Speaker 1: Ridiculous History is a production of I Heart Radio. Welcome
Speaker 1: back to the show, Ridiculous Historians. Thank you, as always
Speaker 1: so much for tuning in. Let's give a big, big
Speaker 1: shout out to the one and only super producer, Mr
Speaker 1: Max Williams. Yeah, you can tell the energy folks were
Speaker 1: so stoked, so stoked. I've got no I've got to
Speaker 1: stop saying that in meetings because I think people can
Speaker 1: tell and being sarcastic. Know what, No, that was me
Speaker 1: being sarcastic, but about you being I don't know, it's
Speaker 1: too many layers of sarcasm here to wade through. Um,
Speaker 1: you know what's I'm not being sarcastic at all when
Speaker 1: I say that I love disco baby pretty on ironically.
Speaker 1: And that's the thing about like a craze or everywhere,
Speaker 1: like what something that could be seen as like a
Speaker 1: fat or like a like a moment and an explosive
Speaker 1: moment in pop culture that then starts to feel kind
Speaker 1: of dated later if you live through it, it's gonna
Speaker 1: temper the way you actually feel about it moving forward.
Speaker 1: Like you know, a dear, dear, dear friend of mine
Speaker 1: who was responsible for so much music that I was
Speaker 1: turned onto. Um, he owned a record store. Harry, you've
Speaker 1: met friend of the show, Harry grahams Um, he loves
Speaker 1: Pink Floyd, as do I. But you know what he
Speaker 1: hates by Pink Floyd The Wall. Well, the Wall is
Speaker 1: an album he has a little overwrought and bloated, but
Speaker 1: he specifically hates the song another Brick in the Wall
Speaker 1: Part two. I think because it was such an inescapable,
Speaker 1: ubiquitous smash hit, and it is, in fact a disco song.
Speaker 1: It is and yeah, disco esque. If you were to
Speaker 1: ask me, Ben, what would you be doing in the
Speaker 1: nineties seventies. I don't know if I'd be partying at
Speaker 1: Studio fifty four or anything, but I would definitely be
Speaker 1: listening to disco because during that time it was the
Speaker 1: biggest genre. Like it's it's hard to, as you said,
Speaker 1: unless you lived during that era, during that craze, it
Speaker 1: would be difficult to really understand just how popular disco was. Now.
Speaker 1: I'm a lifelong ab A fan, for instance, I I
Speaker 1: think some people just didn't like disco because they felt
Speaker 1: it got overplayed, or maybe they were being a bit contrarian.
Speaker 1: But today's story is it takes place kind of in
Speaker 1: the context of disco, where you're gonna introduce you to
Speaker 1: a DJ, we're gonna talk a little bit about the
Speaker 1: White Sox, and you might be thinking, guys, how does
Speaker 1: this all come together? You're promising me quite a bit
Speaker 1: in today's podcast. Well, just you wait, fellow ridiculous historians.
Speaker 1: We should maybe start with the name. It's called Disco
Speaker 1: Demolition Night and shout out to our new researcher that
Speaker 1: we teased earlier, Mr Zach Williams. Yeah, Zach Um did
Speaker 1: a deep dive on a topic that I was pretty
Speaker 1: familiar with because of a podcast that I worked on
Speaker 1: called The Speed of Sound with the wonderful and talented
Speaker 1: and storied Mr Steve Greenberg, who did He insisted on
Speaker 1: doing a multipart episode. I think we talked him out
Speaker 1: of four parts and al ended up down to three
Speaker 1: on disco, and his argument was that it is a
Speaker 1: cultural kind of high water mark, or the very least
Speaker 1: represented a very important kind of crossroads in music, you know,
Speaker 1: in the history of music and the history of genre,
Speaker 1: in the history of fandom, and it all kind of
Speaker 1: crested or you know, we can actually see the moment
Speaker 1: that disco you know, or at least, the heyday of
Speaker 1: disco essentially died. Uh, and it died in full view
Speaker 1: of a a stadium full of around forty thousand baseball
Speaker 1: fans at Kaminsky Park in Chicago. It essentially went up
Speaker 1: in flames. Um demolition. Disco Demolition Night was a promotional
Speaker 1: thing like sort of like you know, free bobble Head
Speaker 1: Night or like two for one Beard night, you know,
Speaker 1: at the ballpark. But this was a little more divisive,
Speaker 1: and it was organized by a guy by the name
Speaker 1: of Steve Dahl, who was on the forefront of a
Speaker 1: movement that was happening at the time. Because any time
Speaker 1: you have something as big as disco, something as big
Speaker 1: as like, you know, let's say three D movies that
Speaker 1: kind of came and went, but they were pretty popular
Speaker 1: for a little bit, you're gonna have a backlash that
Speaker 1: goes along with. Uh. And this backlash was collectively referred
Speaker 1: to as the Disco Sucks movement right right, And uh, this,
Speaker 1: you know, this is very common. I would say that
Speaker 1: sort of mentioning contrarianism earlier, because if something reaches any
Speaker 1: certain threshold of hype, then there will be people who
Speaker 1: just say I'm not into it for one reason or another,
Speaker 1: whether you're talking about star wars or a religious movement
Speaker 1: or a genre of music. It's easy to understand, though,
Speaker 1: why the Disco Sucks movement could have occurred, like why
Speaker 1: people got less and less hyped about disco. It really
Speaker 1: was ubiquitous. If you look at the first half of
Speaker 1: nineteen seventy nine, then you'll see that of all the
Speaker 1: top singles on the US charts, all sixteen we're disco
Speaker 1: except for three. There were three non disco songs, which
Speaker 1: is nuts. That means anywhere you go on the radio,
Speaker 1: you're virtually guaranteed to hear a disco song. And if
Speaker 1: you look at the year before that, disco songs had
Speaker 1: been number one for thirty seven weeks out of fifty two.
Speaker 1: That's where we go to. Alice eccles, who is a
Speaker 1: cultural historian and author of Hot Stuff, Disco and the
Speaker 1: Remaking of American Culture. Ecl says that disco had kind
Speaker 1: of pushed out the old standby of album oriented rock,
Speaker 1: which she refers to as a o R, and live venues,
Speaker 1: not just nightclubs, but live venues in general, were increasingly
Speaker 1: switching over to disco. And record labels were making a
Speaker 1: lot of money, but they didn't particularly love it. A
Speaker 1: lot of music fans, a lot of rock fans also thought,
Speaker 1: you know, disco was just the worst thing ever, and
Speaker 1: they started to fight back against it. And here's the thing.
