
Originally Written by
DiscoMan
The people who complained about Disco were short, fat, bald, ugly, hairy white guys who had NO style, grace, rythm, coordination, didn't know how to dress, couldn't dance, wouldn't dance, and could never dance and the only time they ever got laid was when they handed the woman 50 bucks and she only fucked 'em 'cause she considered it a mercy ****!
Having read both of Abdullah's articles, one thing I will say is that he does make a number of valid points throughout both articles, especially in terms of the artists' longevity. Disco artists should be fortunate that some of their records were able to go beyond the clubs and onto radio, and eventually a high position on the charts. Ironically, if these artists had a hit single or two, those are the only records they are remembered for--and it leaves virtually nothing else for them to be remembered by, except for the people who remember hearing their music in the clubs.
As an aside to some of what Abdullah had written, disco supposedly was a barrier-less institution, but what about the result of Studio 54, with its infamous velvet rope? If everybody was "equal" and "one", then how come Joe Public couldn't stand a ghost of a chance to be welcome beyond the ropes? How come Paradise Garage never went beyond its mainly gay, black clientele? If anything disco had certainly established steel barriers at the same time they were flaunting the wonders of society's tossed salad, as Steve Rubell had once said.
"Everyone knows the real reason why you got that part it was the time you spent on that casting couch"--Antoine Merriwether
"Excuse me, Miss Thing, but both of us spent time on that couch"--Blaine Edwards
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