Baby Boomers: The Strangest Generation
A light look at growing up in the 60's and 70's, TV, music, family life, politics, drugs are just a few of the topics we cover. Whether you're a Boomer or not there was no other time like the Strangest Generation.
Baby Boomers: The Strangest Generation
Disco Sucks?
Explore the seismic waves that rocked the fabric of our society as we dissect the anthemic '60s and '70s rock scene, and how it ventured beyond mere entertainment to become a beacon for change. Feel the heartbeat of a generation in our latest episode, where we reflect on the political and social narratives woven into the music of the Rolling Stones, the Beatles, and Crosby, Stills, Nash & Young. We'll discuss how these artists straddled the line between amplifying social issues and living in the wealth they sung against. With the help of a music mogul who witnessed this transformation firsthand, we examine the complexity and philosophical turns in rock music, pondering if its revolutionary edge got buried under its own depth.
As the era of rock began to wane, a new rhythm emerged to fill the void—disco. This episode captures that transition, shedding light on the 'Disco Sucks' movement and the polarizing effect it had on music lovers. Yet, amid the backlash, we acknowledge disco's undeniable groove and discuss its surprising inclusivity and lasting cultural impact. Prepare to reevaluate the misunderstood legacy of disco through the eyes of our insider, as nostalgia meets a fresh perspective for a dance-worthy trip down memory lane. Join us for a lively discussion that will rock your nostalgia and set your feet tapping to the memories on "Baby Boomers: The Strangest Generation.
You know, I always felt that the music that I listened to in the 60s and 70s was way more important than anybody else's music. It felt like it was more than just something to dance to, more than something just to while away the time. It was music that was trying to change a generation. The lyrics meant stuff, the sound of the music, the whole setup of a band with a bass player, drummer, lead guitarist, piano player, bass guitarist as opposed to the big band sound that preceded it, as opposed to Sinatra, bing Crosby. It was just a huge shift in music and a huge shift in generations. It was kind of a way of one generation dissing the previous generation. But you know what that all sounds like heavy-duty psychobabble. The fact is it was just music, but it seemed to be more than that. But I'm sure every generation felt that their music was the best, the most meaningful. So maybe I'm just being a little bit self-important, but if you're a baby boomer and you listen to music in the 70s and 60s and into the early 80s, I know you know what I'm talking about. It was important, the things that we listened to. The lyrics were trying to change the world. They were complaining about poverty and racial discord and inequalities and the Vietnam War. But I always thought that you know what, man, you're talking about, all this stuff. But you're really just getting rich. And I really just picture a bunch of friggin' music executives sitting around a big table on Madison Avenue telling Keith Richards and Mick Jagger you know, you gotta get revolutionary, you gotta say something that is controversial. That's actually a bad example, because the Stones really never did get controversial at all. They just played kind of a rock-blues kinds of thing and they kept it real. The Beatles, you know, they got a little controversial Revolution, say you want a revolution, but they were kind of like more preachy and then they just got silly. I am the walrus. I mean, come on, what the hell are you talking about? I'm the walrus A day in the life. I mean I listen to conversations and interviews with Paul McCarty now and I say what did that lyric mean when you said I am the walrus? And he's like I don't know, it didn't mean anything. She came in through the bathroom window, Nobody. She came in through the bathroom window. Nobody really ever came in through my bathroom window. We were just making music and sounds and the entire teen generation was just projecting whatever they felt in their own lives into these obscure Rorschach-like lyrics and in the end they didn't mean shit.
Speaker 1:Pink Floyd you ever listen to some of the stuff they sang? What were they talking about? No idea, they didn't know either. They were selling records. They were kind of selling out a little bit. Then there was the stuff that just got too serious. They were kind of selling out a little bit. Then there was the stuff that just got too serious In the year 2424, if man is still alive, remember that one CSN, crosby, sill, nash, young could just get downright depressing.
Speaker 1:They were great, don't get me wrong. I really I still listen to them really talented, but in the end you're just a guy with a guitar singing a song. Can you change the world with it? Maybe, but are you living in a freaking mansion or maybe a few mansions? Yeah, you are. So don't tell me how to solve poverty while you're getting rich. I got no problem with rich people, not at all. But don't get too preachy.