Speaker 1: I mean, you're a record executive, you know, an A
Speaker 1: and R person whatever, like there's gonna be there's a
Speaker 1: certain tastemaker quality to to being a record executive or
Speaker 1: to running a record label, like you want to be
Speaker 1: the ones responsible for the next big sound or whatever.
Speaker 1: You know, even though disco was definitely super lucrative, it
Speaker 1: was kind of starting to feel a little samy and
Speaker 1: sort of like, well, it's all kind of bleeding into
Speaker 1: one another, all these songs, and the executives and the
Speaker 1: and R folks didn't really feel like they even had
Speaker 1: a hand in it as much anymore. But of course
Speaker 1: they're not going to turn off that money faucet. And
Speaker 1: the way this fantastic article in The Guardian by Alex
Speaker 1: Petro Titus puts it. The article, by the way, it's
Speaker 1: called Disco Demolition, The night they tried to crush Black music.
Speaker 1: That last part we're going to get into um in
Speaker 1: a big way very soon. They make a really good point.
Speaker 1: It's even the record labels were making a lot of
Speaker 1: money off disco. They were holding their nose. They were
Speaker 1: worried about it crashing, but they wanted it to crash
Speaker 1: so they could go back to classic rock. There was
Speaker 1: also a grassroots anti disco movement, a national effort on
Speaker 1: the part of people involved, so that that's that disco
Speaker 1: sucks movement. So Steve Dahl and the executives UH and
Speaker 1: responsible for promotions at the ball field at Kamiskey Park
Speaker 1: UH decided that this was something that could be capitalized on.
Speaker 1: UM So Steve Dahl and Gary Meyer, who were both
Speaker 1: disc jockeys, actually at the w l u p radio
Speaker 1: station in Chicago called the Loop FM. If you ever
Speaker 1: been in Chicago, you know there's a part of the
Speaker 1: city called the Loop where you can take the L
Speaker 1: train kind of orbits um different neighborhoods on the outskirts
Speaker 1: of the city and then various points kind of take
Speaker 1: you more into the city. Chicagoans tell me if I
Speaker 1: even remotely got that right, I think I'm closed. But
Speaker 1: Dall had moved to w l u P U from
Speaker 1: a rival station called w d a I, and that
Speaker 1: was because that station had switched to an all disco format,
Speaker 1: which was something that was happening all across the country
Speaker 1: in nineties seventy nine in particular. So a lot of
Speaker 1: rock DJs, We're getting their lunch eaten by the this
Speaker 1: this format change, by these disc a dj So there
Speaker 1: was a lot of resentment. There was a lot of
Speaker 1: simmering kind of you know, um bitterness toward this movement.
Speaker 1: And again because this, you know, a city like Chicago
Speaker 1: is like a rock city. You mean, there's a lot
Speaker 1: of jazz there and stuff too, but you think of
Speaker 1: chicagoan's kind of blue collar rock folks, and it's definitely
Speaker 1: even still like that to this day. So this was
Speaker 1: a place that made sense to be ground zero for
Speaker 1: that's kind of like destruction of disco, because these these
Speaker 1: concerns were very real, not to mention, like you said, Ben,
Speaker 1: the the the move away from the album format to
Speaker 1: the single format and away from the live music venue
Speaker 1: to the club was also busy, and people off Zanna Do. Sorry, guys,
Speaker 1: that's what I was trying to think of. Zanna Do.
Speaker 1: The nineteen eight film Remember Zanna Do Do? You guys
Speaker 1: remember they had Olivia Newton, John Electra Light Orchestra. No, yeah,
Speaker 1: you're yeah. Yes, it's a roller skating movie. Um, and
Speaker 1: it is not very good, but it is as an
Speaker 1: artifact of a time and place. It's such a specific,
Speaker 1: such a specific genre, that I think it naturally becomes
Speaker 1: number one in the roller skating musicals of the nineteen eighties.
Speaker 1: But yeah, this is the Disco is not for everyone.
Speaker 1: And there's this great article and Rolling Stone where they
Speaker 1: recount some of Steve Doll's statements two newscasters of the day,
Speaker 1: and he says he's listing out the reasons that he
Speaker 1: doesn't care for disco. He's pretty humorous. He says, I
Speaker 1: hate the taste of pina coladas. I'm allergic to gold jewelry,
Speaker 1: so there's nothing there for me. You have to spend
Speaker 1: so much time blow dry in your hair. It's a
Speaker 1: waste of energy. And uh you can tell. Of course,
Speaker 1: radio station personalities tend to we tend to be big personalities.
Speaker 1: So he is be and humorous, but he is also
Speaker 1: not He's also trying to find a creative way to
Speaker 1: protest against the dominance of disco, and he and his
Speaker 1: buddy Gary, he just mentioned At first, they said, all right,
Speaker 1: we're gonna just blow up a bunch of disco records
Speaker 1: on the field between the games. And they also cooked
Speaker 1: up this scheme with Bill Veeck, who was the owner
Speaker 1: of White Sox at the time. And Bill had another problem.
Speaker 1: The season wasn't going super well and he really wanted
Speaker 1: to increase attendance. He wanted those butts in the seat. Uh.
Speaker 1: And his son Michael, who was about twenty eight at
Speaker 1: the time, was instrumental in talking his father into doing
Speaker 1: this promotion because Michael, like Steve and like Gary, hated disco.
Speaker 1: He thought it was a blight on the American music
Speaker 1: scene and disco bashing, his mind, became a celebrity cause
Speaker 1: just because there wasn't really anything else to do. And
Speaker 1: you know, interestingly enough, the White Sox had experimented with
Speaker 1: a themed disco night before. Two years before this event,
Speaker 1: they had a disco night that was celebrating disco, so
Speaker 1: this one would be dissing disco. It's a disco disc.
Speaker 1: Disco dis disastrous, dystopia demolition. We have them, We're demolishing
Speaker 1: this this series of alliteration, alliterateate of terms. Remember that
Speaker 1: movie demolition man there was what were they for? Were
Speaker 1: there for wiping? It was unclear. It was on the
Speaker 1: back of a toilet. Sorry, it was just foolish to
Speaker 1: not know. And uh, Sylvester Stalone was haunted. But this,
Speaker 1: so this seems like it could be kind of fun.
Speaker 1: You go to the show or you go to the game,
Speaker 1: you bring a disco record with you, and you pay
Speaker 1: cents to watch the album's all get blown up together.
Speaker 1: So it's a little spectacle, you know what I mean.
Speaker 1: No one's getting hurt. The record companies probably don't care
Speaker 1: because you've already bought the record, the band already got
Speaker 1: their money, right, or whichever artists were mentioning. But soon
Speaker 1: enough it became clear that everybody, from the owner of
Speaker 1: the White Sox to the DJs involved, had no idea
Speaker 1: how popular this concept was. Especially you're only charging people cents.
