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Speaker 1: Now here's a highlight from Coast to Coast AM on iHeartRadio. Well,

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Speaker 1: the open lines coming up next hour on Coast to Coast.

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Speaker 1: Before we do, we'll let you join the conversation at

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Speaker 1: the bottom of the hour, So in about twenty minutes

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Speaker 1: from now, we'll give the numbers and you can jump

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Speaker 1: in with Harvey Kouperneck. We're talking about the book docs

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Speaker 1: that rock music that matters, but mostly we're just talking

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Speaker 1: about the Bags and this upcoming documentary that's being released

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Speaker 1: tomorrow night on HBO because it contains this very crucial

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Speaker 1: period at about the death of disco. Before we get

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Speaker 1: to that though, and a guy who was there for

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Speaker 1: the event, Harvey, you know, it's hard to underestimate the

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Speaker 1: impact of both. Then the main Chorus album, which is fabulous,

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Speaker 1: it's a very good album, and then a great pop album,

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Speaker 1: and then the Saturday Night Fever soundtrack, which changes everything.

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Speaker 1: I mean, just till this day, it's still it still sells.

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Speaker 1: I mean, you would be bands that came out with

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Speaker 1: an album today would be lucky to get the annual

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Speaker 1: sales that's every night Fever soundtrack still gets. You know.

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Speaker 1: One of the reasons for the for the backlash which

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Speaker 1: is sort of the aftermath of this incident that happened

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Speaker 1: at Kemiskey Park in Chicago, Illinois. Um, this disco demolation event.

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Speaker 1: Um we all, we all wore bell bottoms, we all

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Speaker 1: wore some of that wardrobe. And so people bring that

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Speaker 1: to the table as well, Um would I. So you

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Speaker 1: have that element. But I think with the Beegs, they

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Speaker 1: became the face of discom far more than a lot

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Speaker 1: of the pioneering artists or acts or producers. It was

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Speaker 1: kind of a true so there are other people you're

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Speaker 1: making great go And remember I was never in this

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Speaker 1: desk to disco thing. I spent many years happily not

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Speaker 1: only going to discos, but if there was a disco

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Speaker 1: artist on a record label, I was the only white

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Speaker 1: guy that would David call and see when you interviewed

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Speaker 1: the Hughes Corporation were interviewed white Will you come meet

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Speaker 1: Donna Summers? Are you kidding? The best catering accessible people.

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Speaker 1: I don't care if there were drum machines. They were

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Speaker 1: trying to make a living and make music, and they

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Speaker 1: made great music. And I'm not taking anything away from

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Speaker 1: Donna Summer. Obviously, you know she was. I mean, she's

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Speaker 1: her own kind of genius. I think here's the problem. Now,

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Speaker 1: it checked me if I'm wrong on this. I think

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Speaker 1: the problem was not so much with the bags. It

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Speaker 1: was just the overexposure. It was just I was. I

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Speaker 1: was a disc jockey during a lot of that period,

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Speaker 1: and it was just every seventy minutes, just every I

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Speaker 1: mean we it just and it was not just the

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Speaker 1: the disco artist, which I had no problem with. The

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Speaker 1: hard part was seeing some of my rock idols sell

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Speaker 1: out to sell. Everybody wanted that. Everybody remembered the dance

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Speaker 1: floor was equivalent to the end zone in football, right,

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Speaker 1: everybody wanted to score. The other thing was the accessories,

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Speaker 1: shall we say, attached to the disco genre. You know,

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Speaker 1: in nineteen seventy six, Billboard established a disco chart and

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Speaker 1: with that brings a disco body, shaper stuff, and the

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Speaker 1: accessories becomes of that. And that's not even talking. And

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Speaker 1: also the media glamorized the incessant drum beats some of

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Speaker 1: the drug you shall we say, oh yeah, tons of it. Right.

