The War on Disco
Opening Sequence from “Saturday Night Fever:” John Travolta walking through Brooklyn as “Stayin’ Alive” plays…
《周六夜狂热》的开场片段：约翰·特拉沃尔塔在布鲁克林漫步，播放着《Stayin’ Alive》……
Felipe Rose, Disco Artist: Saturday Night Fever, the soundtrack, Stayin Alive, you know, that walk of John Travolta wearing his bell bottoms with his platform shoes; that walk with the song is really what catapulted disco right over the top, made it so mainstream around the world.
Felipe Rose，迪斯科艺术家：《周六夜狂热》原声带《Stayin Alive》，你知道，约翰·特拉沃尔塔 (John Travolta) 穿着喇叭裤和松糕鞋走路的样子；伴随着歌曲行走确实使迪斯科跃上了顶峰，使其成为世界各地的主流。
Dave Logan, WLUP-FM Promotion Director: Disco was everywhere at this time.
Dave Logan，WLUP-FM 推广总监：此时迪斯科无处不在。
You were getting constant messages that you had to look a certain way.
你不断收到信息，告诉你你必须以某种方式看待。
Dave Logan, WLUP-FM Promotion Director: A lot of people just felt like they were being excluded because they weren't cool enough to get into the disco.
Dave Logan，WLUP-FM 推广总监：很多人只是觉得自己被排除在外，因为他们不够酷，无法进入迪斯科舞厅。
Archival Steve Dahl: I don’t think we need to feel stupid because we can’t be part of this new trendy thing that’s happening, when it’s ridiculous.
档案史蒂夫·达尔：我认为我们不需要感到愚蠢，因为我们不能成为正在发生的这种新时尚事物的一部分，尽管它很荒谬。
Ayana Contreras, Cultural Historian: There was a before, and there was an after.
阿亚娜·孔特雷拉斯（Ayana Contreras），文化历史学家：有一个之前，也有一个之后。
Archival newscaster: "Fifty thousand people showed up at Chicago's Comiskey Park.
档案新闻播音员：“五万人出现在芝加哥的科米斯基公园。
Many had come for Disco Demolition night...
许多人来参加迪斯科拆除之夜......
Steve Dahl: “You don’t like The Village People?
史蒂夫·达尔：“你不喜欢《乡村人》？
Crowd chanting Disco sucks!
人群高喊迪斯科真是太糟糕了！
Disco sucks!
迪斯科太烂了！
etc, etc
等等，等等
Jim Hankes, Chicago Resident: They had the idea of blowing up these disco records, and I thought that that is going to be so cool.
吉姆·汉克斯（Jim Hankes），芝加哥居民：他们有炸毁这些迪斯科唱片的想法，我认为这会很酷。
Archival Baseball announcer Jimmy Piersall: “I hope they don’t let you people see what’s going on here at Comiskey Park; one of the saddest sights I’ve ever seen in a ballpark in my life.”
棒球档案播音员吉米·皮尔索尔（Jimmy Piersall）：“我希望他们不要让你们看到科米斯基公园正在发生的事情；这是我一生中在棒球场见过的最悲伤的景象之一。”
Ayana Contreras, Cultural Historian: There were some people who really were anti-disco, and in the aftermath of Disco Demolition, a lot of folks sort of wash their hands of the whole scene.
阿亚娜·孔特雷拉斯（Ayana Contreras），文化历史学家：有些人确实是反迪斯科的，在迪斯科拆除事件发生后，很多人都对整个场景不再关心了。
Archival Steve Dahl: We have to destroy all disco, it’s our job.
档案史蒂夫·达尔：我们必须摧毁所有迪斯科舞厅，这是我们的工作。
Felipe Rose, Disco Artist: Radio stations stopped playing disco music – overnight.
Felipe Rose，迪斯科艺术家：广播电台一夜之间停止播放迪斯科音乐。
Linda Clifford, Disco Artist: This whole disco hate and disco demolition, it was a nightmare for many of us in the industry, and for the people who enjoyed the music.
Linda Clifford，迪斯科艺术家：整个迪斯科仇恨和迪斯科拆除，对于我们这个行业的许多人以及喜欢音乐的人来说都是一场噩梦。
Jefferson Cowie, Historian: To the degree we're looking for the origins of our time, I think we're looking for those moments, those divides, that help to explain how we got where we are.
历史学家杰斐逊·考伊（Jefferson Cowie）：就我们寻找时代起源而言，我认为我们正在寻找那些有助于解释我们如何走到今天这一步的时刻、那些分歧。
Adam Green, Historian: This is an early episode in what we call the culture wars.
历史学家亚当·格林：这是我们所说的文化战争的早期插曲。
People were fighting over what is the kind of music that should be valued.
人们一直在争论什么样的音乐应该受到重视。
Jefferson Cowie, Historian: Disco had so much meaning.
Jefferson Cowie，历史学家：迪斯科有如此多的意义。
Music matters to people quite deeply.
音乐对人们来说非常重要。
And to threaten that is to threaten who they are -- on either side of this divide.
威胁这一点就是威胁他们的身份——无论是在这条鸿沟的哪一边。
They’re not gonna shove it down our throats.
他们不会把它强加给我们。
We rock n’ rollers will resist.
我们摇滚乐将会抵抗。
And we will triumph.
我们将会取得胜利。
Archival Steve Dahl: They’re not gonna shove it down our throats.
档案史蒂夫·达尔：他们不会把它强加给我们。
We rock n rollers will resist – and we will triumph!
我们摇滚乐将抵抗——我们将取得胜利！
Archival Walter Cronkite: Seven-and-a-half million workers unable to find jobs.
沃尔特·克朗凯特档案：七百五十万工人找不到工作。
That’s the highest unemployment rate since 1941.
这是自 1941 年以来的最高失业率。
Rich King, Sportscaster: Everything changed.
Rich King，体育广播员：一切都变了。
We're running out of gas, all kinds of economic problems, the Vietnam war has ended poorly.
我们的天然气即将耗尽，各种经济问题也随之而来，越南战争的结局也很糟糕。
“Malaise” was perfect description of the Seventies.
“萎靡不振”是对七十年代的完美描述。
Daphne Brooks, African American Studies Scholar: In the early Seventies, on the one hand you have legislated civil rights, and yet you have racial conflict.
非裔美国人研究学者达芙妮·布鲁克斯（Daphne Brooks）：在七十年代初期，一方面你们立法了公民权利，但同时也存在种族冲突。
You know, I could see kids my age in Boston just trying to go to school, even as we were being told that we are now equal as African Americans.
你知道，我可以看到波士顿和我同龄的孩子只是想上学，即使我们被告知我们现在与非裔美国人是平等的。
Archival Richard Nixon: I shall resign the Presidency effective at noon tomorrow.
档案理查德·尼克松：我将于明天中午辞去总统职务。
Jefferson Cowie, Historian: I think in many ways the Seventies are the roots of our own time.
历史学家杰斐逊·考伊（Jefferson Cowie）：我认为从很多方面来说，七十年代是我们这个时代的根源。
All the questions that emerged in the 1960s about race, about gender, about sexuality, those answers are being fought over in the 1970s.
20 世纪 60 年代出现的所有关于种族、性别、性取向的问题，这些问题的答案都在 1970 年代引发了争论。
But in the 1970s, it's a completely different economic and political climate than it is in the 1960s.
但 20 世纪 70 年代的经济和政治气候与 1960 年代完全不同。
Adam Green, Historian: The Seventies is really important to look at in terms of the ways in which people were processing their worry, their anxiety, their insecurity.
历史学家亚当·格林：从人们处理忧虑、焦虑和不安全感的方式来看，七十年代确实很重要。
Archival Jimmy Carter: The erosion of our confidence in the future is threatening to destroy the social and political fabric of America.
档案吉米·卡特：我们对未来信心的削弱有可能摧毁美国的社会和政治结构。
Jefferson Cowie, Historian: This is particularly profound for people in what's now called the Rust Belt.
历史学家 Jefferson Cowie：这对于生活在现在所谓的“铁锈地带”的人们来说尤其深刻。
Archival: Already, 300,000 car workers are out of a job…
档案：已经有 300,000 名汽车工人失业......
Jefferson Cowie, Historian: Pittsburgh, Milwaukee…
杰斐逊·考伊，历史学家：匹兹堡、密尔沃基……
Chicago is seeing hollowed out spaces, Detroit is falling apart.
芝加哥的空间正在被掏空，底特律正在分崩离析。
You know, these major industrial centers are no longer what they once were.
要知道，这些主要工业中心已今非昔比。
Archival Interviewer: Is this the first time you’ve been unemployed recently?
档案采访员：这是您最近第一次失业吗？
Unemployed worker: This is the first time.
失业人员：这是第一次。
Adam Green, Historian: So there’s a sense that there's just this extreme situation of insecurity.
历史学家亚当·格林：所以有一种感觉，存在着这种极端的不安全状况。
Archival Unemployed Worker: I’m at the pinnacle of absolute desperation, or I would not be here.
档案失业工人：我正处于绝对绝望的顶峰，否则我就不会在这里了。
Jefferson Cowie, Historian: The psychology of the 1970s is both a sense of loss and a sense of unknowing.
Jefferson Cowie，历史学家：20 世纪 70 年代的心理既是一种失落感，又是一种未知感。
What terrible thing is going to happen next?
接下来会发生什么可怕的事情呢？
Adam Green, Historian: A young white male, he's seeing the closing of these plants and he's saying, well, what's gonna be my future?
亚当·格林，历史学家：一位年轻的白人男性，他看到这些工厂关闭，他说，好吧，我的未来会怎样？
Am I gonna actually have a job?
我真的会有工作吗？
Jefferson Cowie, Historian: People are panicking about their place in the world.
历史学家杰斐逊·考伊（Jefferson Cowie）：人们对自己在世界上的地位感到恐慌。
It's really kind of a decade of fear in a lot of ways.
从很多方面来说，这确实是一个充满恐惧的十年。
Ray Smith, NYC Nightclub Patron: You know, with the trauma and the darkness of those early Seventies years, there was a clamoring for something light, something to happen.