Speaker 1: Come on, that's like the cheapest day in town, and
Speaker 1: I want to jump in here. It was ninety eight
Speaker 1: cents for a double header two so you got eight
Speaker 1: pmatings of baseball, so you could just it's like an
Speaker 1: all day thing. You to go to a game, watch
Speaker 1: the stuff get blow up, get another game. Well at
Speaker 1: least in concept, and so it's just like that, that's
Speaker 1: that's a really good deal. It's forty eight. It's like
Speaker 1: less than fifty cents or game right, too good a deal.
Speaker 1: In fact, they didn't expect the turnout they were going
Speaker 1: to get because I think they were looking at this
Speaker 1: whole disco sucks thing is sort of a novelty, sort
Speaker 1: of a way to be a little contrarian, like you said, Ben,
Speaker 1: to sort of like support that whole of Chicago, you know,
Speaker 1: rock mentality or whatever, and sell a few extra tickets
Speaker 1: in the meantime. But it was way more popular than
Speaker 1: I think anybody planned. And part of that was that
Speaker 1: people were bringing records right that they were wanted to
Speaker 1: see blown up. But it wasn't really clear to the
Speaker 1: people that were taking tickets, you know, which ones were
Speaker 1: disco officially and which ones weren't. And to that end,
Speaker 1: I want to bring up an interesting point the genre,
Speaker 1: the idea of disco it is referring to. I mean,
Speaker 1: think about it. It's like a club is called a disco.
Speaker 1: Maybe I'm not getting the order of operations here, right,
Speaker 1: but I mean a disc is a vinyl record, So
Speaker 1: it's just referring to playing records, so disco songs, while
Speaker 1: it ended up being associated with a genre and kind
Speaker 1: of a four on the floor, you know, kick drum
Speaker 1: kind of thing with percussion and stuff. A lot of
Speaker 1: there's a lot of genre hopping within the supposed genre
Speaker 1: that is disco. I would say the beat is a
Speaker 1: disco beat, but then you can apply that to like techno,
Speaker 1: you can apply that to toum house music or whatever.
Speaker 1: But that's of course came came later, and we'll get
Speaker 1: into that. Chicago played a big role in that as
Speaker 1: well later down the line. But people were bringing all
Speaker 1: kinds of records, but they were bringing like R and
Speaker 1: B records music by black artists, and it became, you know,
Speaker 1: a little bit clear that the whole disco sucks movement
Speaker 1: some of the folks involved in that, we're using it
Speaker 1: as a way of kind of participating in veiled racism,
Speaker 1: not very veiled, not very veiled. But you mentioned abbas
Speaker 1: about as white as you can get, you know, with
Speaker 1: with a with a band. I mean, there are a
Speaker 1: bunch of Swedes, you know, playing kind of disco music,
Speaker 1: but a lot of the top hits, you know, of
Speaker 1: the disco age were from black artists, and that was
Speaker 1: not the case prior to that in terms of like
Speaker 1: what was popular on the radio was a lot of
Speaker 1: white you know, long hair kind of like rock and
Speaker 1: rollers or whatever in the sixties and seventies. And of
Speaker 1: course there was some you know, popular black sixties motown
Speaker 1: of course and all of that stuff, but it wasn't
Speaker 1: the same. This was very very mainstreaming, and I think
Speaker 1: a lot of people resented that and used as an
Speaker 1: opportunity to be nasty towards these these black artists. So
Speaker 1: people were bringing all kinds of stuff that wasn't quote
Speaker 1: unquote disco, and they were told when the people taking
Speaker 1: tickets as their supervisors, I don't know, this is a
Speaker 1: really disco. That doesn't matter if they brought a record,
Speaker 1: give him a ticket. Yeah, And that still wasn't enough.
Speaker 1: Fans were busting down the gates, they were climbing over
Speaker 1: the walls. More than seventy five thousand people. We're filling
Speaker 1: the stadium, not even a lot of them. Not not
Speaker 1: so much for the games, even though, as you mentioned,
Speaker 1: max is a doubleheader. They just wanted to see the
Speaker 1: records explode. And the crowd was especially during the first game,
Speaker 1: they were already rowdy. They were throwing records, you know,
Speaker 1: supposedly disco records. They were throwing cherry bombs. They were
Speaker 1: throwing like anything they had at the players on the field.
Speaker 1: So this is, as you can imagine, kind of distracting
Speaker 1: to the guys who are there to play baseball. The
Speaker 1: Socks lose the first game to the Tigers, and it's
Speaker 1: four to one, and then right the game's over. So
Speaker 1: the part of the show everybody really wants to see
Speaker 1: is about to begin. Our DJ Dall comes onto the field.
Speaker 1: He's wearing camo and a helmet, and uh, everybody still
Speaker 1: is throwing beer and vital records at him, and he's
Speaker 1: cheering them on. He's like, this is the world largest
Speaker 1: dance I Disco rally. We took the records you bought tonight.
Speaker 1: We got him in a giant box. We're gonna blow
Speaker 1: him up real good. And everyone's like, WHOA, yeah, how
Speaker 1: do he blows them them up real good? Ye? Seeing
Speaker 1: what this guy looked like at this time, I actually
Speaker 1: haven't seen a photo of the guy describing to his max, Uh, he's, uh,
Speaker 1: what you call it a military outfit? I mean it's
Speaker 1: a it's a stretch. I would say, Uh, he's got
Speaker 1: real big, like seventies early eighties glasses. The hair is
Speaker 1: pretty scruffy to say the least. Um, it's an interesting
Speaker 1: look to say the least, it looks like it looks
Speaker 1: almost like a like a mix between a hippie and
Speaker 1: a would be dictator. That's very appropriate given his you know,
Speaker 1: what he's doing here is ultimately stirring up a mob
Speaker 1: with rhetoric, you know, surrounding what is ultimately an ideological perspective.
Speaker 1: You know, I mean it sounds silly now we think
Speaker 1: about it, like dis go whatever. It seems so frivolous
Speaker 1: and like this whole period of excess that was sort
Speaker 1: of like an antithesis to this the free love of
Speaker 1: the sixties and you know, psychedelics, it was more about
Speaker 1: cocaine and like longevity and just like endurance. You know,
Speaker 1: you would just you know, party boogie woogie woog until
Speaker 1: you just can't book you no more and all that stuff.
