Leave Them Burning and Then You’re Gone
Dalton Vogler

I was 14 when the Disco “demo” happened. As a kid who loved it, the next four years of high school were pretty void of the joyful dancing I’d seen but was too young to be a part of. (The TV show Freeks & Geeks covers that period of my generation well.) But I learned to spot Disco as it hid in plain sight. I heard it in Shannon’s “Let the Music Play” and Madonna’s “Holiday”, Herbie Hancock’s “Rockit” and Prince’s “Delirious”, Bowie’s “Let’s Dance”, New Order’s “Blue Monday”, ABC’s “Look of Love”, and Michael Jackson’s “Billie Jean”; it was overtly in the music of Duran Duran and Eurythmics, Frankie Goes to Hollywood and Dead or Alive. Stock, Aiken and Waterman’s productions (Rick Astley, Bananarama) were pretty much Disco without the name. I take a lot of delight in seeing that despite “demo night”, Disco has survived in pop in a way that has kept joyful dance music thriving — from 90’s House and Techno all the way to today’s EDM (in all its flavors).

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