雷·史密斯（Ray Smith），纽约夜总会赞助人：你知道，随着七十年代初期的创伤和黑暗，人们强烈要求发生一些光明的事情。
It was disco.
那是迪斯科舞厅。
Adam Green, Historian: What was disco?
历史学家亚当·格林：什么是迪斯科？
Disco predominantly appeals to people who want to dance to music, as opposed to music that you listen to.
迪斯科主要吸引那些想随着音乐跳舞的人，而不是你听的音乐。
Joe Shanahan, Chicago Club Owner: Dance music is music that makes you want to move.
Joe Shanahan，芝加哥俱乐部老板：舞曲是让你想要动起来的音乐。
Whether you're just tapping your foot or while you'll get up off your chair and begin to move.
无论您只是用脚打点，还是从椅子上站起来开始移动。
Body music.
身体音乐。
Dave Logan, WLUP-FM Promotion Director: Dance music has never really gone out of style.
Dave Logan，WLUP-FM 推广总监：舞曲音乐从未真正过时。
Things come and go; dance music stays consistent because people like to feel the beat.
事情来来去去；舞曲保持一致，因为人们喜欢感受节拍。
Linda Clifford, Disco Artist: Whether it's disco, ballet, modern jazz, any type of dance, there is that feeling of being completely free and able to do whatever you wanted to do on that dance floor.
Linda Clifford，迪斯科艺术家：无论是迪斯科、芭蕾舞、现代爵士乐还是任何类型的舞蹈，都有一种完全自由的感觉，可以在舞池里做任何你想做的事情。
Adam Green, Historian: Dancing, and dance-centered nightclubs, were so important to African Americans, to Latinx communities, but also particularly to gay communities, LGBTQ communities.
历史学家亚当·格林（Adam Green）：舞蹈和以舞蹈为中心的夜总会对于非裔美国人、拉丁裔社区，尤其是同性恋社区、LGBTQ 社区非常重要。
One of the reasons why is there are relatively few social and cultural spaces where these people who are discriminated against and marginalized can go out, socialize, and feel safe.
原因之一是这些受到歧视和边缘化的人可以出去社交、感到安全的社会和文化空间相对较少。
Daphne Brooks, African American Studies Scholar: For Black and brown, LGBTQ communities, where can you find the space to engage in kind of everyday dreaming?
达芙妮·布鲁克斯 (Daphne Brooks)，非裔美国人研究学者：对于黑人和棕色人种、LGBTQ 群体来说，哪里可以找到从事日常梦想的空间？
And to be able to collaborate in that dreaming with dance floor partners?
并能够与舞池伙伴合作实现这个梦想？
Ray Smith, NYC Nightclub Patron: It was treacherous to be gay in the Sixties.
雷·史密斯，纽约夜总会赞助人：在六十年代，同性恋是危险的。
Jefferson Cowie, Historian: To be gay in the 1960s is to be underground, completely hidden from mainstream America.
Jefferson Cowie，历史学家：20 世纪 60 年代的同性恋意味着处于地下状态，完全隐藏在美国主流之外。
You have a subculture; you have your own bars, your own enclaves.
你有亚文化；你有自己的酒吧，自己的飞地。
Ray Smith, NYC Nightclub Patron: I moved to New York City in 1966.
Ray Smith，纽约夜总会赞助人：我于 1966 年搬到纽约市。
And one of the first things you did when you moved to New York was you went to clubs.
当你搬到纽约后做的第一件事就是去俱乐部。
And it was about dancing.
这是关于跳舞的。
The whole club scene was about dancing.
整个俱乐部的场景都是关于跳舞的。
Daphne Brooks, African American Studies Scholar: Disco was finding joy in your body.
达芙妮·布鲁克斯（Daphne Brooks），非裔美国人研究学者：迪斯科在你的身体中找到了快乐。
So it made so much sense that in the Seventies you would see this kind of turn towards pleasure.
因此，在七十年代你会看到这种向快乐的转变，这是非常有意义的。
And disco became the kind of sonic accompaniment to those joyous revolts against patriarchy and homophobia.
迪斯科成为了那些反对父权制和恐同症的欢乐反抗的声音伴奏。
Adam Green, Historian: People wanted experiences where they were transported out of what they felt was a constrained condition of existence and identity.
亚当·格林（Adam Green），历史学家：人们想要一种体验，让他们摆脱他们认为的存在和身份的受限条件。
Ray Smith, NYC Nightclub Patron: A few years after I moved to New York, the Gay Activists Alliance purchased an old retired firehouse in Soho.
雷·史密斯（Ray Smith），纽约夜总会赞助人：我搬到纽约几年后，同性恋活动家联盟在苏豪区购买了一座退役的旧消防站。
It was the first club owned outright by gays.
这是第一家完全由同性恋拥有的俱乐部。
And it was, like, ours.
它就像是我们的。
We owned it.
我们拥有它。
We felt free.
我们感到自由。
Ray Smith, NYC Nightclub Patron: I remember the first time I saw a DJ playing records.
Ray Smith，纽约夜总会赞助人：我记得第一次看到 DJ 播放唱片的情景。
You could say could you play so-and-so, and they would play the record.
你可以说你可以演奏某某，他们就会播放唱片。
Ayana Contreras, Cultural Historian: A lot of the initial clubs where disco started were Black clubs and gay clubs.
阿亚娜·孔特雷拉斯（Ayana Contreras），文化历史学家：迪斯科最初兴起的许多俱乐部都是黑人俱乐部和同性恋俱乐部。
And really crucial DJs in early disco were gay people.
早期迪斯科中真正重要的 DJ 是同性恋者。
So, I mean, I don't think that you could say anything other than they’re inextricably linked.
所以，我的意思是，我认为除了它们之间有着千丝万缕的联系之外，你不能说任何其他话。
Dave Logan, WLUP-FM Promotion Director: Much of disco did come in from underground, and the DJs in the clubs were relentless at trying to find new sounds and new music.
Dave Logan，WLUP-FM 推广总监：许多迪斯科确实来自地下，俱乐部里的 DJ 不懈地试图寻找新的声音和新的音乐。
Ayana Contreras, Cultural Historian: They would find songs with that very specific beat, that was made for the dance floor.
阿亚娜·孔特雷拉斯 (Ayana Contreras)，文化历史学家：他们会找到具有特定节奏的歌曲，这些歌曲是为舞池制作的。
1972 Manu Dibango, “Soul Makossa” (1972)
1972 马努·迪班戈，《灵魂马科萨》(1972)
Joe Shanahan, Chicago Club Owner: There was a club in New York called The Loft, an underground gay, basically Black club.
乔·沙纳汉 (Joe Shanahan)，芝加哥俱乐部老板：纽约有一个名为 The Loft 的俱乐部，是一个地下同性恋俱乐部，基本上是黑人俱乐部。
From The Loft we learn about a very important record called Soul Makossa.
从 The Loft 中我们了解到一张非常重要的唱片，名为 Soul Makossa。
And Soul Makossa was this African sort of beat.
Soul Makossa 就是这种非洲风格的节奏。
Ayana Contreras, Cultural Historian: Soul Makossa literally bubbled up from the underground.
阿亚娜·孔特雷拉斯 (Ayana Contreras)，文化历史学家：灵魂马科萨确实是从地下冒出来的。
A Brooklyn record store called African Record Center imported that record, and it became a hit in the club.
布鲁克林一家名为非洲唱片中心的唱片店进口了这张唱片，它在俱乐部中引起了轰动。
And then the radio picked it up.
然后收音机就听到了。
And so, all over the United States of America, people are listening to this amazing combination of jazz and funk and African rhythms.
因此，在美国各地，人们都在聆听这种爵士乐、放克音乐和非洲节奏的奇妙组合。
Joe Shanahan, Chicago Club Owner: DJs were using multiple turntables, to create an extended mix because the records back then, they were only three minutes and 50 seconds.
Joe Shanahan，芝加哥俱乐部老板：DJ 们使用多个转盘来创作扩展混音，因为当时的唱片只有 3 分 50 秒。
They would turn it into a 10-minute version.
他们会把它变成一个 10 分钟的版本。
So this becomes an art in itself; a turntable becomes as important as a guitar.
所以这本身就成为一门艺术；转盘变得和吉他一样重要。
Daphne Brooks, African American Studies Scholar: Those extended play records, they're extended for a reason, right?
达芙妮·布鲁克斯（Daphne Brooks），非裔美国人研究学者：那些延长的播放记录，它们被延长是有原因的，对吧？
Let's extend the euphoria as far as we can, which is why we should also think of disco as a kind of secularized form of gospel.
让我们尽可能地扩展这种欣快感，这就是为什么我们也应该将迪斯科视为一种世俗化的福音形式。
Adam Green, Historian: This is something that many, many people talked about in terms of going to clubs at this time: that it almost felt like you were going to church.
亚当·格林（Adam Green），历史学家：这是当时很多人谈论去俱乐部的事情：感觉就像是去教堂一样。
It almost felt like you were participating in something equivalent to religion.
感觉就像你正在参与某种类似于宗教的活动。
The music is affirming your right to be part of that community; that's what was so powerful about it.
音乐肯定了你成为该社区一部分的权利；这就是它的强大之处。
Ray Smith, NYC Nightclub Patron: The whole thing about going to The Firehouse was your community.
Ray Smith，纽约市夜总会赞助人：去 The Firehouse 的全部意义在于你的社区。
I mean, I don't use that word often, but that's really what it was.
我的意思是，我不经常使用这个词，但事实就是如此。
Your community.
你的社区。
Adam Green, Historian: Disco had originated in New York, but there was always a kind of transfer between New York and Chicago.
历史学家亚当·格林：迪斯科起源于纽约，但纽约和芝加哥之间总有一种转移。
And there's like a scene in Chicago that's different from the scene that existed within New York.
芝加哥的场景与纽约的场景不同。
Ayana Contreras, Cultural Historian: In Chicago there was the Sock hop, which was a non-traditional space where people would play records, often in church rectories or schools.