Speaker 1:Rock music in the 70s and 60s was really good. I loved it. I identified with it. But it started to become ponderous. It started to become really self-involved. I mean Jethro Tull. I loved Jethro Tull. They were great.
Speaker 1:They did an album called Thick as a Brick. That was one song that took up two sides. You had to change the album over, flip it over to hear the second side of the same song and it was brilliant. It really was. Yes, I loved. Yes, I saw them in concert a few times. They were great.
Speaker 1:But, my God, is this still rock and roll? I mean, where's the revolution? What are you talking about? It was like it's just too easy to make up some shitty lyrics and sell a record, to make up some shitty lyrics and sell a record after you hit a certain point of notoriety in the rock world. But then there were the purists. There were the guys that just belted it out ZZ Top, take Me Downtown. I'm looking for some tush Kiss, who I didn't really like. I just want to party all night. I just want to rock and roll and party every day. I mean, come on, that's rock right there.
Speaker 1:I loved Genesis, but they were the epitome of progressive rack and I really liked it. The Land Lies Down on Broadway was great. What in the F were they talking about? I don't know, but they were good. No idea what the frigging guys were talking about, I don't know, but they were good, no idea what the frigging guys were talking about and they didn't really rock. Then Phil Collins goes out on his own and he does some pop tunes and makes a big thing, as did David Gabriel, the lead singer.
Speaker 1:But rock was becoming like some kind of weird philosophy where you didn't really get the message in a straightforward fashion. Everything was in code, nothing was just straight up. Hey, let's smoke pot and get high. And, by the way, what the frig happened in Vietnam? By the way, what's the shit with Nixon? By the way, let's have another drink? No, it got to be too self-important and there was a time where it needed to too self-important. And there was a time where it needed to be self-important. There was a war going on that was, I believe, unjustified, had nothing to do with America. Guys were dying, american boys were dying over in Vietnam. For what? The domino theory? They thought that if this little tiny South Asian country, when communists that it was going to be a threat to us, and rockers complained about it.
Speaker 1:I used to dislike when guys from Britain, rock bands from Britain or Canada would complain about the war and I would say, man, you're not from, like Neil Young and the who would just do these angry rants about Stop the War and all this stuff. And I'm thinking, geez, you're not really from here, you know, not mind your own business, but just give me a good song. The Guess who? They were great. The Guess who released a song called American Woman. They're from Canada, burton Cummings. I mean the guy great, one of the best singers of all time. American Woman was just a complete, utter put-down of America. American Woman, stay Away From Me. I Don't Need your War Machines, I Don't Need your Ghetto Scenes.
Speaker 1:And I'm in a bar listening to this song and it's really a poppin' song, hoppin' great rhythm, great solos, great singing and everybody's dancing and jumping up American Woman. And I'm listening to the lyrics and I'm saying this Canadian dude's kind of saying that he don't like America, he doesn't like us. And here we all are drinking and dancing to it. Are we even listening to this stuff? Still listen to it? Are we even listening to this stuff? Still listen to it. Great song.
Speaker 1:But the whining and the complaining and the preachiness of rock began to become laborious. It began to become so overly produced. You know, give me three chords, give me Jumpin' Jack Flash and I'm in. But I just can't go out to a bar at night and listen to some 23-year-old rock star tell me about how it's so terrible that there's poor people and rich people. I'm out to have some beers with my friends. Music was important for a time, lyrically, until it took itself too serious. And I'm going to tell you right now the day that rock music took itself too serious. My name's John Ward. This is Baby Boomers the Strangest Generation. Thank you all for listening. This episode is called Disco Sucks and it's a prelude to my next episode where I'm gonna interview a music mogul from that era who had his foot, his feet one foot in the rec world and his other foot in the disco world, and I just wanted to do this one to set the stage.
Speaker 1:So it's 1978, 77, somewhere in there. You're in your bar. You're with your buddies there. You're in your bar favorite with your buddies. You're wearing your dungarees. You got your uh stones t-shirt on with the lips and the tongue. You got your converse, your long hair. You probably got a mustache, like everybody did skinner's on the uh radio.