Speaker 1: But it was it was all kind of surfacy, like
Speaker 1: all of the like meaning and counterculture that was wrapped
Speaker 1: up in the sixties and seventies, all of that kind
Speaker 1: of went out the window with disco because it was
Speaker 1: just like all about looking good and like being hot
Speaker 1: and having money, you know what I mean. It wasn't
Speaker 1: that they didn't really have a cause it was it
Speaker 1: was all just kind of this like vacuous surfacing stuff.
Speaker 1: So this guy, who, like you said, represents you know,
Speaker 1: the the antithity, the backlash to what I just described,
Speaker 1: is up on a podium, you know, working this group
Speaker 1: up into a froth and then exploding these records and
Speaker 1: this symbolic act, you know, with shards of wreck. By
Speaker 1: the way, this does not seem very safe. You ever
Speaker 1: seen a shard of a vinyl record? I mean he
Speaker 1: cut somebody with one of those. I mean, you got
Speaker 1: like shrapnell of this stuff flying everywhere? Or were people
Speaker 1: wearing safety goggles? I mean, I know it was a
Speaker 1: different time, but come on, when when I was a kid,
Speaker 1: this is a true story, I did not understand that
Speaker 1: breaking a record was a figurative thing. I thought that
Speaker 1: you became a record breaker by physically breaking records. Uh.
Speaker 1: Apologies to my parents, because I got renaissance tasty vital
Speaker 1: and it came in. I told my mom I was
Speaker 1: a record breaker. I oddly enough to not get in trouble,
Speaker 1: but I did. I did hurt myself, so I know
Speaker 1: exactly what you're talking about. The Vinyl Shards don't try
Speaker 1: it molten and sharp, and it's all just shooting out
Speaker 1: of the crowd and people are just like losing their minds.
Speaker 1: You know. It's like all over the field, people start
Speaker 1: channing Disco sucks, school sucks, Disco sucks. And they're getting
Speaker 1: out of their seats now and jumping over the barricade
Speaker 1: down into the field and like cult like, you know,
Speaker 1: dancing like around this this this dumpster fire literally while
Speaker 1: being rained down, you know, by while the Vinyl Shards
Speaker 1: are raining down from on high, they're stealing stuff. They're
Speaker 1: starting to loot like bats and batting helmets and things
Speaker 1: like that, and of course you know they're politely being
Speaker 1: asked by the announcers to please return to their seats. Right, Yeah,
Speaker 1: it's uh, it's increasingly ineffective that there's a there's an
Speaker 1: interesting escalation here, like a back and forth, right, because
Speaker 1: individual people are really really intelligent, but big groups of
Speaker 1: people are really really dumb. So I learned about that
Speaker 1: recently at a hot air balloon festival. But anyhow, so
Speaker 1: we know we see these people trying to talk down
Speaker 1: the crowd, like you said, noll the p A. Their
Speaker 1: appeals are ignored. The owner of the White Sox gets
Speaker 1: on the field, he grabs a microphone and it's like, hey,
Speaker 1: come on, will you please sit down out and so
Speaker 1: we can play play baseball. And then this goes on
Speaker 1: for like forty minutes. The crowd in the stadium divides.
Speaker 1: There's still some fans who are in the stands right
Speaker 1: there in their seats, and they start a counter chant
Speaker 1: and they're just yelling back to your seats, back to
Speaker 1: your seats, and then they start playing take me out
Speaker 1: to the ball game. None of this works to the
Speaker 1: crowd is just even more adamant about this protest. So
Speaker 1: the Chicago police show up in full riot gear and
Speaker 1: start clearing the field while the crowd in the stands
Speaker 1: is starting to sing in kind of a petty spiteful way.
Speaker 1: Na na na na na na na na. Come on.
Speaker 1: Every time I hear that, I always say. They're saying
Speaker 1: gooden bye, like like a German like good bye, you
Speaker 1: know not, So this becomes kind the rallying cry, right
Speaker 1: because this is sort of like an anti disco anthem
Speaker 1: sort of. I mean not not not because of the
Speaker 1: content of the song. It's just saying like goodbye, ushering out,
Speaker 1: you know, the age of discom But it also is
Speaker 1: more of a more of a rock song. Yeah yeah,
Speaker 1: by the band Steam, who has been described as pop
Speaker 1: or psychedelic pop. But it's it's a good song. And
Speaker 1: you know, in the three of us are big, big
Speaker 1: fans of music across many genres. I don't know which,
Speaker 1: I don't know which side we would be on in
Speaker 1: this in this stadium. But here's the thing that's really interesting.
Speaker 1: It's something we've alluded to through this episode. Right now,
Speaker 1: A lot of people may think of Disco Demolition Night
Speaker 1: as a marketing stunt gone wrong, right, be careful what
Speaker 1: you wish for when you say you want more people
Speaker 1: to come to your stadium. But in the larger context,
Speaker 1: this shows us um. I think it's indicative of some
Speaker 1: growing intensions in Chicago and in the rest of the
Speaker 1: United States. Like you mentioned the idea that people were
Speaker 1: picking records by black artists and then we say we're
Speaker 1: going to destroy those. I want to go back to
Speaker 1: that excellent Rolling Stone article that Zack pointed out, which
Speaker 1: is watch disco demolition Night devolved into a fiery riot
Speaker 1: by Andy Green, and Green points out that for a
Speaker 1: lot of people, for a lot of non white people,
Speaker 1: this incident was very disturbing because everybody was aware that,
Speaker 1: you know, a lot of the guys who were doing
Speaker 1: this were white dudes who are like burning records and
Speaker 1: rioting and whatnot, and disco as a genre was incredibly
Speaker 1: popular among many non white groups and people from different demographics,
Speaker 1: you know, gay people. Oh not to mention people from
Speaker 1: the gay community, right was a big part of it too,
Speaker 1: And there was a sense you know, and again the
Speaker 1: DJs responsible for this event would go on to say
Speaker 1: like I'm no homophobe, I'm no racist. I was this
Speaker 1: was more just like a tongue in cheek kind of
Speaker 1: stunt to you know, sort of like pok the finger
Speaker 1: in the eye would have become the kind of like
Speaker 1: prevailing you know genre in almost like in a in
Speaker 1: a an egregious way, in a way that was like
Speaker 1: seeming seemingly wiping out other culture. But that doesn't just
Speaker 1: because someone had doesn't have like an endgame in mind
Speaker 1: that other people Glamanto as part of a movement doesn't
Speaker 1: mean those other people aren't part of the movement too.
