primarily white crowd destroyed records made by Black and gay artists. It's shameful.

I have no use for Steve Dahl, but anything that pisses off these whiny millennial fucks that want to rewrite history is okay by me.

https://www.vice.com/en_us/article/8xzk ... t-is-worse

https://5mag.net/features/disco-demolit ... lebration/

Cry more

I just love the White Sox celebrating a game they had to forfeit

I just love the White Sox celebrating a game they had to forfeit

Within the realm of all sports history, this is probably the most recognizable moment in White Sox history.

I just love the White Sox celebrating a game they had to forfeit

Within the realm of all sports history, this is probably the most recognizable moment in White Sox history.

It's probably the second most recognizable moment in Chicago Sports history. The 85 Bears/Super Bowl Shuffle being the only one clearly ahead of it.

It's probably the second most recognizable moment in Chicago Sports history. The 85 Bears/Super Bowl Shuffle being the only one clearly ahead of it.

Within the realm of all sports history, this is probably the most recognizable moment in White Sox history.

1919.

Most memorable White Sox moments nationally:

Throwing a World Series and forfeiting a game.

Who knew disco was considered the product of disenfranchised groups. It's almost always portrayed as a materialistic white person phenomenon with John Travolta being the icon.

This new critique of the event is just ad post hoc disingenuity from unknown writers trying to make a name for themselves with a novel take. You see this in literary criticism all the time. It's practically encouraged in university English programs.

We blew up disco records, made fun of the Bee Gees and ‘Saturday Night Fever.’ It goes no deeper than that,” Dahl said in an email Wednesday. “Perception is not always reality. Especially when that perception uses the prism of today to look at events 40 years ago.

“Sometimes a stupid radio promotion is just a stupid radio promotion."

I have no use for Steve Dahl, but anything that pisses off these whiny millennial fucks that want to rewrite history is okay by me.

https://www.vice.com/en_us/article/8xzk ... t-is-worse

https://5mag.net/features/disco-demolit ... lebration/

Cry more

Disco Demolition--and the anti-disco movement in general--definitely had a reactionary element.

In many ways, disco represented the Post-WWII dissipation of patriarchal values and the redefinition of masculinity in terms of aesthetics rather than production. Certainly this idea undergirds Saturday Night Fever, which maps the cultural break of a working-class ethnic youth from the traditional mores of his childhood and his embrace of the feminine/feminized world of disco/dance. The radical cultural change underlying Saturday Night Fever sprang from deindustrialization, the collapse of domestic industrial employment, the growing ubiquity of white collar labor, and the incipient hegemony of consumer culture.

The reaction against disco--and the insistence on returning to the aesthetic and underlying values of "classic" rock--represented a refusal to accept shifting definitions of gender roles in a rapidly changing society.

Disco Demolition--and the anti-disco movement in general--definitely had a reactionary element.

In many ways, disco represented the Post-WWII dissipation of patriarchal values and the redefinition of masculinity in terms of aesthetics rather than production. Certainly this idea undergirds Saturday Night Fever, which maps the cultural break of a working-class ethnic youth from the traditional mores of his childhood and his embrace of the feminine/feminized world of disco/dance. The radical cultural change underlying Saturday Night Fever sprang from deindustrialization, the collapse of domestic industrial employment, the growing ubiquity of white collar labor, and the incipient hegemony of consumer culture.

The reaction against disco--and the insistence on returning to the aesthetic and underlying values of "classic" rock--represented a refusal to accept shifting definitions of gender roles in a rapidly changing society.

Sorry, I've got a job interview this afternoon

1919.

Most memorable White Sox moments nationally:

Throwing a World Series and forfeiting a game.

Who knew disco was considered the product of disenfranchised groups. It's almost always portrayed as a materialistic white person phenomenon with John Travolta being the icon.

This new critique of the event is just ad post hoc disingenuity from unknown writers trying to make a name for themselves with a novel take. You see this in literary criticism all the time. It's practically encouraged in university English programs.

Disco Demolition--and the anti-disco movement in general--definitely had a reactionary element.

In many ways, disco represented the Post-WWII dissipation of patriarchal values and the redefinition of masculinity in terms of aesthetics rather than production. Certainly this idea undergirds Saturday Night Fever, which maps the cultural break of a working-class ethnic youth from the traditional mores of his childhood and his embrace of the feminine/feminized world of disco/dance. The radical cultural change underlying Saturday Night Fever sprang from deindustrialization, the collapse of domestic industrial employment, the growing ubiquity of white collar labor, and the incipient hegemony of consumer culture.

The reaction against disco--and the insistence on returning to the aesthetic and underlying values of "classic" rock--represented a refusal to accept shifting definitions of gender roles in a rapidly changing society.

At the time, I associated disco with The Bee Gees and John Travolta. It never occurred to me that disco was Black, Latino, or homosexual music. I assumed most guys liked disco because 1) they just liked the music, and/or 2) women liked to dance to disco, guys wanted to have sex with those women, so they liked disco.

Dahl's response was perfect:

All this latter day analysis is reading something in that wasn't there.

Disco Demolition--and the anti-disco movement in general--definitely had a reactionary element.

In many ways, disco represented the Post-WWII dissipation of patriarchal values and the redefinition of masculinity in terms of aesthetics rather than production. Certainly this idea undergirds Saturday Night Fever, which maps the cultural break of a working-class ethnic youth from the traditional mores of his childhood and his embrace of the feminine/feminized world of disco/dance. The radical cultural change underlying Saturday Night Fever sprang from deindustrialization, the collapse of domestic industrial employment, the growing ubiquity of white collar labor, and the incipient hegemony of consumer culture.

The reaction against disco--and the insistence on returning to the aesthetic and underlying values of "classic" rock--represented a refusal to accept shifting definitions of gender roles in a rapidly changing society.