阿亚娜·孔特雷拉斯（Ayana Contreras），文化历史学家：在芝加哥有一个 Sock hop，这是一个非传统的空间，人们通常在教堂教区或学校里播放唱片。
DJ Wayne Williams, Club DJ: I started DJing in 1973, in the basement at my sister’s boyfriend’s house.
DJ Wayne Williams，俱乐部 DJ：我于 1973 年在我姐姐男朋友家的地下室开始打碟。
And I just loved that feeling, when people liked and reacted to the music that you chose.
我就是喜欢那种感觉，当人们喜欢你选择的音乐并做出反应时。
Then, the first time I heard soulful disco, oh it moved me, it changed my life.
然后，我第一次听到深情的迪斯科，哦，它感动了我，它改变了我的生活。
DJ Wayne Williams, Club DJ: At the time you would only hear that music in Black gay clubs.
DJ Wayne Williams，俱乐部 DJ：当时你只会在黑人同性恋俱乐部听到这种音乐。
And I said I'm gonna bring that disco music to my peers.
我说我要把迪斯科音乐带给我的同龄人。
You know, people were very homophobic back then, I mean very homophobic.
你知道，当时人们非常仇视同性恋，我的意思是非常仇视同性恋。
But I kept on.
但我继续坚持下去。
And it was the girls who, took the first step you know, they were like, okay, you know, I'm feeling this, right?
正是这些女孩，迈出了第一步，你知道，她们就像，好吧，你知道，我有这种感觉，对吗？
The guys kind of resisted in the beginning at first, but you know, where there're pretty girls on the floor, you know, guys are going to follow.
一开始，男人们有点抗拒，但你知道，只要地板上有漂亮女孩，男人们就会跟着。
Darlene Jackson, Club DJ: It started in Black and gay clubs.
Darlene Jackson，俱乐部 DJ：它始于黑人和同性恋俱乐部。
And then the clubs get bigger and bigger.
然后俱乐部变得越来越大。
And then people are bringing along their sisters and their cousins and their aunts, and people start to see that this is something that everybody kind of likes and can get into.
然后人们带着他们的姐妹、表兄弟姐妹和阿姨一起来，人们开始发现这是每个人都喜欢并且可以参与的事情。
DJ Wayne Williams, Club DJ: And then disco caught on period, even commercially, by the middle of the Seventies, in the popular straight crowd.
DJ Wayne Williams，俱乐部 DJ：然后迪斯科在七十年代中期在流行的异性恋人群中流行起来，甚至在商业上也流行起来。
Archival Disco Music Producer Jeff Lane: “As far as disco music is concerned, I think you could probably say 99.9 per cent of the times it was either Black-owned music, Black-produced music, Black acts doing it.”
档案迪斯科音乐制作人 Jeff Lane：“就迪斯科音乐而言，我想你可能会说 99.9% 的时间要么是黑人拥有的音乐，要么是黑人制作的音乐，要么是黑人表演的。”
Music Montage: “Love Train” – The O’Jays – 1973 “Lady Marmalade” – LaBelle – 1974 “That’s the Way I Like It” – KC & the Sunshine Band – 1975 “Love to Love You Baby” – Donna Summer -- 1976 “I Will Survive” – Gloria Gaynor
音乐蒙太奇：“Love Train” – The O’Jays – 1973 “Lady Marmalade” – LaBelle – 1974 “That’s the Way I Like It” – KC & the Sunshine Band – 1975 “Love to Love You Baby” – Donna Summer – 1976 “I Will Survive” – Gloria Gaynor
Ayana Contreras, Cultural Historian: I would argue that a lot of disco did have a feminist angle, that universal connection of power and strength.
阿亚娜·孔特雷拉斯（Ayana Contreras），文化历史学家：我认为很多迪斯科确实有女权主义的角度，即权力和力量的普遍联系。
One great example would be “I Will Survive by Gloria Gaynor.
一个很好的例子是格洛丽亚·盖诺的《我会生存》。
Linda Clifford, Disco Artist: Disco made women feel stronger.
Linda Clifford，迪斯科艺术家：迪斯科让女性感觉更坚强。
The freedom to not wear a bra, I mean, come on!
我是说，不穿胸罩的自由，来吧！
To go out and go dancing and not necessarily go with a date, but maybe meet someone after you get there.
出去跳舞，不一定是去约会，但也许到了那里后会遇到某个人。
I mean, those things were happening because of disco.
我的意思是，这些事情是因为迪斯科而发生的。
Felipe Rose, Disco Artist: They could be as aggressive as a man, and just act with wild abandonment and enjoy themselves.
Felipe Rose，迪斯科艺术家：他们可以像男人一样具有侵略性，并且放纵地行事并享受自己。
You know you're hot; why not be dancing and sweating and have three or four guys grabbing you, flipping you upside down?
你知道你很热；为什么不一边跳舞一边大汗淋漓，让三四个人抓住你，把你翻个底朝天呢？
Daphne Brooks, African American Studies Scholar: My sister loved all kinds of popular music.
达芙妮·布鲁克斯（Daphne Brooks），非裔美国人研究学者：我姐姐喜欢各种流行音乐。
I think for her as a teenage Black girl, disco was about spectacle, and glamor, and choreography, a new kind of unbridled freedom with Black folks at the center of it.
我认为对于一个十几岁的黑人女孩来说，迪斯科意味着奇观、魅力和舞蹈，是一种以黑人为中心的新型无拘无束的自由。
Darlene Jackson, Club DJ: I loved disco, loved it; I wanted to be a disco dancing queen .
Darlene Jackson，俱乐部 DJ：我喜欢迪斯科，喜欢它；我想成为一名迪斯科舞女王。
My brothers and sisters all liked disco and would go out at night and I couldn't go with them.
我的兄弟姐妹都喜欢迪斯科，晚上会出去，我不能和他们一起去。
And I would cry.
我会哭。
Diane White, Photographer: My sister Maria, who I wanna call the disco queen; she dressed disco, her hair was disco, her entertainment was disco, her friends were disco, she was disco.
黛安·怀特 (Diane White)，摄影师：我的妹妹玛丽亚 (Maria)，我想称她为迪斯科女王；她穿着迪斯科，她的头发是迪斯科，她的娱乐是迪斯科，她的朋友是迪斯科，她是迪斯科。
Darlene Jackson, Club DJ: My sisters Yvonne and Carolyn, the ritual of them getting dressed and getting ready to go to the club, was something that was exciting for me.
达琳·杰克逊（Darlene Jackson），俱乐部 DJ：我的姐妹伊冯（Yvonne）和卡罗琳（Carolyn），她们穿好衣服并准备去俱乐部的仪式让我感到兴奋。
They would turn on the radio, and they would be deciding what shirt they were gonna wear.
他们会打开收音机，然后决定穿什么衬衫。
And long jeans or bell bottoms, and then heels, crazy heels, right?
然后是长牛仔裤或喇叭裤，然后是高跟鞋，疯狂的高跟鞋，对吗？
Like platform shoes.
就像厚底鞋一样。
Seventies fashion, you know?
七十年代的时尚，你知道吗？
Diane White, Photographer: Your hair must be perfect.
黛安·怀特（Diane White），摄影师：你的头发一定很完美。
And at that time, it was the Farrah Fawcett style of hair, the tubes and the wings.
那时，头发、管子和翅膀都是法拉·福塞特风格的。
So you’d have to have it just done perfectly.
所以你必须把它做得完美。
And it was really about how you looked, and you checked yourself in every mirror.
这实际上是关于你的外表，你在每面镜子中检查自己。
Darlene Jackson, Club DJ: You could assert yourself as a woman.
达琳·杰克逊 (Darlene Jackson)，俱乐部 DJ：你可以宣称自己是一名女性。
Women were unabashed about their sexuality and wanting to go and dance and be themselves.
女性毫不掩饰自己的性取向，她们想要去跳舞，做她们自己。
And so disco was a representation of that.
所以迪斯科就是这一点的代表。
Daphne Brooks, African American Studies Scholar: I don't think it's a coincidence that disco exploded at the moment that it did, right?
非裔美国人研究学者达芙妮·布鲁克斯（Daphne Brooks）：我不认为迪斯科在它爆发的那一刻爆发是一个巧合，对吗？
If we think about the long Civil Rights movement, Black power, feminist liberation, LGBTQ Liberation, all of those movements are swirling around and informing disco.
如果我们思考长期的民权运动、黑人权力、女权主义解放、LGBTQ 解放，所有这些运动都在围绕着迪斯科舞曲展开。
Jefferson Cowie, Historian: The conundrum of disco is that it is a sense of liberation for so many people, for gay people, for people of color.
历史学家杰斐逊·考伊（Jefferson Cowie）：迪斯科的难题在于，它对很多人、同性恋者、有色人种来说是一种解放感。
But what is liberation for one group then becomes oppression, or the perception of oppression for another group.
但对一个群体来说是解放的东西就变成了压迫，或者对另一个群体来说是压迫感。
Adam Green, Historian: To the working class straight white male, you know, disco on the far South Side, or in the Bronx is one thing.
亚当·格林（Adam Green），历史学家：对于工人阶级白人异性恋男性来说，你知道，远南区或布朗克斯的迪斯科是一回事。
But when disco goes to a place like Studio 54, with a velvet rope outside, that's gonna breed a lot of resentment.
但当迪斯科去像 Studio 54 这样的地方，外面有天鹅绒绳子时，就会滋生很多怨恨。
It's the sense that these people who we were told before were inferior to us, now enjoy social privileges that we can't enjoy.
这是一种感觉，那些我们以前被告知不如我们的人，现在享受着我们无法享受的社会特权。
Studio 54 Studio 54 opens in New York on April 26, 1977
Studio 54 Studio 54 于 1977 年 4 月 26 日在纽约开业
Felipe Rose, Disco Artist: There was a new club opening up and they were looking for dancers.
