Roni Rampant gets the Boogie Fever for DONS OF DISCO
Roni here,
Gather round, kiddies, while I tell you a tale of 80s Eurodisco and 90's indie filmmaking!
The Slamdance film festival, founded in the mid 90's, was always something of a Psychotronic middle finger to the more staid festival across the street, Sundance. With a punk rock sneer and a Gen X'ers sense of irony, Slamdance has long championed the truly independent, low budget, scrappy outsider artist. So it's in that spirit that I have been watching Slamdance screeners this week, over a Chromecast, from the comfort of my living room. (I've been to Park City. It's cold. There's a polar vortex out there. 'Nuff said.)
There's nothing I like better than falling down a weird musical rabbit hole, and DONS OF DISCO delivers everything you'd want from a Slamdance documentary on Eurodisco: irony, synth-and-fog 80's culture, and ultimately, a glimpse of the human condition.
DONS OF DISCO excavates a little-known (at least in America) corner of 80's Europop - ItaloDisco - by following the infighting between two halves of the ItaloDisco superstar act, Den Harrow. In the 80s, Den Harrow was beating out acts like Michael Jackson, George Michael and Duran Duran for top spots on the European pop charts. Virtually unknown here in the states, they were superstars in Europe, playing throughout discos in the West, and even in the USSR. Their biggest hits - “Future Brain,” “Bad Boy,” and “Don’t Break My Heart," are super catchy and synth-y, and accompanied by the kind of fog and fire-filled 80's music videos one would
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