Speaker 1: And and there certainly were homophobes and racists involved. And
Speaker 1: we'll get to a really fascinating story in a little
Speaker 1: bit that Zach found as well, from the perspective of
Speaker 1: of of of a black person who was actually working
Speaker 1: at the field the day of of this of this riot,
Speaker 1: and the way he was treated. Yeah, yeah, exactly. I
Speaker 1: mean there's a guy named Nile Rogers speaking about this
Speaker 1: incident who said that for his yeah, yeah, he said
Speaker 1: that for this community felt like Nazi book burning. You know,
Speaker 1: Roger said, quote, this is America, the home of jazz
Speaker 1: and rock, and people are now afraid to even say
Speaker 1: the word disco. And you know, I think we stumble
Speaker 1: upon such an important thing about American culture here. Like
Speaker 1: you said, nol Doll just said, Look, he said, we
Speaker 1: were just kids who were basically taking the piss out
Speaker 1: of a genre of music. We're not. It wasn't meant
Speaker 1: to be racist, it wasn't meant to be homophobic. But
Speaker 1: I think you make an excellent point that just because
Speaker 1: that guy didn't intend to do this, it doesn't mean
Speaker 1: that other people involved, We're also not being racist or homophobic,
Speaker 1: because a couple definitely We're so there's this idea. It's
Speaker 1: mentioned in that Guardian article we sided earlier that disco
Speaker 1: is a threat to some kind of white status quo.
Speaker 1: You know that there's a culture war brew Wing and
Speaker 1: d J's in Detroit. I didn't know this week out
Speaker 1: in the story, DJ's in Detroit formed a disco themed
Speaker 1: vigilante group called, and this is true, folks, the Disco
Speaker 1: Ducks Clan. Because Disco Duck was was kind of a
Speaker 1: a lot of people point to Rick D's Disco Duck.
Speaker 1: We should actually play a little clip of it. It's
Speaker 1: it's too silly, down too essentially a Donald Duck kind
Speaker 1: of voice over at disco beats. It really signaled like
Speaker 1: this is a joke. This has become a joke. Quack quack,
Speaker 1: you know it's I mean, it's just ridiculous. It's it's
Speaker 1: it's just a total novelty song. And just showed that
Speaker 1: this that bubble that the record labels were worried about,
Speaker 1: it was. It was, it was there and and and
Speaker 1: all it needed for it to burst was this moment
Speaker 1: at com Ski Park. And that was literally like the
Speaker 1: powder Keg moment that burst the disco bubble and then
Speaker 1: made it just like straight up not cool because again,
Speaker 1: it also represented kind of yuppie culture. It represented kind
Speaker 1: of these like you know, but then then we're getting
Speaker 1: into the eighties and then the disco kind of molds
Speaker 1: into like, you know, eighties kind of like you know,
Speaker 1: electronic music, like things like you know, Culture Club and
Speaker 1: Human League, which I love all of that stuff. But
Speaker 1: if you watch a movie like American Psycho and you see,
Speaker 1: you know, the way the serial killer Patrick Bateman is
Speaker 1: sort of um portrayed as this eighties music loving, you know,
Speaker 1: suit wearing, fine business card having psychopath, you understand what
Speaker 1: how it's parodying that kind of yuppy culture that sort
Speaker 1: of began with disco and didn't really go away. It
Speaker 1: just started calling it something else and the sound changed. Yeah,
Speaker 1: and and music should always be evolving, right, I think
Speaker 1: that's a very solid argument to make. But this is
Speaker 1: a flashpoint for the American attitude about disco. And after
Speaker 1: this moment, disco begins to encounter a really sharp decline.
Speaker 1: And that doesn't mean that everybody all at once decided
Speaker 1: they didn't like disco. It had just been so popular
Speaker 1: that it was unsustainable, you know what I mean. So
Speaker 1: if you go to that we mentioned the stat for
Speaker 1: the first half of ninety nine, right, all but three
Speaker 1: of the top hit songs or disco songs. But if
Speaker 1: you go to the second part of nine, you'll see
Speaker 1: there was only one disco song that made it to
Speaker 1: the top of the charts, and it only did it
Speaker 1: for a week. It was Michael Jackson's Don't Stop Till
Speaker 1: You Get Enough. I'm falling into DJ voice, you know,
Speaker 1: like we're back from the commercial for sure, which is
Speaker 1: which is a stone called banger, and that song holds
Speaker 1: up to this day despite you know, it is that
Speaker 1: art from the artist the conversation, I think it's a
Speaker 1: case by case basis. But for me, some of the
Speaker 1: music of Michael jacks especially his classic error is unimpeachably great.
Speaker 1: And don't Stop Till You Get Enough. Yes, it is
Speaker 1: a disco song. It has a lot of hallmarks of
Speaker 1: disco culture, those strings and that don't bank ant all
Speaker 1: of the instrumentation of that, uh, is very much in
Speaker 1: line with disco, but it also like what even is disco?
Speaker 1: You know, I mean it really it was just it
Speaker 1: just danceable music with like cool arrangements, with kind of
Speaker 1: an airy uppeat quality to it. Like, I think that's
Speaker 1: the issue here, is like it was more of a
Speaker 1: culture than it was a genre, you know. Yeah. Denny Hilton,
Speaker 1: writing Froxford University Press, he had this article called the
Speaker 1: Birth of Disco and I learned some pretty interesting stuff
Speaker 1: from that. I didn't know the etymology, you know, I
Speaker 1: love etymology. Disco tech is a French word that just
Speaker 1: means library of phonographic records, like tech. And I was,
Speaker 1: I was, I was posing this question earlier, and a
Speaker 1: conjectured that had to be disco is just the disc
Speaker 1: and the disco is just a place where you go
Speaker 1: to listen to the disc. Yeah. Yeah, it goes back
Speaker 1: to it was a type of French nightclub emergent in Paris.
Speaker 1: They had started playing these records during the Nazi occupation
Speaker 1: in the nineteen forties, and eventually some clubs just started
Speaker 1: calling themselves, you know, like the disco dick and and
Speaker 1: uh then later it came over across the pond to
Speaker 1: the US. But but yeah, it's tough to kind of
Speaker 1: define it. And I like the point. I like the
Speaker 1: supposition that it might simply be a matter of culture, right,
Speaker 1: as much as a rigorously defined musical genre, which it
Speaker 1: kind of isn't rigorously defined. And so now we know
Speaker 1: there's this mainstream push against disco, but it doesn't go away.
Speaker 1: It kind of goes back underground where it was in
Speaker 1: the beginning. There's a pretty interesting thing that I wanted
Speaker 1: to ask you guys about. There's this argument that when
Speaker 1: it went back underground and it wasn't as mainstream as
Speaker 1: it happened in years past, that the artists were able
Speaker 1: to become even more adventurous and creative. You think, so
Speaker 1: you agree with that, Oh well, nineteen seventy nine was
Speaker 1: a really important year for music in the underground in
Speaker 1: terms of like indie which you might call indie music.