Felipe Rose，迪斯科艺术家：有一家新俱乐部开业，他们正在寻找舞者。
So of course I show up, all in my tribal native gear, because my dad is a Native American and my mother's Puerto Rican and Italian, so I'm biracial.
所以我当然会穿着我部落的本土装备出现，因为我的父亲是美洲原住民，我的母亲是波多黎各人和意大利人，所以我是混血儿。
So they called me throughout New York, Felipe Rose, the native – not native, they would say “Indian” back then – the “Indian dancer-percussionist,” because I would wear sleigh bells on my ankles.
因此，整个纽约的人们都称我为费利佩·罗斯（Felipe Rose），本地人——不是本地人，当时他们会说“印度人”——“印度舞者打击乐手”，因为我会在脚踝上戴雪橇铃。
So I was hired to perform at Studio 54.
所以我被聘请在 Studio 54 表演。
Felipe Rose, Disco Artist: When that club hit, everyone just lost their minds.
Felipe Rose，迪斯科艺术家：当那个俱乐部来袭时，每个人都失去了理智。
Archival: “It’s three in the morning in Manhattan, and still at Studio 54, people crowd the doors, hoping to get in.”
档案：“曼哈顿凌晨三点，仍然在 Studio 54，人们挤在门口，希望能进去。”
Felipe Rose, Disco Artist: So there's a frenzy outside now.
Felipe Rose，迪斯科艺术家：所以现在外面很热闹。
Archival: “But first they have to win the approval of the owner, 28-year-old Steve Rubell.”
档案：“但首先他们必须赢得店主 28 岁的史蒂夫·鲁贝尔 (Steve Rubell) 的认可。”
Felipe Rose, Disco Artist: So Steve Rubell, he had a thing where he would say, “yes, no, you can stay, you can go.” Imagine turning away people cuz they didn't look the part?
Felipe Rose，迪斯科艺术家：史蒂夫·鲁贝尔（Steve Rubell）有一句话他会说：“是的，不，你可以留下来，你可以走。”想象一下因为人们看起来不合适而拒绝他们吗？
Archival Steve Rubell: “No, you’re not shaved, there’s no way in a million years you’re gonna get in.”
档案史蒂夫·鲁贝尔：“不，你没有剃毛，一百万年内你不可能进去。”
Felipe Rose, Disco Artist: And the thing is, the rejection just made them come back more.
Felipe Rose，迪斯科艺术家：事实是，拒绝只会让他们更多地回来。
Archival: “Most people don’t make it, but that doesn’t stop them turning up night after night.”
档案：“大多数人都没有成功，但这并不能阻止他们夜复一夜地出现。”
Adam Green, Historian: You know, the idea that a doorman looks at you at the door and says, you can go in, you can't go in.
亚当·格林，历史学家：你知道，门卫在门口看着你说，你可以进去，你不能进去。
To the working class guy who goes to Comiskey Park, the guy who’s wondering how he's gonna make a living -- to that guy, that doorman outside the club is a sign of exclusivity and elitism.
对于那些去科米斯基公园的工人阶级的人来说，对于那些想知道如何谋生的人来说，俱乐部外面的门卫是排他性和精英主义的标志。
Jefferson Cowie, Historian: There’s a sense of decadence.
历史学家 Jefferson Cowie：有一种颓废感。
People are partying and doing drugs, and trying to get into Studio 54, when the rest of the country is feeling this narrowing sense of despair.
当全国其他地方都感受到这种狭隘的绝望感时，人们却在聚会、吸毒，并试图进入 Studio 54。
You're sort of partying through the apocalypse.
你有点像在末世中参加派对。
And blue-collar people, middle class people are feeling that as an attack on their sensibilities.
蓝领阶层、中产阶级认为这是对他们情感的攻击。
Adam Green, Historian: That's gotta make you angry.
历史学家亚当·格林：这一定会让你生气。
And you know, that would breed more and more of a sense that those people think way too much of themselves and they need to be taken down a notch.
你知道，这会越来越让人觉得这些人太自视甚高了，他们需要被降低一个档次。
Linda Clifford, Disco Artist: While disco was really hot and happening, there were producers, record companies who wanted to get in on this disco thing because they saw it as a vehicle to make a ton of money.
琳达·克利福德（Linda Clifford），迪斯科艺术家：虽然迪斯科确实很热门并且正在发生，但也有制作人、唱片公司想要加入迪斯科行业，因为他们将其视为赚大钱的工具。
Archival: In 1978 disco record sales were over 50 million dollars.
档案：1978 年迪斯科唱片销售额超过 5000 万美元。
Felipe Rose, Disco Artist: The late producer Jacques Morali, he wanted to put a group together using male stereotypes, you know, the biker with the big mustache, and then the construction worker, and the cowboy.
Felipe Rose，迪斯科艺术家：已故制作人雅克·莫拉利（Jacques Morali），他想利用男性刻板印象组建一个团体，你知道，留着大胡子的骑自行车的人，然后是建筑工人，最后是牛仔。
And he said “you're going to be in this group.” And I thought, “okay.” And he said, “it is going to be the new Village People.”
他说：“你将成为这个群体的一员。”我想：“好吧。”他说：“这将是新的村民。”
Felipe Rose, Disco Artist: I rolled my eyes up at them and I said, this is such a stupid idea .
Felipe Rose，迪斯科艺术家：我对他们翻了个白眼，我说，这真是个愚蠢的主意。
I said the same thing about YMCA too -- another stupid idea, are you serious?
我对基督教青年会也说了同样的话——又是一个愚蠢的想法，你是认真的吗？
Archival radio audio: …two great records this morning, two very very well known artists and we’ll have them special for you…
档案广播音频：……今天早上有两张很棒的唱片，两位非常非常知名的艺术家，我们将特别为您准备它们……
Saturday Night Fever is released December 12, 1977
《周六夜狂热》于 1977 年 12 月 12 日发行
Jefferson Cowie, Historian: Saturday Night Fever, I think surprises everybody by its scope, its scale, and its power.
历史学家 Jefferson Cowie：我认为《周末夜狂热》的范围、规模和力量让每个人都感到惊讶。
Ray Smith, NYC Nightclub Patron: I remember him with the paint can, and that song, walking down the street, it was so well done.
雷·史密斯，纽约夜总会赞助人：我记得他拿着油漆罐，走在街上时唱着那首歌，做得非常好。
Jefferson Cowie, Historian: Everyone responds.
Jefferson Cowie，历史学家：每个人都会做出回应。
It's, it's enormous.
这是，这是巨大的。
Soundtrack is enormous, the movie's enormous.
配乐很宏大，电影也很宏大。
Dave Logan, WLUP-FM Promotion Director: The BeeGees are doing their greatest work.
Dave Logan，WLUP-FM 推广总监：BeeGees 正在做他们最伟大的工作。
John Travolta has emerged as a mega star.
约翰·特拉沃尔塔已成为巨星。
Disco is very much in the mainstream.
迪斯科已经成为主流。
Archival: “I’ve noticed a lot more would be John Travoltas; and the Hustle has appeared from nowhere, everybody’s attempting to do it.”
档案：“我注意到更多的是约翰·特拉沃尔塔斯；喧嚣不知从何而来，每个人都在尝试这样做。”
Ray Smith, NYC Nightclub Patron: Watching him dance was, I mean, it was pure pleasure.
雷·史密斯，纽约夜总会赞助人：我的意思是，看他跳舞是一种纯粹的乐趣。
I mean, how can you resist John Travolta dancing?
我的意思是，你怎么能抗拒约翰·特拉沃尔塔的舞蹈呢？
Ayana Contreras, Cultural Historian: Saturday Night Fever follows that great American “make yourself out of nothing” chronology, right?
阿亚娜·孔特雷拉斯（Ayana Contreras），文化历史学家：《周末夜狂热》遵循了伟大的美国人“白手起家”的年表，对吗？
Put on a white suit and you’re somebody suddenly.
穿上白色西装，你就会突然成为名人。
Archival dance lesson: “...now back, two, three, that’s it…”
档案舞蹈课：“......现在回来，二，三，就这样......”
Dave Logan, WLUP-FM Promotion Director : Disco was everywhere.
Dave Logan，WLUP-FM 推广总监：迪斯科无处不在。
Archival dance lesson: “Down and lift, and down and lift, and down…”
档案舞蹈课：“下降，上升，下降，上升，下降……”
Dave Logan, WLUP-FM Promotion Director: It was all pervasive.
Dave Logan，WLUP-FM 推广总监：这一切都很普遍。
Archival: “Disco 92; according to the ratings, it’s the most listened-to radio station in the country.”
档案：“迪斯科 92；根据收视率，它是该国收听率最高的广播电台。”
Lee Abrams, Media Consultant: There were a lot of radio stations that all of a sudden wanted to get on the disco bandwagon.
Lee Abrams，媒体顾问：突然有很多广播电台想要加入迪斯科潮流。
Archival Casey Kasem: It’s moving toward 40% of the radio stations in the country are playing disco.
档案 Casey Kasem：该国 40% 的广播电台正在播放迪斯科音乐。
Archival Steve Dahl on the radio: “…good morning Mouseketeers, 7:51 WDAI 94.7 with Steve Dahl and company.”
广播中的档案史蒂夫·达尔 (Steve Dahl)：“……早上好，Mouseketeers，7:51 WDAI 94.7，与史蒂夫·达尔 (Steve Dahl) 和公司一起。”
Dave Logan, WLUP-FM Promotion Director: Here in Chicago we had a rock station called WDAI.
Dave Logan，WLUP-FM 推广总监：在芝加哥，我们有一个名为 WDAI 的摇滚电台。
Paul Natkin, Photographer: They played AC/DC, Aerosmith, Rolling Stones, you know.
Paul Natkin，摄影师：他们演奏了 AC/DC、Aerosmith、滚石乐队，你知道。
Archival Steve Dahl on radio: “...a minute before 8 o’clock WDAI 94.7”
电台档案史蒂夫·达尔 (Steve Dahl)：“……8 点前一分钟 WDAI 94.7”
Diane White, Photographer: So I listened to Steve Dahl when he would come on.