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Speaker 1: Also you also have and not because I have some

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Speaker 1: degree in sociology and hell from San Diego States, you

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Speaker 1: also have a situation where a culture was developed in clubs,

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Speaker 1: underground clubs, Latino, Latina. All right, black gay developed there

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Speaker 1: that all of a sudden seeped into mainstream. And who

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Speaker 1: really did the exploitation dance on top of it, which

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Speaker 1: just drove a lot of people crazy. But the other

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Speaker 1: thing that I think inherently why disco drove a lot

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Speaker 1: of people bonkers, including DJs that that that mister rock

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Speaker 1: and roll organic and we're listening to machines. Remember forty

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Speaker 1: forty two years ago, I was in a student I

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Speaker 1: ran into some of the members of Toto, Steve Lucatherer

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Speaker 1: in Toto, and they had just seen kind of a

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Speaker 1: very early presentation of a drum machine. This could be

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Speaker 1: like seventy seventy four, seventy five, somebody brought in a

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Speaker 1: drum machine the show. The members of Toto's something that

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Speaker 1: was going to be at the NAM convention. And I

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Speaker 1: said to young Steve Lucas here and he might have

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Speaker 1: even been doing the Boss Gags album Silk Degrees, And

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Speaker 1: I said, you know, god, I kind of wanted to

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Speaker 1: be a drummer in Steve's said we When they saw

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Speaker 1: the demonstration, they all turned each other and said kill

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Speaker 1: it before it multiplies, right right, because I thought it

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Speaker 1: would put people out of work. Of course, now when

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Speaker 1: you listen current music with auto tune or rap, hip hop,

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Speaker 1: all kinds of music, it's not there's no way of

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Speaker 1: real trumpets and horn players and people and arrangers. That

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Speaker 1: stuff's being sampled and used. Why don't that? Why why

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Speaker 1: don't we get the backlash on that? Here's why I think,

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Speaker 1: and again i'm not I think that's a really fair point.

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Speaker 1: I also think, you know, the it's the first ones

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Speaker 1: that take the arrows in the chest, right, So in

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Speaker 1: the drum machine was just that whole synth sound wasn't

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Speaker 1: very sophisticated yet either, and it was annoying and it

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Speaker 1: was the same thing on every record. But more than that,

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Speaker 1: it was somebody who I loved, Rod Stewart doing do

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Speaker 1: you Think I'm Sexy? It was you know, Kiss doing

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Speaker 1: a disco record, a band that I loved. It was

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Speaker 1: the Rolling Stones. It was just like, oh come on.

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Speaker 1: And I tweeted this out earlier that I don't think

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Speaker 1: that the disco demolition, the disco sucks, the end of

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Speaker 1: disco movement. I don't think of it so much as

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Speaker 1: some people will often talk about as being like a

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Speaker 1: like a you know, with tones of racism. There had

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Speaker 1: always been soul music, there had always been dance music.

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Speaker 1: That wasn't the problem. I thought we were killing disco

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Speaker 1: in order to free the hostages. That's how I looked

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Speaker 1: at it. Well, I have to say I threw in

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Speaker 1: the discotel. I mean, I've enjoyed watching the development of

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Speaker 1: the bump in the hustle. I was in some super

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Speaker 1: I remember I had danced on teen shows like American bands.

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Speaker 1: I'm very proud, you know, But I have to admit

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Speaker 1: I really liked people doing the robot. But once there

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Speaker 1: was a dance called the Watergate. Count me out. Okay,

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Speaker 1: we'll leave it there. So here's here's where I want

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Speaker 1: to bring in. I want Harvey. I want you to

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Speaker 1: meet my friend Dan Fialado. He is a an executive

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Speaker 1: producer of of radio shows with m and podcasts such

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Speaker 1: as Artie Lange and then when Artie Lange was doing

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Speaker 1: a show with Nick to Paulo and he also worked

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Speaker 1: with Steven A. M. And he was the producer for

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Speaker 1: Steve and Gary in Chicago, although he wasn't yet the

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Speaker 1: head producer for that show. He had just started to

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Speaker 1: work there, but he was there that night on the Loop. Yes,

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Speaker 1: on the Loop. And and this is because Steve Dahl

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Speaker 1: had moved over from w DAI, which had been a

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Speaker 1: great station until they became Disco DAI, which did not

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Speaker 1: help in Chicago. And Dan Flada. Are you there, Danny?

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Speaker 1: We're bringing you up? Can you hear us? Yes? I

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Speaker 1: could go through your long list of people that you

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Speaker 1: worked with. We we just don't have that much time.

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Speaker 1: I should mention Harry Sheer as well. But you you

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Speaker 1: were there that night of Kimiski in Kemisky Park for

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Speaker 1: Disco Demolition. You had been around in the early part

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Speaker 1: of the conversations about this promotion. Describe, for Harvey and

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Speaker 1: for the rest of us, what was the behind the

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Speaker 1: scenes building up to that night July twelfth, nineteen seventy nine,

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Speaker 1: and this big radio promotion that was supposed to go

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Speaker 1: off during the seventh inning stretch and then let the

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Speaker 1: game finish. Well, first off, I'm a libra. If that

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Speaker 1: makes a difference with you, get it not at all.

