago, Illinois. I didn’t go to Chicago to open a club, but I saw this little …building. Which was on Jefferson.
That was Frankie’s entre to Chicago, when Larry (The Garage) said no.
Prof Francesca T Royster, Writer/Academic. Primarily a gay club with African American members. Though other folks came as well. And it was a place where you could go and dance and feel safe.
Frankie Knuckles became the most powerful DJ in Chicago.
In 1986 he mixed one of the most influential house tracks.
Jamie Principle, DJ/Producer. I didn’t get into the whole culture until I met Frankie. I wanted to do something a little different. I didn’t want to be like the norm.
Jamie Principle & Frankie Knuckles: Your Love. (b.w. Baby Wants to Ride) First house vocalist. I didn’t know I was going to be a figurehead. I look at other singers and they do great. Maybe I was the first person they gravitate towards because they could actually see. And feel connected with.
Jamie Principle DJ/Producer I didn’t know how popular the song was. Traffic jam on a Sunday. Me and my boy were in a car. And I said ‘that’s my song playing. And it was jumping from one car to another car. And we were like…stuck in traffic. He was saying, you should tell them that’s your song. And I said ‘Really?’ They don’t believe that was me. But they were hearing your love.
By the mid-80s, piano had become the dominant sound in house music. Inspiration came from an unlikely source. Elton John.
At that time there was nothing remotely resembling piano on house music. I was doing the graveyard shift on letter sorting. It was as boring as it sound. The trick was to make music in your head. I had to get home before I forgot it.
Yamaha 2×1.
Entire session. 2 hours. I’m going to give it to Ron Hardy at the music box. Plays it six times in a row.
Marshall Jefferson: Move Your Body.
April May 1986. That’s when it started leaving Chicago. That’s because all these journalists flew to Chicago and started interviewing me.
Started interviewing everybody else. All of us got record deals. With major labels.
Ron Trent, DJ/ Producer: Marshall is a smart man. He came up with something that changed the pulse.
It was different. There was nothing like it.
Vinyl Mania Records.
Then suddenly all music, tech, afro, latin, soul, disco. > all under the genre> house. [Simplification]
Ani Tronics. Marrying punk and disco> Blondie, Talking Heads, Once in a Lifetime. New wave. New Order, Blue Moon. It was just a wildly creative time.
Disco didn’t go away. The name just went away. The rhythm, the beat, the sound carried on.
Grandfather Flash & The Furious Five: The Message.
Ron Trent, DJ/ Producer: Everybody stands on somebody’s shoulders. Let’s be clear.
I used to be into hip-hop. That’s how I got started. Later 80s. Moby: Go.
Early 90s? here comes Rave. Prodigy: No Good (Start the Dance).
New group of people. The story being re-written.
If you take all the electronic music today, it owes everything to disco.
MNEK Artist Producer: We’re all dancing to a variation of what disco was.
Jesse Ware, artist: Disco’s legacy to teach, inspire, elevate. Safe space. Fun space. Liberating space.
The future of disco, is more disco. I’m very grateful for the forefathers.
It’s so important people know this. This is history.
Produced and directed by Shanne Brown.