黛安·怀特（Diane White），摄影师：所以我在史蒂夫·达尔（Steve Dahl）上场时听了他的讲话。
And he was one of the earliest shock jocks, where you tuned in just because he was so spontaneous.
他是最早的震撼运动员之一，你会因为他的自发性而关注他。
Archival Steve Dahl on radio: “My wife’s out of town you know.
档案史蒂夫·达尔在广播中说道：“你知道，我妻子出城了。
Before she left she said to have a meaningful affair with someone.”
在她离开之前，她说要与某人发生一段有意义的恋情。”
Diane White, Photographer: And you'd be like, can you believe what he just said?
黛安·怀特（Diane White），摄影师：你会想，你能相信他刚才说的话吗？
Paul Natkin, Photographer: Steve would do these events, like he did a food drive on Christmas Eve.
保罗·纳特金（Paul Natkin），摄影师：史蒂夫会举办这些活动，就像他在平安夜举办美食活动一样。
Steve was dressed in a Santa Claus suit, and he gets done and finds out that the radio station was changing their format the following Monday, and going disco -- no more rock and roll.
史蒂夫穿着圣诞老人的衣服，他完成了工作，发现广播电台将在下周一改变格式，开始迪斯科——不再是摇滚乐。
Paul Natkin, Photographer: And he drove home to his new house that he had just purchased, to see his wife, with no job, on Christmas Eve.
保罗·纳特金（Paul Natkin），摄影师：圣诞节前夕，他开车回到他刚刚购买的新房子，去看望他没有工作的妻子。
Diane White, Photographer: He had lost his job to disco.
黛安·怀特（Diane White），摄影师：他因迪斯科而丢掉了工作。
And that infuriated him.
这激怒了他。
Dave Logan, WLUP-FM Promotion Director: We grabbed him immediately and said, Come on over here.
Dave Logan，WLUP-FM 推广总监：我们立即抓住他并说，过来吧。
We're building a rock station called The Loop, WLUP.
我们正在建造一个名为 The Loop, WLUP 的岩石站。
You'll be the perfect morning man for us.
你将成为我们完美的早起人。
Lee Abrams, Media Consultant: The Loop was just a hard, in your face, rock and roll station.
Lee Abrams，媒体顾问：The Loop 只是一个硬性的摇滚电台。
Lee Abrams, Media Consultant: Chicago was the “hog butcher of the world, player of railroads,” and we wanted the Chicago station to have that vibe.
Lee Abrams，媒体顾问：芝加哥是“世界生猪屠夫、铁路玩家”，我们希望芝加哥车站具有这种氛围。
Lee Abrams, Media Consultant: It wasn’t The Loop, it was The Loop.
Lee Abrams，媒体顾问：这不是 The Loop，而是 The Loop。
And Steve was a smash.
史蒂夫是一个粉碎。
Archival Steve Dahl fans: He’s outrageous…
史蒂夫·达尔的档案粉丝：他太离谱了……
He’s the greatest, he will be, and he, you can’t get any hotter than Steve Dahl.”
他是最伟大的，他将会是，而且他，你不可能比史蒂夫·达尔更性感了。”
Garry Meier, WLUP-FM DJ: Steve was working at another radio station, they changed formats from rock to disco, and I think he felt betrayed that they were just glamming onto some fad.
Garry Meier，WLUP-FM DJ：史蒂夫当时在另一家广播电台工作，他们将格式从摇滚改为迪斯科，我认为他感到被背叛了，因为他们只是在追捧一些时尚。
And he was pretty bitter about it.
他对此非常痛苦。
Archival Steve Dahl: “…we have to destroy all disco, it’s our job.”
档案史蒂夫·达尔：“……我们必须摧毁所有迪斯科舞厅，这是我们的工作。”
Paul Natkin, Photographer: I don't think he hated disco, but he hated what disco stood for.
Paul Natkin，摄影师：我不认为他讨厌迪斯科，但他讨厌迪斯科所代表的意义。
Lee Abrams, Media Consultant: Disco was about electronic music; disco fans liked the clubs where if you didn't look good enough, you couldn't get in.
Lee Abrams，媒体顾问：迪斯科是关于电子音乐的；迪斯科迷喜欢那些如果你看起来不够好就无法进入的俱乐部。
And the disco crowd was more about this sort of elite lifestyle; disco was about dressing up.
迪斯科人群更多的是这种精英生活方式；迪斯科是关于打扮的。
Lee Abrams, Media Consultant: Rockers loved big concerts, real drummers, real guitar players; rock was about jeans and a T-shirt.
Lee Abrams，媒体顾问：摇滚乐手喜欢大型音乐会、真正的鼓手、真正的吉他手；摇滚是关于牛仔裤和 T 恤的。
Rock was about listening, listening high perhaps.
摇滚就是倾听，也许是高亢的倾听。
Rockers were just angry at disco cuz they felt sort of threatened by it.
摇滚乐手只是对迪斯科感到愤怒，因为他们感到受到了某种威胁。
Archival Steve Dahl band: “Do you think I’m disco cuz I spend so much time blow drying out my hair…”
史蒂夫·达尔 (Steve Dahl) 乐队档案：“你认为我是迪斯科吗，因为我花了这么多时间吹干头发……”
Jefferson Cowie, Historian: I think a lot of this is the question of masculinity.
历史学家杰斐逊·考伊（Jefferson Cowie）：我认为这很大程度上是男性气质的问题。
You know, there's a lot of talk about polyester, and blow-drying hair, and gold chains, and this sort of feminization of men.
你知道，有很多关于聚酯纤维、吹干头发、金链子以及这种男性女性化的讨论。
And this was a source of tremendous fear and anxiety to a lot of straight white males.
这对许多白人异性恋男性来说是巨大的恐惧和焦虑的根源。
Adam Green, Historian: Disco brought you into contact with the non-straight world.
历史学家亚当·格林：迪斯科让你接触到非异性恋的世界。
And the question of what it means to be a man is going to be a really, really intense point of conflict.
作为一个男人意味着什么的问题将成为一个非常非常激烈的冲突点。
Archival Steve Dahl: “Long live rock n roll!”
档案史蒂夫·达尔：“摇滚万岁！”
Lee Abrams, Media Consultant : Rockers, if you don't like their music, you suck.
Lee Abrams，媒体顾问：摇滚乐手，如果你不喜欢他们的音乐，那你就很糟糕。
And if you didn't like disco, well, disco sucks.
如果你不喜欢迪斯科，那么迪斯科很糟糕。
Dave Logan, WLUP-FM Promotion Director: Pretty soon that phrase came up a lot.
Dave Logan，WLUP-FM 推广总监：很快这个短语就出现了很多。
Archival: I hate disco…
档案：我讨厌迪斯科......
I think it sucks, man…
我觉得这很糟糕，伙计……
Disco sucks…
迪斯科很烂…
It’s a plastic place, made up of plastic ladies, plastic men…
这是一个塑料的地方，由塑料女士、塑料男人组成……
Ayana Contreras, Cultural Historian: I think anytime something gets commodified it becomes less popular ultimately because of over-exposure.
阿亚娜·孔特雷拉斯（Ayana Contreras），文化历史学家：我认为任何时候，某种东西被商品化，最终都会因为过度曝光而变得不那么受欢迎。
Archival: Potamkin Cadillac commercial “You’ll catch the fever at Potamkin, with 1979 Cadillacs” …the “Disco Body Shaper…” VO: “Disco has grown to a 5 billion-dollar a year business…”
档案：波塔姆金凯迪拉克广告“在波塔姆金，开着 1979 款凯迪拉克，你会发烧”……“迪斯科塑身机……”画外音：“迪斯科已经发展成为一项年产值 50 亿美元的业务……”
Ayana Contreras, Cultural Historian: With the commodification of disco, it’s sort of this very corporate machine-sounding music.
阿亚娜·孔特雷拉斯（Ayana Contreras），文化历史学家：随着迪斯科的商品化，它变成了一种非常企业化的机器音乐。
Joe Shanahan, Chicago Club Owner: It becomes mass produced.
乔·沙纳汉（Joe Shanahan），芝加哥俱乐部老板：它已经开始批量生产。
Everything becomes a disco beat.
一切都变成了迪斯科节奏。
Archival: Ethel Merman singing “Alexander’s Ragtime Band”
档案：埃塞尔·默曼演唱“亚历山大的拉格泰姆乐队”
Darlene Jackson, Club DJ: Everything is becoming a little bit kitschy, like Ethel Merman making a disco album.
Darlene Jackson，俱乐部 DJ：一切都变得有点俗气，就像 Ethel Merman 制作迪斯科专辑一样。
Joe Shanahan, Chicago Club Owner: You've got a ridiculous record like Disco Duck.
乔·沙纳汉 (Joe Shanahan)，芝加哥俱乐部老板：你的唱片就像 Disco Duck 一样荒谬。
Ayana Contreras, Cultural Historian: It was a natural thing that eventually disco would have a backlash.
阿亚娜·孔特雷拉斯（Ayana Contreras），文化历史学家：迪斯科最终会遭到强烈反对，这是很自然的事情。
Archival radio audio: “...in baseball the White Sox blew a 5-1 lead and ended up losing to the Baltimore Orioles 8-7 last night.
档案电台音频：“......在棒球比赛中，白袜队昨晚以 5-1 领先，最终以 8-7 输给了巴尔的摩金莺队。
But the Cubs beat the Giants 3 to 2 in San Francisco…”
但小熊队在旧金山以 3 比 2 击败了巨人队……”
Garry Meier, WLUP-FM DJ: Mike Veeck, who was running promotions at White Sox Park, he thought it'd be a good idea to put us in the ballpark between a double header.
加里·迈耶 (Garry Meier)，WLUP-FM DJ：迈克·维克 (Mike Veeck) 在白袜公园负责促销活动，他认为让我们处于双头之间的球场是个好主意。
Paul Natkin, Photographer: It’s FM 98.
Paul Natkin，摄影师：这是 FM 98。
So the tickets were 98 cents.
所以门票是98美分。
And you have to bring a disco record.