Speaker 1:A couple people are dancing. You're doing a shot of beer. There's a pool table in the corner and you get up, you gotta pee, you go to the bathroom and when you, it's like the whole world changed. Everything is different. All of a sudden, everybody's on the dance floor. There's a spinning ball with mirrors glued to it, little chips of mirrors and a laser beam on it and it's shooting laser lights all over. People are dressed in white acrylic clothing. Women have got their hair done. Men, it's not just long hair anymore. You don't look like a working-class guy. People are dressed up in costumes almost. People are dressed up in costumes almost. And the music has got violins, it's got heavy bass, it's got heavy horns and it's really danceable and everybody's dancing.
Speaker 1:And it's kind of how disco hit. It hit overnight. It was like a comet, like it just appeared in the sky one night, just changed the music world and then, like a comet, it just fizzled out and faded away and we hated it. The guy in the barstool with the long hair, with his quarters on the pool table, ready to shoot the next game I got winners. The guy listening to Skinnered on the jukebox, heard disco and just hated it. Bob Seger said don't ever take me to a disco. You'll never get me out on the floor. Give me a minute and I'll be late for the door, kind of like that. I like that old fashioned rock and roll.
Speaker 1:There was a hatred of disco that I kind of you know, went along with, but it was kind of good. I could never admit that. But I hear a disco song now. I'm like, yeah, man, that's frigging good, I like it. My foot's tapping, I'm bobbing my head in the car listening to disco and it's all right. But it kind of killed what we now call classic rock and roll. There's classic rock radio stations everywhere. How many more times, guys, honestly, how many more times can you listen to Stairway to Heaven? It's a great song, but please, I can't do it one more time.
Speaker 1:Something had to change and disco was the drop hammer that fell down, rang the bell and just said All right, enough with this ponderous stuff. The war is over, people got jobs. We don't know who killed Kennedy. Probably never will. Let's friggin' party. It's kind of like when my dad's generation first heard Elvis, you know, it was just like oh God, this is sinful, this is horrible, this is the devil's work. What is this stuff? It's not even music. Rockers, stoners, half hippies, bikers, anybody that liked rock music, bluesy rock music just went friggin' crazy In a way that I never saw a reaction to a form of art. That's all. It really was, just a different type of music. But when you dig a little deeper you begin to realize that it wasn't just another form of music, it was a game changer. So I'm going to tell you why I think Disco sucked and why I think that there was An all out revolution against it.
Speaker 1:They had a in Chicago when Disco first hit. They hit a double header With the two Chicago. The Chicago baseball team hit a double header and a local DJ decided to throw a disco sucks party in between the double headers, where you could get into the stadium for like two dollars to watch the doubleheader if you brought a disco record, which they would proceed to put all the records in and blow them up in between the games. And it got so rowdy and so crazy and so filled with people that were outraged with disco that it turned into an out-and-out riot that required the police to come, the fire department, the half the building was, or the infield was, on fire. There were fights, all about disco. I mean, come on, man, just about disco. Why, why, why was it so bad? Why did it suck?
Speaker 1:Rock and roll was never exclusive. It never disallowed different types of people. Obviously it appealed to a really young white audience that saw themselves as anti-establishment. But it didn't say, hey, blacks, you can't come. I don't really know of a lot of black people that are my age, that can recite a lot of Beatles songs or that even know who Led Zeppelin was or anything. But it's not like that. You weren't invited, it just was like you didn't like it. You know, I was listening to Marvin Gaye and a lot of great R&B from the 60s and 70s that could get played along with rock and roll on the same station and it was really good. But I'm just not sure a 15-minute guitar solo by Carlos Santana was going gonna turn on a black audience. So whereas it didn't exclude people, it really didn't appeal to them. And when disco came out, when you saw it on TV, when you listened to the music, there was a lot of black influence on it. Now, I'm not saying that's why people rockers dislike disco. Let me keep talking, keep listening.