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Speaker 1: You're out of the club. Well, I was an intern

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Speaker 1: and the White Sox had come to the radio station

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Speaker 1: and said, hey, you know these guys Stephen Gary, very popular,

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Speaker 1: why don't we do something with them? And the specifically

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Speaker 1: Mike Veck, Bill Veck's son, And there were some meetings

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Speaker 1: and Bill and Mike mostly and our sales guys got

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Speaker 1: together and said, hey, why don't we do this? And

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Speaker 1: they came up with an idea which was to bring

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Speaker 1: the disco records and get in for a reduced price.

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Speaker 1: And then they finally and they pitched it to Steve,

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Speaker 1: and then Steve came in on the meetings Stephen Gary,

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Speaker 1: and then you know, nobody we at that time the

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Speaker 1: talk was five to seven thousand people will show up,

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Speaker 1: and that said Steve was a nightmare. Any Almos canceled it.

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Speaker 1: And then we you know, we started to build up

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Speaker 1: and we promoted it and promoted it and promoted it,

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Speaker 1: and you know, no one had any clue at all,

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Speaker 1: in fact, even being there in the first game. It

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Speaker 1: wasn't in the seventh inning, stretchy, it was in between

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Speaker 1: the two games. Oh that's what it was. Sorry, Yeah,

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Speaker 1: that was a doubleheader, that's right. Sorry, why night doubleheader?

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Speaker 1: And no one had any clue what was going to

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Speaker 1: happen in between those two games. All right, Now, you

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Speaker 1: were there that In the conversation, So and Harvey, if

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Speaker 1: you got a question, jump in again. We're talking with

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Speaker 1: a guy who was there the night of Disco Demolition,

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Speaker 1: Dan Flado. I don't remember it, and I was I

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Speaker 1: was not there that night for the event, but I

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Speaker 1: was in Chicago at the time. I don't remember there

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Speaker 1: being this big racist element that somehow people keep talking

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Speaker 1: about as a subtext for that night. Was that ever

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Speaker 1: part of the conversation never never won. And you know,

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Speaker 1: quite frankly white Sox Stadium is on the south side

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Speaker 1: of Chicago, right, So, and you know, why would we

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Speaker 1: want to alienate or insight or anything? Right? But you know,

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Speaker 1: I do think there's one element, and I and the

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Speaker 1: documentary shows this, I had hints of it. Um. Yes,

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Speaker 1: people brought records to blow up disco albums and all that,

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Speaker 1: but I would say two to five percent of two

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Speaker 1: to five percent of the album's bought were things like

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Speaker 1: super Fly, Stevie Wonder, Songs of the Key of Life

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Speaker 1: out That's wrong album, That's just wrong. Those are great albums, right,

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Speaker 1: And I'm not two to five percent, but these were

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Speaker 1: rhythm and blues tablets that were kind of tossed in

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Speaker 1: there too, and they certainly weren't disco albums. I'm going

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Speaker 1: to guess here and say there was probably a few

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Speaker 1: guys who wanted to get in and they took those

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Speaker 1: outs from their sister's pile when she wasn't looking to

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Speaker 1: get to the gate, right, Danny, Yes, that's exactly right.

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Speaker 1: It was most I and you hit it out of

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Speaker 1: the park with your uh analogy about it was in

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Speaker 1: your face. Radio stations were changing from rock stations to disco.

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Speaker 1: We would have two and three disco stations in every city,

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Speaker 1: and for us, quite frankly, we didn't fit in the clothes,

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Speaker 1: the disco clothes, me and my friends. And that is why,

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Speaker 1: like the music, you didn't look good in Keiana. No

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Speaker 1: I not. I'm an Italian American and I sweat a

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Speaker 1: lot and pole after doesn't hold up. Well, that's fine.

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Speaker 1: So again I think this is so that. But for

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Speaker 1: people who don't know about it, how what was the

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Speaker 1: record who? The number of people who showed up that

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Speaker 1: night obviously blew the doors out and also the parking

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Speaker 1: lot too. Right, there were about forty five thousand, fifty

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Speaker 1: thousand inside the park, and about twenty thousand outside and

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Speaker 1: still in the seventh and eighth inning of the first game.