而且你必须带一张迪斯科唱片。
And we'll put 'em all in this big metal bin, roll it out into center field in between the games, and the pyrotechnics guys would set off explosions underneath the records.
我们会将它们全部放入这个大金属箱中，在比赛间隙将其推到中心区域，烟火人员会在唱片下方引发爆炸。
And the crowd would go crazy, they'd roll the thing off the field, they'd play the second game.
人群会疯狂，他们会把东西滚出场地，他们会玩第二场比赛。
No big deal.
没什么大不了的。
Diane White, Photographer: Records were gonna be blown up with dynamite!?
黛安·怀特（Diane White），摄影师：唱片将被炸药炸毁！？
A lot of young people were just like, I have to be there.
很多年轻人都说，我必须去那里。
Jim Hankes, Chicago Resident: The evening before Disco Demolition, we were having dinner.
Jim Hankes，芝加哥居民：迪斯科拆除前一天晚上，我们正在吃晚饭。
And my dad said, What are you doing tomorrow?
我爸爸说，你明天要做什么？
And I said, Oh, just the usual hanging out.
我说，哦，只是平常的闲逛。
And he said, Well let me tell you what you're not doing; you are not going to the Sox game.
他说，好吧，让我告诉你你没有做什么；你不会去看红袜队的比赛。
And I was like, what do ya mean?
我当时想，你是什么意思？
There's a DJ, he's gonna be blowing up records, people are gonna be drinking.
有一位 DJ，他会吹爆唱片，人们会喝酒。
It’s just, it’s not good – alcohol, records, fireworks.
只是，这些都不好——酒精、唱片、烟花。
You're not going -- not going.
你不会去——不会去。
I said, Okay -- not going.
我说，好吧——不去了。
(pause) I couldn't wait to go!
（停顿）我等不及要走了！
(laugh).
（笑）。
Adam Green, Historian: I think, in a sense, the fact that Disco Demolition Night happened in Chicago seems like it was made to order.
历史学家亚当·格林：我认为，从某种意义上说，迪斯科拆除之夜发生在芝加哥的事实似乎是定制的。
One of the reasons why you would expect it to happen in a place like this was that Chicago was a social and political battleground.
你会期望它发生在这样的地方的原因之一是芝加哥是一个社会和政治战场。
Ayana Contreras, Cultural Historian: Each neighborhood really has its own identity.
阿亚娜·孔特雷拉斯（Ayana Contreras），文化历史学家：每个社区都有自己的特色。
In one place, all the signs would be in Polish, cross the street and all of the signs would be in Spanish, or would talk about a soul food restaurant.
在一个地方，所有的标志都是波兰语，过马路时所有的标志都是西班牙语，或者会谈论一家灵魂美食餐厅。
The demarcation point lines are very, very clear.
分界线非常非常清晰。
Garry Meier, WLUP-FM DJ: North of the Chicago River is a whole different section of the city, than south.
Garry Meier，WLUP-FM DJ：芝加哥河北岸与南部是完全不同的城市区域。
When you cross the river, things change.
当你过河时，情况就会发生变化。
So growing up on the south side, it was saying I'm blue collar, a regular person; north side, oh, we're a little more elite.
所以在南边长大的时候，人们都说我是蓝领，一个普通人；北边，哦，我们更精英一些。
And then you have two baseball teams, north side, south side.
然后你有两支棒球队，北边，南边。
Rich King, Sportscaster: You cannot be for both teams.
Rich King，体育解说员：你不能同时为两支球队效力。
It's verboten, you're considered a weak, wishy washy.
这是禁止的，你会被认为是一个软弱、软弱的人。
You're either a White Sox fan or you're a Cubs fan.
您要么是白袜队球迷，要么是小熊队球迷。
I grew up near Comiskey Park, so I grew up as a White Sox fan.
我在科米斯基公园附近长大，所以我从小就是一名白袜队球迷。
Diane White, Photographer: The south side, Comiskey Park, we have to talk a little bit about Bridgeport too, because that neighborhood was very white, it was very Irish.
黛安·怀特（Diane White），摄影师：南侧，科米斯基公园，我们也必须谈谈布里奇波特，因为那个社区非常白人，非常爱尔兰化。
A lot of the kids that went to disco demolition were from the neighborhood.
很多去迪斯科拆除的孩子都来自附近。
Ayana Contreras, Cultural Historian: Bridgeport was sort of like a sundown town neighborhood, where it was evident that you were not supposed to be there after dark if you were a Black person.
阿亚娜·孔特雷拉斯（Ayana Contreras），文化历史学家：布里奇波特有点像日落小镇附近，很明显，如果你是黑人，你不应该在天黑后呆在那里。
That was just not a place that you wanted to be.
那不是你想去的地方。
Darlene Jackson, Club DJ: You would hear stories that Blacks weren't welcome.
达琳·杰克逊（Darlene Jackson），俱乐部 DJ：你会听到黑人不受欢迎的故事。
And so, aside from the fact that Comiskey Park was there, you really weren't going to spend time in Bridgeport.
因此，除了科米斯基公园在那里之外，你真的不会在布里奇波特待上一段时间。
Dave Hoekstra, Journalist: There's some institutional racism, probably, around Comiskey.
戴夫·霍克斯特拉（Dave Hoekstra），记者：科米斯基周围可能存在一些制度性种族主义。
And I always wonder about what kids are taught living there, how that type of thinking might be handed down.
我总是想知道生活在那里的孩子们学到了什么，这种思维方式是如何传承下来的。
But it's, each case is different, each family handles that differently.
但具体情况不同，每个家庭的处理方式也不同。
Jim Hankes, Chicago Resident: My dad was not, back then and to this day, he's not very accepting of other races.
吉姆·汉克斯（Jim Hankes），芝加哥居民：我父亲从那时到今天都不是很接受其他种族。
He didn't like some of the disco music because there were Black people playing it.
他不喜欢一些迪斯科音乐，因为有黑人在演奏。
Jim Hankes, Chicago Resident: But my mother loves Nat King Cole.
吉姆·汉克斯 (Jim Hankes)，芝加哥居民：但我妈妈喜欢纳特·金·科尔 (Nat King Cole)。
“Unforgettable,” her favorite song of all time.
“难忘”，她最喜欢的歌曲。
Sammy Davis Jr, no. Couldn't listen to it cause he was Jewish; my dad, anti-Jewish.
小萨米·戴维斯，不。因为他是犹太人所以不能听；我的父亲，反犹太人。
That’s just the way it was; you grew up where you grew up, and you go this is normal.
事情就是这样；你在你长大的地方长大，你去这很正常。
Adam Green, Historian: It's worth remembering now that in 1979, when the disco demolition night takes place in Comiskey Park, the economy and economic opportunities for people who don't have college education is actually shrinking.
历史学家亚当·格林：现在值得记住的是，1979 年，当科米斯基公园发生迪斯科拆除之夜时，没有受过大学教育的人的经济和经济机会实际上正在萎缩。
The city is changing because of things that have to do with the economy and politics; it's not changing because of disco music.
由于与经济和政治有关的事情，这座城市正在发生变化；它不会因为迪斯科音乐而改变。
But if Steve Dahl says that he's been screwed by disco, it gives permission to other people to say, you know what?
但如果史蒂夫·达尔说他被迪斯科搞砸了，这就允许其他人说，你知道吗？
I've been screwed too.
我也被坑了
Jefferson Cowie, Historian: For gay people, people of color, the discotheque is a place of liberation; it's a place of freedom, it's a place to be amongst your own.
Jefferson Cowie，历史学家：对于同性恋者、有色人种来说，迪斯科舞厅是一个解放的地方；对于同性恋者来说，迪斯科舞厅是一个解放的地方。这是一个自由的地方，是一个可以与自己相处的地方。
As that music becomes more corporate, it's taking over other formats, I think a lot of these kids are feeling that as an attack on their sense of privilege, their sense of ownership of the culture.
随着音乐变得更加企业化，它正在接管其他形式，我认为很多孩子都觉得这是对他们的特权感和文化所有权感的攻击。
And so the line of the culture war cleaves on rock versus disco.
因此，文化战争的界限在摇滚与迪斯科之间分裂。
Disco Demolition Night Archival: singing national anthem
迪斯科拆除之夜档案：唱国歌
Paul Natkin, Photographer: The Detroit Tigers were the worst team in baseball that year.
Paul Natkin，摄影师：底特律老虎队是那一年棒球界表现最差的球队。
The White Sox were the second worst team in baseball that year.
白袜队是当年棒球队第二差的球队。
So they figured maybe we'll draw an extra 5,000 people.
所以他们认为也许我们会额外吸引 5,000 人。
Archival: singing “Take me out to the Ball game”
档案：唱“带我出去看球赛”
Nancy Faust, Organist, Chicago White Sox: I'm Nancy Faust.
南希·福斯特，芝加哥白袜队风琴手：我是南希·福斯特。
I'm probably best known for providing music for baseball games, specifically the Chicago White Sox, for 41 consecutive seasons.
我最出名的可能是连续 41 个赛季为棒球比赛（特别是芝加哥白袜队）提供音乐。
Nancy Faust, Organist, Chicago White Sox: I knew the point of the promotion was to blow up disco records, but I just did my thing.
南希·福斯特 (Nancy Faust)，芝加哥白袜队管风琴师：我知道促销的目的是要打破迪斯科唱片，但我只是做了我的事。
I'm sure I included many disco songs.
我确信我收录了很多迪斯科歌曲。
Archival: “Hello again everybody, Harry Carey and Jimmy Piersall from Comiskey Park, twi-night double header.
档案：“大家好，来自科米斯基公园的哈里·凯里和吉米·皮尔索尔，今晚的双头球。
And the theme song seems to be Disco Sucks.”
主题曲好像是《Disco Sucks》。”
Dave Logan, WLUP-FM Promotion Director: By about the third inning, there's a lot of people outside trying to get in.
Dave Logan，WLUP-FM 推广总监：大约到了第三局，外面就有很多人试图进去。
Diane White, Photographer: This crush of people started coming in any way they could enter, including climbing over the chain link fence gate.