Speaker 1: Like nineteen seventy nine I believe was the year that
Speaker 1: like David Bowie's Low came out, and and Bowie certainly
Speaker 1: would dabble in, you know, dance dancing music with stuff
Speaker 1: like literally let's dance and uh fashion on Scary Monsters,
Speaker 1: But he took dance music and kind of like flipped
Speaker 1: it on its head and made it like sort of
Speaker 1: subversive dance music where it was like yeah, it has
Speaker 1: a fun disco b but it also has like a
Speaker 1: Japanese woman like screaming of the top for lungs and
Speaker 1: Japanese and like the sounds of glass breaking, and you know,
Speaker 1: like Robert Fripp's guitar sounded like a chainsaw cutting down
Speaker 1: a forest, you know, and you can really I tried
Speaker 1: to find a chronological list of of hit songs from
Speaker 1: nineteen seventy nine, and it's true. It really does kind
Speaker 1: of appear that the first part of it is a
Speaker 1: lot of disco e type songs like Donna Summer, Herbie Man, Shalamar.
Speaker 1: You know, I believe that's uh. I believe that's a
Speaker 1: disco e type song. But then you have like, you know,
Speaker 1: Blondie with Heart of Glass, which is a disco song
Speaker 1: by Blondie. Because even artists that were more punk, we're
Speaker 1: getting into disco, like we talked about with Pink Floyd
Speaker 1: in the Wall. You know, they were like kind of
Speaker 1: a psych band, punk you know, whatever you wanna call it,
Speaker 1: experimental band, but they that song was a massive hit
Speaker 1: for them, and even if it wasn't like anything else
Speaker 1: they've ever done. And you know, Rod Stewart, if you
Speaker 1: want my body and you think I'm sexy. Like his
Speaker 1: earlier stuff was mega seventies and beautiful, like The Faces
Speaker 1: was kind of you know, folky, punky kind of roots music,
Speaker 1: you know. But then later when we get to that
Speaker 1: second half, you have Blondie you with a hit with
Speaker 1: the song Dreaming, just a disco song at all. It's
Speaker 1: much more of like what we would think now is
Speaker 1: like a proto kind of indie dream pop kind of song,
Speaker 1: you know, like something that Beach House would do almost
Speaker 1: you know. So it's a really interesting trajectory because then
Speaker 1: you have like Brian Eno and these artists that are
Speaker 1: helping some of these disco e type artists make more
Speaker 1: interesting stuff or take pieces of the disco sound and
Speaker 1: turn into something a little more interesting something. I'm a
Speaker 1: fan of that in every in every genre. That's one
Speaker 1: thing that I really love about hip hop as well,
Speaker 1: is you can you can take pretty much any aspect
Speaker 1: of any other genre of music and you can put
Speaker 1: it into a beat and it'll sound really good right
Speaker 1: with especially the hands of a talented producer. I think
Speaker 1: that kind of evolution should be welcomed. You know. It's
Speaker 1: always weird to me when I and I know, not
Speaker 1: all music is for all people, but it's weird to
Speaker 1: me when I hear someone say I disc like insert
Speaker 1: genre here, whether that's like um marengue, or whether it's
Speaker 1: you know, opera, or whether it's nineties alternative rock. The
Speaker 1: question is have you heard every song in that genre?
Speaker 1: Maybe you just haven't heard one that speaks to you.
Speaker 1: So it's such a weird broad brush to say, you know,
Speaker 1: I hate all disco. It seems like in this case,
Speaker 1: these people were saying, I hate what disco in my
Speaker 1: mind represents one million percents. Now that's that's that's why
Speaker 1: I said it was much more of a a lifestyle
Speaker 1: or like a brand than it was even a sound.
Speaker 1: And you know, we we get into kind of more
Speaker 1: modern times where now you know, like vapor wave for example,
Speaker 1: which is like a really interesting mash up kind of
Speaker 1: culture jamming sort of genre of music that will take
Speaker 1: everything from like elevator music to like gum commercials from
Speaker 1: the eighties to disco and like slow it down and
Speaker 1: kind of chopp and screw it to make really interesting
Speaker 1: subversive psychedelic dance music. You know Arthur Russell, for example,
Speaker 1: who's like, you know, he's he's an artist that's all
Speaker 1: over the place. He put out a kind of a
Speaker 1: series of avant disco kind of records and that became
Speaker 1: a thing too with DJs, and like, you know, then
Speaker 1: you start getting into like the mainstreaming of Kraft work
Speaker 1: and like German electronic or European electronic sounds, and that's
Speaker 1: all kind of part and parcel with that Bowie era
Speaker 1: that I was describing, because he went to Berlin to
Speaker 1: get off of cocaine and other drugs and he ended
Speaker 1: up making these three albums while he was there, produced
Speaker 1: by Brian you know, Low Lodger and Heroes, which are
Speaker 1: three of my favorite albums of all time and certainly
Speaker 1: of of Bowie's career. And then you start getting into like,
Speaker 1: you know, DJ's like Frankie Knuckles in Chicago who's using
Speaker 1: edits of disco songs and changing the speed and mashing
Speaker 1: them up with other sounds and synthesizers and stuff. So
Speaker 1: it's like, this is the city that you know, burned
Speaker 1: disco to the ground, became a really important city for
Speaker 1: a burgeoning new kind of club sound, which is disco
Speaker 1: in a way, like neo disco. Yeah, and this is
Speaker 1: where we want. So I've been trying so hard not
Speaker 1: to tell you guys bad disco jokes. But we're gonna get.
Speaker 1: We're gonna get a few days. We'll save for the end.
Speaker 1: You say that now, my friend. But uh, but we
Speaker 1: we would be remiss if we did not follow up
Speaker 1: on a very important story that we talked about just
Speaker 1: a second ago. We said, we're gonna give you the
Speaker 1: experience of someone who is a civilian not involved in
Speaker 1: this riot. There's a guy named Vince Lawrence. It's the
Speaker 1: summer of nineteen seventy nine. He has acquired a part
Speaker 1: time job at Commitsky Park as an usher. And Vince,
Speaker 1: you know, as a young black teenager, knew this wasn't
Speaker 1: maybe the ideal job, but he like It was very
Speaker 1: close to a neighborhood called Bridgeport, and at the time,
Speaker 1: according to Vince, he said, quote, it was common knowledge
Speaker 1: that you might not want to be hanging around after
Speaker 1: dark because there were people there who for sure don't
Speaker 1: like you based on your color. That's right, And just
Speaker 1: just a little extra context, Vince Lawrence's father was a
Speaker 1: guy named Eddie Thomas who worked, or believe founded or
Speaker 1: managed several funk acts who were on the label Curdam
Speaker 1: Records was the Chicago based like funk label artists like
Speaker 1: Captain Sky who you know funk also was kind of
Speaker 1: in the disco realmant times, but it was again it
Speaker 1: was lumped in. I would not say that it absolutely
Speaker 1: actually was that what you would associate with the disco sound.
