To put it more bluntly: Chicago’s black community and its gay community—not to mention its DJ community—has a different memory of Disco Demolition Day. For many, Disco Demolition Day was an ugly effort to stomp out a misunderstood culture. But on its 30th anniversary, DDD has been tidied up, well, a bit too much.
Even as a schoolkid on the East Coast, I knew that disco was strongly associated with the lifestyles led in San Francisco and New York City. We’re talking about an era when the Village People might be special guests on The Love Boat. If you get the feeling that DDD was an uneasy assault on urban culture’s increasing mainstream relevance—I’d have to say you’re on to something. Disco had been so popular in part because it was interactive and social—not because it was class exclusive.
Disco Demolition Day has never been forgotten—especially not by the music’s fans. And there’s actually a nice bookend to DDD. Primarily black Chicago producers never forgot it as they laid the foundation for a whole new genre of music a few years later called house. Note to Steve Dahl: It’s a lot easier to blow up a record than to make one to which people will dance. It’s also worth noting that the stadium was trashed again a month later at a Foghat/Beach Boys concert—which suggests that punters’ beef wasn’t so much with disco as with popular music or just being treated like cattle at stadiums.
what a lot of people wanted was guitars and disco didn't give them enough - they also wanted lyrics more complicated than 'fly robin fly up up to the sky'
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