AudioDiva: Euros have always kicked our asses about dance-pop music.
Remi: Sorry, but it bears stating, this is not as musically-evolved a country when it comes to the mainstream.
Butta: What is it with the US market and disco? They're still in their feelings from the 1970s huh?
Remi: Since the end of the '80s, the US has had a certain distrust of electronic music. Even Daft Punk's "One More Time," which became a cultural fucking touchstone, stalled at #61 in the US.
D-Money: Very true, Rems. I don't get it though.
Ivory: So what is it about this song that got folks all hot & bothered?
Remi: I honestly don't know, Ivory. I was surprised to hear there was so much hate amongst DJs when it premiered last week.
Ivory: I mean, I'm happy they're loving it but curious about the intense response. What did the DJs hate about it?
AudioDiva: Good question. Still people wanted the song to be longer and more club heavy.
Ivory: I definitely noticed a backlash regarding the excitement about Daft Punk. Like, after the initial excitement, there seemed to be a second wave of un-excitement.
Remi: Was in a Twitter convo with DJ mOma, and he essentially said the same thing: "Why the hate?" Then I was at a party over the weekend with a bunch of folks of varying shades of brown and tan, and when mOma put that on, it was a sea of good vibes in there. And that's the thing about disco -- the beef never came from brown/tan/khaki folks.
Zo!: You just named the problem mainstream has with it.
AudioDiva: Ding-ding! We got a winner.
D-Money: I've always felt that the rejection of disco in general was about the large black and gay following it had.
Zo!: Absolutely correct. I feel the same way.
Remi: Yeah, I mean, folks tried to make it about quality. But honestly, listen to some of those tracks and tell me it wasn't musically insane.
D-Money: Oh, musically, disco was off the chain.
Ivory: The basslines still give me chills.
D-Money: I mean, just look at all the songs that mined disco for all its worth.
Remi: I mean, the breakdown in Evelyn "Champange" King's "Shame" remains a work of pure brilliance. From percussion to bass. And the vocalists were NOT to be tested.
Zo!: When I shed on the bass, a lot of the times it's to old Motown records and disco music.