Speaker 1: It was the kind of artist that you'd see on
Speaker 1: Soul Train. But Vince himself went on to become a
Speaker 1: pioneering electronic music producer in the genre that I was
Speaker 1: describing earlier, like the synth kind of like mash up,
Speaker 1: you know, neo future disco and and and funk kind
Speaker 1: of sounds. But yeah, so he's he's there, he's working
Speaker 1: at the stadium while this event is taking place, and
Speaker 1: um he sees some things that are pretty ugly. Mm hmmm, yeah,
Speaker 1: he really does. And bridge Board itself could be could
Speaker 1: be an episode you know, all its own. This area
Speaker 1: was very, very notorious for racial tension. There was even
Speaker 1: one white sox player, a guy named Thad Boseley, who
Speaker 1: was surrounded while he was driving through town. He was
Speaker 1: surrounded by a mob of people because he took a
Speaker 1: wrong turn after going home from a game, and the
Speaker 1: situation only ended, or like only diffused really when one
Speaker 1: of the people in the mob recognized him and said, oh, hey,
Speaker 1: you with the White Sox. We love that team, you
Speaker 1: know what I mean, which is terrifying. Lawrence, though knew
Speaker 1: that this job was an opportunity. He said, look, if
Speaker 1: there are people who were wealthy enough to sit in
Speaker 1: the stadium boxes, then they're probably gonna tip me. All right,
Speaker 1: I can get a good view of the game. And
Speaker 1: there are always these promo events, these theme nights, right
Speaker 1: like Elvis Knights, Country Music Nights, etcetera. And Vince Lawrence
Speaker 1: was aware of Steve Dahl. He liked them. He wanted
Speaker 1: to see this band called Teenage Radiation. They had recorded
Speaker 1: a parody single, I don't know if we mentioned this
Speaker 1: yet called do you Think I'm Disco? Yeah, that led
Speaker 1: up to this, you know, to this event. And when
Speaker 1: you hear Lawrence's account of this, you can tell that
Speaker 1: he quickly clocked something wasn't right. He noticed firsthand because
Speaker 1: he was there. He noticed that people we're coming with
Speaker 1: disco records, but a lot of people were, just as
Speaker 1: we said earlier, picking any music that was made by
Speaker 1: a black artist, and he told his boss. He said, look,
Speaker 1: they're not These aren't all the disco records obviously, R
Speaker 1: and B. I see funk. Should I make them go
Speaker 1: home and come back with a disco record? And then
Speaker 1: that's when the decision was made. Now they if they
Speaker 1: have a record, take it, give them that, you know,
Speaker 1: give them that ticket. And he says, quote, I want
Speaker 1: to say, maybe the person bringing the record just made
Speaker 1: a mistake. But given the amount of mistakes I witnessed,
Speaker 1: why weren't there any cheap trick records or air supply right?
Speaker 1: No Carpenters records. Yeah. I was talking to Zach um
Speaker 1: or any researcher who whodug a lot of this stuff up,
Speaker 1: who is a very thoughtful, smart and um have her
Speaker 1: of great taste, And he pointed out this section we
Speaker 1: were talking about in particular, like there are a lot
Speaker 1: of like kind of um, I guess you could call
Speaker 1: it easy listening or like kind of like you know,
Speaker 1: maybe adult contemporary artists that you could potentially more easily
Speaker 1: blur the line between what they are and what disco is.
Speaker 1: But none of those were even making it. And like
Speaker 1: things like air supply are things like you know, Hall
Speaker 1: and Oates or something like that. Not that they're adult contemporary,
Speaker 1: but like you know, they've got some songs that you
Speaker 1: could construe with a discoe type vibe. So it started
Speaker 1: to seem like there was intent. Yeah, I think it's
Speaker 1: what we're getting now, absolutely, And Lawrence's account I think
Speaker 1: is really important to keep in mind. He says, quote,
Speaker 1: I was one of the few African American people in
Speaker 1: the stadium. Steve Dahl said it wasn't discriminatory. He was
Speaker 1: an equal opportunities offender or whatever. But Steve didn't invite
Speaker 1: brothers to commit ski part. So once the scenes starts
Speaker 1: kind of veering towards more like full blown riot, and
Speaker 1: we've got estimates as high as fifty thousand people rushing
Speaker 1: the field, absolutely more chaos than the meager, you know,
Speaker 1: police presence that was there could deal with. Lawrence started
Speaker 1: to feel really unsafe, like because he was being targeted
Speaker 1: by these folks. What he did, according to him, how
Speaker 1: he felt was because he was black, and he's he's
Speaker 1: a black kid, you know, living in Chicago. He was
Speaker 1: wearing a loop T shirt, so he was what's it
Speaker 1: inter between me and the next usher trying to get
Speaker 1: back to his locker. So at one point you have
Speaker 1: a guy that walks up to him and looks him
Speaker 1: right in the face and says, hey, you, disco sucks
Speaker 1: and just snaps a record in his face, like in
Speaker 1: his face. Well, now, of course, vinyls right, yet eye
Speaker 1: level that could easily hurt you. We're not even, I'm
Speaker 1: not even. It's more about the gesture. It's almost like
Speaker 1: spitting at somebody, you know. It's like I'm targeting you
Speaker 1: with this act of aggression. It's not like, hey, we're
Speaker 1: on the same team. Disco sucks. It's like, hey, you
Speaker 1: person who I associate with this what you represent sucks.