黛安·怀特（Diane White），摄影师：这群人开始以任何可以进入的方式涌入，包括爬过铁丝网栅栏门。
Dave Logan, WLUP-FM Promotion Director: By the seventh inning there wasn't an empty seat in the stadium.
戴夫·洛根 (Dave Logan)，WLUP-FM 推广总监：到第七局时，体育场内已座无虚席。
Archival: “We may have the year’s biggest crowd.”
档案：“我们可能有今年最多的人群。”
Dave Logan, WLUP-FM Promotion Director: It was like, whoa, this is big!
Dave Logan，WLUP-FM 推广总监：感觉就像是，哇，这太大了！
Archival: “Tonight they filled this ballpark.”
档案：“今晚他们挤满了这个球场。”
Paul Natkin, Photographer: Rather than 5,000 people, 50,000 people showed up.
Paul Natkin，摄影师：不是 5,000 人，而是 50,000 人到场。
And there were still 20,000 people waiting out on the sidewalk, trying to get in.
还有两万人在人行道上等待，试图进去。
Archival: “The evening delayed again because of these records.
档案：“由于这些记录，晚上再次推迟。
Big rock and roll crowd.”
大批摇滚乐人群。”
Dave Logan, WLUP-FM Promotion Director: So about the beginning of the eighth inning, we go down to the tunnel, getting ready to go out onto the field to do our thing.
戴夫·洛根 (Dave Logan)，WLUP-FM 推广总监：大约在第八局开始时，我们走进球员通道，准备上场做我们的事情。
Archival: “He struck him out and the ball game is over.”
档案：“他三振了他，比赛就结束了。”
Voice of Garry Meier, WLUP-FM DJ: We're gonna get on this army jeep, and go out onto the field between games.
WLUP-FM DJ Garry Meier 的声音：我们要坐上这辆军用吉普车，在比赛间隙前往球场。
Our fans just erupted because this was what they came for.
我们的粉丝爆发了，因为这就是他们的目的。
They didn't give a damn about the baseball game.
他们根本不在乎棒球比赛。
Paul Natkin, Photographer: They got in for 98 cents, so they had a lot of extra money in their wallet, so rather than a beer or two, they had four or five.
Paul Natkin，摄影师：他们花了 98 美分进去，所以他们钱包里还有很多多余的钱，所以他们不是喝一两杯啤酒，而是喝了四五杯。
And they decided it would be really cool to start throwing beers at us.
他们认为开始向我们扔啤酒真是太酷了。
Garry Meier, WLUP-FM DJ: We’re getting doused with beer; it was like, we gotta do that, we gotta let off this steam, this is why we came here and we're gonna blow up these records, and…
Garry Meier，WLUP-FM DJ：我们被啤酒浇湿了；就好像，我们必须这样做，我们必须释放这股蒸汽，这就是我们来到这里的原因，我们要打破这些记录，然后……
Archival crowd: “Disco sucks, disco sucks”
档案人群：“迪斯科很糟糕，迪斯科很糟糕”
Archival Steve Dahl: “Please welcome The Village People!” (booing) “What?
档案史蒂夫·达尔：“请欢迎村民们！” （嘘声）“什么？
You don’t like The Village People?
你不喜欢村里人吗？
How ‘bout the Bee Gees?” (booing) Okay, listen – I’m gonna blow up the records real good…
比吉斯怎么样？ （嘘声）好吧，听着——我要好好地炸毁唱片……
one, two three.”
一、二、三。”
Dave Logan, WLUP-FM Promotion Director: And then…
Dave Logan，WLUP-FM 推广总监：然后……
Boom!
繁荣！
Archival Steve Dahl: “That blowed up real good!”
档案史蒂夫·达尔：“那真是太棒了！”
Jim Hankes, Chicago Resident: This big huge explosion just, like reverberated, it was so loud and it blew a big hole in the field.
吉姆·汉克斯（Jim Hankes），芝加哥居民：这场巨大的爆炸就像回响一样，声音如此之大，在田野上炸出了一个大洞。
Paul Natkin, Photographer: We were supposed to then get in the Jeep, and Steve would wave, crowd would go crazy, we'd go back through the tunnel, and that would be it.
保罗·纳特金（Paul Natkin），摄影师：我们本来应该坐上吉普车，史蒂夫会挥手，人群会疯狂，我们会穿过隧道回去，就这样。
Dave Logan, WLUP-FM Promotion Director: We drive down into the tunnel to get off the field, a lot of the security guys ran down with us.
戴夫·洛根 (Dave Logan)，WLUP-FM 推广总监：我们开车进入隧道，准备离开球场，很多保安人员跟我们一起跑了下去。
Jim Hankes, Chicago Resident: And then, all of a sudden people started running on the field.
吉姆·汉克斯（Jim Hankes），芝加哥居民：然后，突然人们开始在球场上奔跑。
Archival news reporter: “The fans are now streaming off the field in great numbers.”
档案新闻记者：“现在球迷们纷纷涌出球场。”
Jim Hankes, Chicago Resident: Nobody could stop ‘em.
吉姆·汉克斯，芝加哥居民：没有人能阻止他们。
Archival: “I hope they don’t let you people see what’s going on at Comiskey Park.
档案：“我希望他们不要让你们看到科米斯基公园发生了什么。
One of the saddest sights I’ve ever seen at a ballpark in my life.”
这是我一生中在球场上见过的最悲伤的景象之一。”
Dave Logan, WLUP-FM Promotion Director: People just kept pouring over the wall, like a bathtub overflowing.
Dave Logan，WLUP-FM 推广总监：人们不断地从墙上倾倒，就像浴缸溢出一样。
Archival: “Will they call the game, the second game, or will they forfeit it?”
档案：“他们会宣布比赛，第二场比赛，还是会放弃比赛？”
Jim Hankes, Chicago Resident: So we joined in.
Jim Hankes，芝加哥居民：所以我们加入了。
We ran on the field too.
我们也在操场上奔跑。
I slid into third base, acting like I'm in the pros, and I run…
我滑入三垒，表现得好像我是职业球员，然后我跑……
Archival: “Some of these records are being thrown high into the air and they’re going to strike people on top of their head.”
档案：“其中一些唱片被高高抛向空中，它们会击中人们的头顶。”
Jim Hankes, Chicago Resident: And I got hit in the leg in the calf with a flying album and it cut the back of my leg open.
吉姆·汉克斯 (Jim Hankes)，芝加哥居民：我的小腿被一张飞来的专辑击中，我的腿后部被割开了。
Archival Bill Veeck: “Let’s clear the field.”
档案比尔·维克：“让我们清理场地。”
Garry Meier, WLUP-FM DJ: And on the scoreboard they put, “Please return to your seats,” as if these people are looking at the scoreboard, would read that, and go back to their seat.
Garry Meier，WLUP-FM DJ：他们在记分牌上写着“请回到座位上”，就好像这些人正在看记分牌，会读到这一点，然后回到自己的座位上。
Archival crowd: “Back to your seats, back to your seats, back to your seats.”
档案人群：“回到你的座位上，回到你的座位上，回到你的座位上。”
Nancy Faust, Organist, Chicago White Sox: They were rock fans, really didn't care about baseball.
南希·福斯特（Nancy Faust），芝加哥白袜队风琴手：他们是摇滚迷，真的不关心棒球。
And I’m sure there was a large segment of fans that were in their seats that were disgusted that we had missed the second game.
我确信坐在座位上的一大群球迷对我们错过第二场比赛感到厌恶。
Archival Steve Dahl: “That blowed up real good”
档案史蒂夫·达尔：“那真是太好了”
Darlene Jackson, Club DJ: My parents were Sox fans, and sitting there in front of the TV with my Dad experiencing this, yeah, he was super disappointed by it.
达琳·杰克逊（Darlene Jackson），俱乐部 DJ：我的父母是红袜队球迷，我和父亲坐在电视机前经历了这一切，是的，他对此非常失望。
But also not surprised because Comiskey is smack dab in the center of Bridgeport.
但也并不感到惊讶，因为科米斯基正好位于布里奇波特的中心。
Archival: “...get off the field, we’ll have a chance to hold that Tiger.”
档案：“......离开球场，我们将有机会抓住那只老虎。”
Diane White, Photographer: It was very difficult to find your way out.
黛安·怀特（Diane White），摄影师：找到出路非常困难。
I was afraid, I was truly scared.
我很害怕，我真的很害怕。
It went from being this kind of fun night, to now, how do I get out of here?
从这样一个有趣的夜晚，到现在，我该如何离开这里呢？
Rich King, Sportscaster: And it was like a mini war scene.
Rich King，体育广播员：这就像一个迷你战争场景。
There was like, smoke everywhere, fires.
到处都是烟雾、火灾。
When you saw the fires, that was enough to scare you.
当你看到大火时，就足以吓到你了。
Archival news anchor: Good evening, Chicago is still talking about last night’s disturbance at Comiskey Park, a wild…
档案新闻主播：晚上好，芝加哥还在谈论昨晚在科米斯基公园发生的骚乱，这是一个狂野的……
Dave Logan, WLUP-FM Promotion Director: The next day, I started getting calls from people all over the country, Hey, what happened there?
Dave Logan，WLUP-FM 推广总监：第二天，我开始接到全国各地人们的电话，嘿，那里发生了什么事？
What was that all about?
那是怎么回事？
What did you guys do?
你们做了什么？
And I said, You saw it; you know, the crowd got outta control.
我说，你看见了；你知道，人群失去了控制。
Rich King, Sportscaster: I think anytime you talk about hate for anything, disco music, people, whatever, it generates the evil side of people, so to speak.
Rich King，体育广播员：我认为任何时候你谈论对任何事物的仇恨，迪斯科音乐，人，等等，可以这么说，它会产生人们邪恶的一面。
They get worked up about it.
他们对此很恼火。
Archival Steve Dahl: “...not gonna let ‘em forget it.