Speaker 1:There was another thing Whereas rock and roll didn't address gays, in fact rock and roll didn't even know about gays, I swear, when I was a kid born in 1960, I didn't know about gays. I mean I heard that they were out there and stuff and there were some gay dudes around, but it was nothing. But certainly rock and roll wasn't a musical forum that was trying to appeal to gay people, but it kind of was in a weird way. I mean, elton John, queen, david Bowie, I mean what were they doing? They were wearing makeup and shit. You know, it was like they had big hair. That glam rock, that big hair rock, was coming in and some of it was good. I mean who can deny Bowie was coming in and some of it was good. I mean who can deny Bowie was really good, elton John's unbelievable, but his gayness had nothing to do with it. But now disco comes out and it is openly courting gay people.
Speaker 1:I watched a YouTube video about Club 54, I think it is in New York and it is just like gay dudes dancing everywhere, black dudes dancing everywhere and you know half-naked beautiful people, and so disco. I guess, sucked In that same YouTube video the guy that owned the club Studio 54, the guy that owned the club Studio 54, before he opened the club the crowds would assemble outside and he would pick who could come in and he picked it based on celebrity and beauty. Beautiful people got in, celebr people got in. Celebrities got in. But a guy dressed like me wasn't gonna get in and didn't wanna get in. But disco sucked because it excluded people that didn't fit the mold. Rack really never did that. Anybody could go to Woodstock, but disco was elitist.
Speaker 1:And the biggest reason that disco sucked was because it was about money. I couldn't afford those kind of clothes. I couldn't afford those shoes. I couldn't afford a haircut like that. I didn't want any of that shit anyway. I know to God I couldn't afford cocaine. We used to call it the rich man's drug. We just heard about it. We didn't do it. We couldn't afford it. It was like $100 for like a night of fun. Forget that. You know we're not even messing with that stuff. We're not even messing with that stuff.
Speaker 1:Disco loved rich, celebrity and beauty and that's why disco sucked to the baby boomer generation. Not because the music sucked, because the music was all right, it was superficial. But we needed superficial. Enough with this heavy-ass shit, enough with this complaining southern man. You know, fort Denton, ohio, enough, enough. Just let me have some fun and party.
Speaker 1:But we really weren't invited to the party. God, I hope I don't sound like I'm complaining that somehow I was discriminated against, because that's not what it was at all. It was a party that I wasn't invited to, that I didn't want to go to. However, I did go to two discos when I was a kid. We would meet up me and my buddies at a corner bar and shoot pool and we'd try and decide you know where we're going to go from here, and 90% of the time we would just never leave there. But I can remember once or twice we said we're going to go downtown and hit a disco because that's where the girls are. And we went in. And we went in dressed like we dress and looking like we looked, and the girls were all there and the place was hopping, everybody was partying. There was these strange long lines to the bathroom that we couldn't figure out, you know, and we just came out of it with the idea that we don't really belong here. Let's just go back and rack them up, shoot a game of pool, have a shot and a beer.
Speaker 1:So the the reason that I think that our generation hated disco so much was more about the racial aspect, the gay aspect and the elitist aspect. We were serious dudes, you know. We knew people that didn't come home from Vietnam. We had friends whose dads didn't have a leg because of Vietnam. Because of Vietnam, we wanted to string Nixon up. We wanted to know who killed Kennedy, who killed Martin Luther King. We had some serious issues that our music was addressing and disco was just like, fuck it, let's dance. And we had a little problem with that. We were still like, hey, man, we got some shit. We didn't figure out. But maybe if we would have just settled down, dressed a little different, cut our hair and went in there, we might have met a lot more girls and maybe we would have liked disco.
Speaker 1:Really, disco didn't suck, it was all right, it was just good time party, fun stuff. It just scared us, it just intimidated us and it just was too fast of a pivot. But it wasn't that bad. I challenge you, put on YMCA and tell me you don't start tapping your toe and do the Y and the M and the CA Macho, macho man. I. I mean that was some good shit. Yet we hated it. It's all right, we're just boomers and we're the strangest generation. Check up with me next week. I got a great guest, a music mogul, who's going to talk all about rock and roll in the 60s and 70s and the transformation to disco and also his personal journey, and I think you'll love it. Thank you, my name is John Ward. This is baby boomers the strangest generation. Y'all have a good night now. Bye.