disco inferno movie 1979
"Disco Inferno" is a song by American disco band The Trammps from their 1976 fourth studio album of the same name. Disco Demolition Night and other anti-disco events also, like our right wing lunatics now, had a fascist bent. It was produced by Danny Weiss and also issued as a track on their 1979 LP Born to Dance. Disco Inferno: How 1979’s Doofy and Dangerous Disco Demolition Night Foreshadowed The Alt-Right. For other uses, see, Artwork for 1978 reissued US vinyl single, Learn how and when to remove this template message, "Disco Inferno Lyrics by Cyndi Lauper - Night At The Roxbury Soundtrack Lyrics", "Trammps Frontman Jimmy Ellis of Disco Inferno Fame Dies | E! "Disco Inferno" is a song by American disco band The Trammps from their 1976 fourth studio album of the same name. Now listen—we took all the disco records you brought tonight, we got ’em in a giant box, and we’re gonna blow ’em up reeeeeeal goooood.”. Enter your email address to follow this blog and receive notifications of new posts by email. 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At the time, David Marsh explained in Rolling Stone: “white males, eighteen to thirty-four are the most likely to see disco as the product of homosexuals, blacks and Latins, and therefore they’re the most likely to respond to appeals to wipe out such threats to their security. He explains in his book Disco Demolition: The Night Disco Died, “I’m worn out from defending myself as a racist homophobe for fronting Disco Demolition at Comiskey Park…The event was just a moment in time. "Disco Inferno" gained much greater recognition when the 10:54-minute album version was included on the soundtrack to the 1977 film Saturday Night Fever. She recalls a couple particularly egregious examples: “Perhaps the first rock deejay to make discophobia a part of his shtick was Dennis Erectus of KOME in San Jose, California. With "Starvin'" and "Body Contact Contract", it topped the U.S. Disco chart for six weeks in the late winter of 1977. However, Alice Echols explains, “In the end, the people who organized the most effectively against disco were not religious conservatives but deejays employed by classic rock or album oriented stations” (205). As Alice Echols reminds readers, “If Dahl’s listeners didn’t know that disco was associated with gay male culture, they did after listening to the deejay who always made a point of lisping the word disco” (205). July’s Disco Demolition Night was the logical end to this madness. Can’t fight the music, Steve! *puts on jaunty tinfoil hat*. Absolute whiny drivel from s screechy shrilly whiny liberal. ( Log Out /  Even some disco fans were becoming wary of the genre–or at least, skeptical of what was being played on the radio rather than in the clubs. Or the campy excess of The Village People? Some of the backlash also came from religious zealots like Anita Bryant who frantically “warned that homosexuals were ‘producing [disco] records with double meanings…then having ‘straight’ children buy them’” (204). Which brings us to shock jock Steve Dahl and his vendetta against disco, which led to the ill-fated Disco Demolition Night. Or the falsetto wail of Sylvester? A cover version of the track was issued by the group Players Association in March, 1978 on the Vanguard record label both in 7" and 12" format. Dahl’s distaste for disco was personal. Also angst-ridden young straight white men, who between the advances made in Civil Rights, Gay Rights and Women’s Rights in the 1960s and 1970s, were paranoid about their lessening grasp on power in the country at large, so they globbed onto the one thing they thought they had control over–the radio, conflating disco with these liberation movements. Online UK", "Top 200 Singles of '78 – Volume 30, No. Disco Demolition Night in 1979. In our constantly accelerating culture of crazy from Trump’s Twitter tirades to Nunes’s nonsense memos to art world shenanigans like deciding xenophobic border wall prototypes are “art,” it can be difficult to find time to pause and reflect. He was fired at a local station WDAI during its switch from rock to disco. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. [5] According to Tom Moulton, who mixed the record, the Dolby noise reduction had been set incorrectly during the mixdown of the tracks. Sound a bit familiar? Hired by a competing rock station WLUP, he used this platform as a bully pulpit for his anti-disco hostility, creating an “anti-disco army” called the Insane Coho Lips.

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