When Steve Dahl used the word disco, he pronounced it with a contemptuous lisp. These uncastrated castrati drove straight women mad (especially Barry) and drove straight men crazy. They looked like Cheryl Tiegs and they sang in falsetto.
“How Can You Mend a Broken Heart” includes lots of video of the Bee Gees in the late 1970s, and it’s easy to see why they (and disco in general) triggered homophobes: the brothers, who were straight, had long, carefully-coiffed hair, and wore tight white pants and open blouses. It was a racist, homophobic book-burning.” Lawrence calls it “the end of an era,” which isn’t precisely true, but he describes the event accurately and with deserved disgust: “It was a book-burning. Lawrence, an African American producer whose work was integral to the growth of Chicago house music in the late 1980s, and who was working as an usher at Comiskey Park that night, points out that many of the records Dahl detonated weren’t disco - they were R&B records by Black artists. It’s left to one of the film’s talking heads, Vince Lawrence, to put Disco Demolition Night into a modern context. The surprisingly poignant documentary, directed by Frank Marshall, uses old interviews with Robin and Maurice (pronounced Morris) Gibb, who died in 20 respectively, and recent interviews with Barry, who adds a stirring comment to its conclusion having hits was great, he says forlornly, but “I’d rather have back here and no hits at all.” In “The Bee Gees: How Can You Mend A Broken Heart,” an HBO documentary now out, oldest brother Barry Gibb makes it clear that Dahl’s stunt helped persuade the Bee Gees to shutter their own band and focus instead on writing and producing for other artists.
0 kommentar(er)