档案史蒂夫·达尔：“……不会让他们忘记这一点。
They’re not gonna shove it down our throats…”
他们不会把它塞进我们的喉咙里……”
Diane White, Photographer: When you listen to Steve Dahl, he never said anything about hating gay people or hating Black people.
黛安·怀特（Diane White），摄影师：当你听史蒂夫·达尔（Steve Dahl）讲话时，他从未说过任何关于仇恨同性恋者或仇恨黑人的言论。
His backlash was against Saturday Night Fever and the velvet rope that would never allow him into a private club.
他的强烈反对是《周六夜狂热》和永远不允许他进入私人俱乐部的天鹅绒绳索。
Steve Dahl Interview 2016 Archival 2016 Steve Dahl interview:
史蒂夫·达尔 (Steve Dahl) 访谈 2016 年档案 2016 年史蒂夫·达尔 (Steve Dahl) 访谈：
Interviewer: There have been allegations that there was something vaguely homophobic or racist in the promotion?
采访者：有人指控宣传活动中存在隐约的恐同或种族主义内容？
Steve Dahl: Ah, it was not.
史蒂夫·达尔：啊，不是的。
I don’t know where that comes from; I’d like to have somebody show me some proof of that.
我不知道那是从哪里来的；我想让有人向我展示一些证据。
It was really just a rock and roll versus disco thing.
这实际上只是摇滚乐与迪斯科的较量。
Dave Logan, WLUP-FM Promotion Director: Years after the event, things look a lot different than they may have looked at the time of the event.
Dave Logan，WLUP-FM 推广总监：事件发生多年后，事情看起来与事件发生时相比有很大不同。
People become more enlightened, more interpretation is given to an event.
人们变得更加开明，对事件有了更多的解释。
I will say this, we didn't make fun of Black artists, we made fun of the Bee Gees.
我要说的是，我们没有取笑黑人艺术家，我们取笑了比吉斯乐队。
Jim Hankes, Chicago Resident: When I thought of disco music, I thought of it as the Bee Gees, it was faster paced.
Jim Hankes，芝加哥居民：当我想到迪斯科音乐时，我想到的是 Bee Gees，它节奏更快。
It was something you could dance to instead of playing your air guitar, and jamming.
这是你可以跳舞的东西，而不是弹空气吉他和即兴演奏。
We didn't think anything racial of any of it.
我们不认为其中有任何种族问题。
Daphne Brooks, African American Studies Scholar: Baseball was sacred in my family because of iconic figures like Jackie Robinson and Willie Mays.
达芙妮·布鲁克斯（Daphne Brooks），非裔美国人研究学者：棒球在我的家庭中是神圣的，因为有像杰基·罗宾逊和威利·梅斯这样的标志性人物。
And that kind of passion for the game was tied to the Civil Rights imagination.
这种对游戏的热情与民权想象力息息相关。
Archival Bill Veeck: “Please get off the field so we can start the second game.”
档案比尔·维克：“请下场，以便我们开始第二场比赛。”
Daphne Brooks, African American Studies Scholar: So to see people swarming the baseball diamond…
达芙妮·布鲁克斯（Daphne Brooks），非裔美国人研究学者：看到人们涌入棒球场……
as far as I could see they were white men.
据我所知，他们是白人。
They looked incredibly angry.
他们看起来非常愤怒。
It was terrifying.
太可怕了。
Darlene Jackson, Club DJ: It felt racist.
达琳·杰克逊（Darlene Jackson），俱乐部 DJ：这感觉像是种族主义。
I don't think you could have a stadium full of, you know, Black and brown kids that would be allowed to just run uncontained, damaging property.
我不认为你可以拥有一个充满黑人和棕色人种孩子的体育场，而他们会被允许管理不受控制的、破坏性的财产。
Ayana Contreras, Cultural Historian: Yes, you had a perfect storm of disenfranchised youth and alcohol.
阿亚娜·孔特雷拉斯（Ayana Contreras），文化历史学家：是的，你经历了一场被剥夺权利的年轻人和酒精的完美风暴。
But I don't think that Steve Dahl intended for a riot to happen.
但我不认为史蒂夫·达尔有意要发生骚乱。
I think the ultimate point was, it was “the other,” that's what they were rallying against, the people who were not like themselves.
我认为最终的重点是，他们所反对的是“其他人”，那些与自己不同的人。
Felipe Rose, Disco Artist: The evening at Comiskey Park was the moment that set the fuse.
Felipe Rose，迪斯科艺术家：科米斯基公园的夜晚是点燃导火索的时刻。
Suddenly, radio stations stopped playing disco music -- not slowly, overnight.
突然之间，广播电台停止播放迪斯科音乐——而且不是慢慢地，一夜之间。
Linda Clifford, Disco Artist: The bookings stopped, the phone calls stopped.
Linda Clifford，迪斯科艺术家：预订停止了，电话也停止了。
There was no work.
没有工作。
I don't think that they really thought about how badly they could hurt people, women especially, because this was a time when women were really moving into the music industry and having successes.
我认为他们并没有真正考虑过他们会对人们，特别是女性造成多么严重的伤害，因为这是一个女性真正进入音乐行业并取得成功的时代。
My heart dropped.
我的心沉了下去。
I don't know what the effect might have been for the average person out there to see it.
我不知道对于普通人来说，看到它会产生什么影响。
I know what it did to me.
我知道它对我做了什么。
Frankie Knuckles at Power House Club, 1986
弗兰基·纳克斯 (Frankie Knuckles) 在 Power House 俱乐部，1986 年
Ayana Contreras, Cultural Historian: Disco definitely didn't die after disco demolition, and from my vantage point, I think it was reborn as house music right here in Chicago.
阿亚娜·孔特雷拉斯 (Ayana Contreras)，文化历史学家：迪斯科绝对没有在迪斯科拆除后消亡，从我的角度来看，我认为迪斯科在芝加哥以浩室音乐的形式重生。
Archival: “House music has refined disco.”
档案：“浩室音乐使迪斯科变得精致。”
Dave Hoekstra, Journalist: Disco was ready to change.
Dave Hoekstra，记者：迪斯科已经准备好改变了。
You know, without disco demolition, there would've been no house music.
你知道，如果没有迪斯科舞厅的拆除，就不会有浩室音乐。
I think outside of the Blues, house music is the second biggest musical export out of Chicago, especially when you go to Europe.
我认为除了蓝调之外，浩室音乐是芝加哥的第二大音乐出口，尤其是当你去欧洲时。
Archival: “Yet another form of Black music which has broken from the street into people’s homes.”
档案：“黑人音乐的另一种形式已经从街头闯入了人们的家中。”
Felipe Rose, Disco Artist: It's a very interesting time to see, now looking back, where we are in disco, because disco literally did change the world.
Felipe Rose，迪斯科艺术家：现在回想起来，我们在迪斯科中所处的位置是一个非常有趣的时刻，因为迪斯科确实改变了世界。
It made people happy, cause it's a happy music.
它使人们快乐，因为它是快乐的音乐。
Adam Green, Historian: If we seek a true memory, you know, this is the meaning of the backlash against disco, then we're probably going to find ourselves in a situation where we never settle the argument.
亚当·格林，历史学家：如果我们寻求真实的记忆，你知道，这就是对迪斯科的强烈反对的意义，那么我们可能会发现自己处于一种永远无法解决争论的境地。
And I think that that's the way of all major cultural transformations.
我认为这就是所有重大文化转型的方式。
People don't feel comfortable, people ask questions about where they fit in.
人们感觉不舒服，人们会问自己适合哪里。
And, you know, I think that that's the United States of the late Seventies and early 1980s.
而且，你知道，我认为那是 20 世纪 70 年代末和 80 年代初的美国。
Jefferson Cowie, Historian: All of American history is defined by culture wars; who has voting rights, who has property rights, who has power…
历史学家杰斐逊·考伊（Jefferson Cowie）：所有美国历史都是由文化战争定义的；谁有投票权，谁有财产权，谁有权力……
Catholics versus Protestants, immigrant rights, Temperance…
天主教徒与新教徒、移民权利、禁酒……
But in the 1970s, an entire new front opened up in the battle over the culture.
但在 20 世纪 70 年代，文化之战开辟了一条全新的战线。
The Civil Rights movement, the women's movement, the gay rights movement come along and say, Hey, we want in too.
民权运动、妇女运动、同性恋权利运动纷纷出现并说，嘿，我们也想加入。
And that's why the 1970s are the foundation of our own time, because we're still battling over these same questions.
这就是为什么 20 世纪 70 年代是我们这个时代的基础，因为我们仍在为这些同样的问题而斗争。
Hustle your way through this list of disco's greatest hits.
快速浏览这份迪斯科最热门歌曲列表。
When the smoke cleared on Disco Demolition Night, debate over its cultural meaning began.
当“迪斯科拆除之夜”的硝烟散去时，关于其文化意义的争论就开始了。
French music producer Henri Belolo tells the origin story behind the iconic disco group the Village People.
法国音乐制作人亨利·贝洛洛讲述了标志性迪斯科乐队 Village People 背后的起源故事。
The iconic New York nightclub was a place where the elite and the outcasts danced side by side under disco’s dazzling lights.
纽约标志性的夜总会是精英阶层和社会底层人士在迪斯科炫目的灯光下并肩跳舞的地方。
Turns out disco music has a surprising heritage, starting all the way back in...
事实证明，迪斯科音乐有着令人惊讶的传统，可以追溯到……
France?
法国？
Take a few minutes to learn What the History behind that toe-tapping sound.
花几分钟了解一下脚趾敲击声背后的历史。
Professor of history Jefferson Cowie and cultural historian Ayana Contreras speak with UCLA professor of musicology Timothy Taylor about how music is commodified, and if anything is lost in the process.
历史学教授杰斐逊·考伊 (Jefferson Cowie) 和文化历史学家阿亚娜·孔特雷拉斯 (Ayana Contreras) 与加州大学洛杉矶分校音乐学教授蒂莫西·泰勒 (Timothy Taylor) 讨论了音乐如何商品化，以及在此过程中是否丢失了任何东西。