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Speaker 1: We had no clue I was there. I read, brought

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Speaker 1: my cousin with me, and my cousin had this terrible earache,

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Speaker 1: so every like inning break and entertained in the bathroom

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Speaker 1: and dropped iodine in his ear, and I was We

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Speaker 1: were going back and forth and back and forth. It

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Speaker 1: wasn't until then Steve and Gary went on the field

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Speaker 1: and I was on the field for about two minutes,

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Speaker 1: and then my question cousin was waiting me. Hey, we

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Speaker 1: got to do the iodine thing again. My ear is hurting.

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Speaker 1: So I took him to the bathroom to drop the

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Speaker 1: iodine in his ear. And about five minutes later, when

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Speaker 1: we came out and we were walking through the under

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Speaker 1: you underneath Chemiskey Park, I'm looking at television, I said

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Speaker 1: my cousin Bobby. I said, listen, hey, they're showing the

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Speaker 1: free beer night in Cleveland. Look at all those people

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Speaker 1: on the field. I had no clue that that was

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Speaker 1: a live camera. I knew they broke away in between

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Speaker 1: the two games and they didn't show this. And then

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Speaker 1: we went back on the field and then all of

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Speaker 1: a sudden, we all helped broke loose. Yeah, Harvey, a

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Speaker 1: question or a thought on that. You know, it's interesting.

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Speaker 1: It's a world context this king. It's a world before

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Speaker 1: MTV is really established. It's a world long before the Internet.

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Speaker 1: So this is this is in Illinois, This isn't Chicago,

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Speaker 1: but it made such a big impact. Yeah. But what

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Speaker 1: I noticed in research and talking to some of the

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Speaker 1: writers over the decades, the writers secretly and even overtly

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Speaker 1: like this event. They were happy this happened. It was

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Speaker 1: almost biblical that they could join in. And even though

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Speaker 1: there could have been chaos and liability and some real

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Speaker 1: craziness that happened, everybody wanted a change. This is this

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Speaker 1: is a year before John Lennon the eighties are coming

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Speaker 1: to us. Everybody wanted a return to organic stuff. But

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Speaker 1: still the concept of bringing albums to destroy, there's you know,

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Speaker 1: I never could grasp that. I knew it was a

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Speaker 1: publicity promotional stunt gone a little wry, and it certainly

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Speaker 1: must have got the station ratings and all kinds of stuff,

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Speaker 1: But still it was there was some symbolism of a

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Speaker 1: genre we'll call it steely stopping in its tracks, although

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Speaker 1: to this day, if you go see the Rolling Stones,

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Speaker 1: miss You gets the most applause on the meter. Got

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Speaker 1: Stewart is trapped doing do you think I'm sexy? So

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Speaker 1: you see ramisfications of involvement. Forty years later, disco the same.

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Speaker 1: Some of these same people who were twenty are now sixty.

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Speaker 1: They're paying money to see some of their people do

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Speaker 1: things that have disco tracking. Yeah, that's true, and there's

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Speaker 1: there was Just to make the point about Chicago. I'm

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Speaker 1: not saying that Chicago, like any northern city, didn't have

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Speaker 1: its racial issues, but generally around the music, that wasn't it.

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Speaker 1: And in Chicago WLS, WCFL, these stations were legends, and

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Speaker 1: they were you know, they were these giant sticks because

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Speaker 1: it was a very classic top forty format with a

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Speaker 1: lot of R and B. Nobody had any I don't

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Speaker 1: know Danny, nobody had any immosity towards Stevie Wonder, and

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Speaker 1: everybody thought super Fly was pretty fly. So I mean

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Speaker 1: it's like that that part. It's interesting that those albums

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Speaker 1: got thrown into the mix, but I don't think it

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Speaker 1: was emblematic of the movement. I think your point though,

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Speaker 1: Harvey and Disco demolition, and again we're talking about kind

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Speaker 1: of the end of things for the disco era and

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Speaker 1: for the BGS in a lot of ways. Is that

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Speaker 1: night in July nineteen seventy nine. I think it was

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Speaker 1: very cathartic, and I think that Catharsists maybe just let

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Speaker 1: out a lot more than people thought was there, and

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Speaker 1: I think that may have been the most surprising thing.

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Speaker 1: Listen to more Coast to Coast AM every weeknight at

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