Speaker 1: And in this situation, it's almost like disco is a
Speaker 1: stand in for like being black or something or just
Speaker 1: being different, you know, right exactly. And this also is
Speaker 1: only one example of how things can go raw in
Speaker 1: big sporting events. Uh, this is also, I would say,
Speaker 1: even more importantly, it proves to us that there's always
Speaker 1: more to the story behind the headline. And Max, we're
Speaker 1: talking a little bit off air, you my friend, to
Speaker 1: have your own first hand account of things going a
Speaker 1: little south at a ballgame. Huh yeah, yeah, yeah. As
Speaker 1: It's been noted multiple times here on the show. I
Speaker 1: am a dispassionate sports fan on Dispassionate again, and I
Speaker 1: went to the first ever and Al wild Card game
Speaker 1: back in twelve between Atlanta and St. Louis. And for
Speaker 1: people who know that, um Sam Holberg had one of
Speaker 1: the most egregious calls in baseball history, called an infield
Speaker 1: fly on a ball that was in the outfield. He
Speaker 1: was the outfield umpire. It doesn't make any sense any
Speaker 1: of it, and it very much changed the game. So
Speaker 1: for nineteen minutes, Atlanta fans showered the field with beer bottles,
Speaker 1: just screaming. It was very, very similar to this. There's
Speaker 1: a million videos of it and stuff, and so we
Speaker 1: were in it was I'm like, yeah, I've experienced this before.
Speaker 1: I will say my one regret though, is I had
Speaker 1: just turned twenty one at the time. I had finished
Speaker 1: my beer already. I didn't have anything to throw. It's
Speaker 1: like that old Mitch Hedberg joke where they say who
Speaker 1: here's feels like a human being in he cheers, and
Speaker 1: they say, who he feels like a monster. I did
Speaker 1: not know there was another choice. Yeah, And I mean
Speaker 1: I will say the one lucky thing for both teams
Speaker 1: was that it happened in the eighth inning, and it
Speaker 1: cut off selling beer at the seventh inning stretch, so
Speaker 1: there was a finite amount you could have. Okay, this
Speaker 1: this has nothing to do with anything, but I just
Speaker 1: want to deliver on what we promised here. Towards the
Speaker 1: end of the episode, what did the cops say when
Speaker 1: he entered the disco club? Hold On, hold on, hold
Speaker 1: on a good classy, cheesy joke, like this is almost
Speaker 1: like a riddle. Um No, I don't what is he say?
Speaker 1: Get down? So I didn't write that one. Yeah, I
Speaker 1: will say though, I kind of miss the dance moves
Speaker 1: of the disco era. You know, the one finger kind
Speaker 1: of like cross chest thing, and then you alternate lots
Speaker 1: of very big moves. I like the one where you
Speaker 1: kind of get down. Well a lot of these were
Speaker 1: James Brown moves to they were just slowed down and
Speaker 1: made like palatable for people that weren't really that good
Speaker 1: at dancing. But then you know, there was certainly it
Speaker 1: was a big dance scene. There were a lot of
Speaker 1: dance It was all about the dance moves and being
Speaker 1: seen on the floor. There's a really cool movie that
Speaker 1: a buddy of mine turned me onto called The Last
Speaker 1: Days of Disco. I think it's what it's called. It's
Speaker 1: a Slim Whitman movie. It's got Chloe Seve Agney in
Speaker 1: it or set seventy. However you say that name, I
Speaker 1: least get it wrong. And Um, who's the actor that
Speaker 1: plays the vampire hunter in the Underworld movies? Who Kate Beckinsale?
Speaker 1: Kate Beckinsal in it? No, it's just Kate beck and Stale.
Speaker 1: Um what that Isaac's guy that Max Links. There's a
Speaker 1: handful of other smaller bit part actors that are in
Speaker 1: that I recognize, but I can tell you what their
Speaker 1: names are. But it's it's a little bit stilted. It's
Speaker 1: got this kind of like fly on the Wall kind
Speaker 1: of perspective, and there's some definitely definite cringe moments. But
Speaker 1: I believe there you'll see some parts where there's some
Speaker 1: dudes roaming through the streets with leather jackets and there's
Speaker 1: an altercation with them shouting disco sucks at some of
Speaker 1: the main characters. So I think the movie is meant
Speaker 1: to take place in nineteen seventy nine. So uh, if
Speaker 1: you want to see kind of like a crystallization of
Speaker 1: what the heyday of this whole would have been like.
Speaker 1: And then um, I think even there's like a post
Speaker 1: mortem thing where it's like, well, that was fine while
Speaker 1: it lasted, and now we all have to go get
Speaker 1: real jobs, like, you know, grow our hair out. I
Speaker 1: think it was just such a creative time to musically.
Speaker 1: There were these amazing salts that probably wouldn't have been
Speaker 1: made in an any other environment or in any other
Speaker 1: kind of cultural soil, you know. So we should all
Speaker 1: be grateful for disco, even if it's not particularly your jam,
Speaker 1: because it tells us a lot about American society. And
Speaker 1: this is this was one heck of a story. I
Speaker 1: know we went a little long today, but really enjoyed
Speaker 1: this one. So thank you. Dear Ridiculous Historians were coming
Speaker 1: on this journey with us. What's your favorite weird disco song?
Speaker 1: Can't wait to hear tell us all about it on
Speaker 1: our Facebook page Ridiculous Historians. You can also find us,
Speaker 1: you know, just we're around. We're everywhere on the internet
Speaker 1: these days. Big big thanks to our super producer, Mr
Speaker 1: Max Disco Williams. You like that nickname, it's an acronym
Speaker 1: though it's a it's a. It's an acronym that stands
Speaker 1: for discover are of interesting curling organizations? There it is
Speaker 1: well done. Now did we work on that a little
Speaker 1: bit off air? We didn't. Yes, we didn't question about that.
Speaker 1: Let's be behind the curtain peak, behind the v I P.
Speaker 1: Discotheque curtain. No, I had a great time with this one.
Speaker 1: I feel like we all did. Yeah. So also, as always,
Speaker 1: thanks to Christ Frost you know it is Eves, Jeff Coche,
Speaker 1: thanks to our research associates Zach Williams and Jeff Bartlett
Speaker 1: and no thanks to you man. We are like, we
Speaker 1: should go do a disco thing. Is is there any disco? Well,
Speaker 1: nowadays they just call them dance parties, you know, and
Speaker 1: you can certainly have themed ones or maybe there's ones
Speaker 1: with We didn't even get into that. We believe we
Speaker 1: briefly discussed the film Zanna Do. But like roller, disco
Speaker 1: was a whole thing, you know, And that's hard, man,
Speaker 1: that takes some stamina and um coordination and that is
Speaker 1: not for me. But no, I would gladly attend a
Speaker 1: night out dance party with that. With the two of
Speaker 1: you find fellas leisure suits, need leisure suits. That game
Speaker 1: leisure suit, Larry. Yeah, it was just I'm actually just Google. Yes. Yeah,
Speaker 1: silly silly, silly game, silly character. See you next time, folks.
Speaker 1: For more podcasts for my Heart Radio, visit the I
Speaker 1: Heart Radio app, Apple Podcasts, or wherever you listen to
Speaker 1: your favorite shows