History DeaderThanDisco / Music

Today, it seems as though the TropeNamer itself is becoming [[PopularityPolynomial a subversion of its own trope]]. The newest generation of teenagers has grown up with no memory of disco or their parents' hatred of it; to them, it's simply a style of music that they will like or dislike on their own merits. The Sirius XM disco station probably introduced more than a few new fans, as seen by the surprisingly large reaction to its removal, which forced it to be {{Uncanceled}}. Similarly, the advent of the internet allowed some people to discover disco for the first time after terrestrial radio stations stopped playing it. Finally, music historians who have investigated why disco became so fiercely hated agree that overexposure wasn't the sole factor behind the death of disco, but that [[UnfortunateImplications homophobia and, to a lesser degree, sexism and racism]] also played into it (disco having succeeded, if only for a brief time, in uniting Americans across color and sexual lines). While few new disco songs are being recorded, many of the negative connotations associated with it have died out, and many of its enemies have toned down the vitriol.\\

There was just one problem, though: the duo's members, Rob Pilatus and Fabrice "Fab" Morvan, didn't actually sing their own material on the album. Over the course of 1990, after a series of onstage lip-synching mistakes and an MTV interview in which they displayed a spectacularly poor grasp of the English language (much worse than on their album), rumors began to circulate that Pilatus and Morvan weren't the real singers. When their manager confessed in November 1990 that the rumors were true, there was a ''huge'' public bashlash against the band, with 27 lawsuits demanding refunds being filed and their Grammy Award being revoked. Milli Vanilli's popularity collapsed overnight, and for the next several years they were only brought up as the butt of jokes by stand-up comedians. They would not make headlines again until 1998, when Pilatus was found dead of an apparent drug overdose in a hotel room.

* NuMetal. The concept of referring to certain superficially similar, but otherwise very different forms of music (AlternativeMetal, HardRock, rap metal, Music/HeavyMetal), as "nu metal" is itself DeaderThanDisco, but so are many of the bands that got lumped together under that label. Some bands only managed to stay relevant by abandoning their old rap-metal style in favor of one that wasn't being endlessly mocked (LinkinPark's {{U2}}-esque arena rock style, PapaRoach's mainstream hard rock sound), and most of the rest have been pretty much forgotten outside of their diehard fanbases and pro wrestling events.

* NuMetal. The concept of referring to certain superficially similar, but otherwise very different forms of music (AlternativeMetal, HardRock, rap metal, Music/HeavyMetal), as "nu metal" is itself DeaderThanDisco, but so are many of the bands that got lumped together under that label. Some bands only managed to stay relevant by abandoning their old rap-metal style in favor of one that wasn't being endlessly mocked (LinkinPark's {{U2}}-esque arena rock style, PapaRoach's mainstream hard rock sound), and most of the rest have been pretty much forgotten outside of their diehard fanbases and pro wrestling events, although the bands that originated the genre(Deftones, Korn, LimpBizkit) are still popular today.
* Heavy Metal itself got this treatment with the emergence of Alternative and Grunge, and many metal icons became pariahs overnight. This was a relatively short-lived period (~8 years) thanks to the widespread influence metal had made on such artists. Part of the contempt toward NuMetal was due to showing metal roots while distancing themselves from Heavy Metal, at a time when old-school Heavy Metal bands were making triumphant comebacks.
* The Rock & Roll Hall of Fame, thanks to the [[AwardSnub overt]] [[OneJudgeToRuleThemAll politics]] of the nomination process, has pretty much become a joke to anyone in the industry and many outside of it. But it keeps chugging along...

* Standard "grunge" took a rather sharp decline in popularity during the mid '90s once AlternativeRock came around (though KurtCobain's sudden suicide didn't help either). However, unlike Hair Metal, its influence on popular rock music stayed and remains enormous even today. So-called "post-grunge" (a more mainstream variation of grunge) generally dominates modern rock radio. Meanwhile, bands like Music/PearlJam and Music/AliceInChains are still recording "Classic Grunge," even though the former's sound has changed significantly since their heyday.

* Speaking of Rap, ''GangstaRap'' is no longer a mainstream force like it was 90's. The deaths of The Notorious B.I.G. and Tupac, during the height of the popularity of this kind of rap, served as the death nail of the genre. Gangsta Rap was popular, anti establishment music, but the second that artists ''literally'' took it seriously and started killing each other, artists started distancing themselves from that image. It may also be one of the reasons for the RatedGForGangsta trope. In the 2000s, this style of rap is pretty much no longer present, being supplanted by BoastfulRap and GlamRap.

** As of 2012, though, it seems as though boy bands are [[{{Uncanceled}} making a comeback]], with Nickelodeon-produced Series/BigTimeRush and British exports Music/TheWanted and Music/OneDirection, and all three, but especially, ''especially'' One Direction, are very quickly gaining international popularity. A lot of the boy bands from the '80s and '90s (Music/NewKidsOnTheBlock, the Music/BackstreetBoys, etc.) have also recently had reunion concerts, which attracted a sizable number of twenty- and thirty-something females. Too soon to say whether [[PopularityPolynomial the comeback will last]], but stay tuned.

** As of 2012, though, it seems as though boy bands are [[{{Uncanceled}} making a comeback]], with Series/BigTimeRush and British bands Music/OneDirection and Music/TheWanted very quickly gaining international popularity. A lot of the boy bands from the '80s and '90s (Music/NewKidsOnTheBlock, the Music/BackstreetBoys, etc.) have also recently had reunion concerts, which attracted a sizable number of twenty- and thirty-something females. Too soon to say whether [[PopularityPolynomial the comeback will last]], but stay tuned.

* Speaking of Rap, ''GangstaRap'' is no longer a mainstream force like it was 90's. The deaths of The Notorious B.I.G. and Tupac, during the height of the popularity of this kind of rap, served as the death nail of the genre. Gangsta Rap was popular, anti establishment music, but the second that artists ''literally'' took it seriously and started killing each other, artists started distancing themselves from that image. It may also be one of the reasons for the RatedGForGangsta trope.

* Speaking of Rap, ''Gangsta Rap'' is no longer a mainstream force like it was 90's. The deaths of The Notorious B.I.G. and Tupac, during the height of the popularity of this kind of rap, served as the death nail of the genre. Gangsta Rap was popular, anti establishment music, but the second that artists ''literally'' took it seriously and started killing each other, artists started distancing themselves from that image. It may also be one of the reasons for the RatedGForGangsta trope.

** Their DistaffCounterpart, the GirlGroup, never experienced ''quite'' the backlash of boy bands, probably due to them having a solid PeripheryDemographic [[TestosteroneBrigade driven by the fanservice on display]]. But once again, it's telling that {{Beyonce}}'s time with Music/DestinysChild is almost never brought up when people talk about her career, and that the only major girl groups to have much popularity in the last several years are the Pussycat Dolls (in America) and Music/GirlsAloud (in Britain). And most girl groups have to sell on their sex appeal alone, which prevents things like AKB48 from ever happening anywhere outside of Asia given how tame they are in comparison to Western pop.

* HairMetal, the genre with the honor of being to the TheNineties what the TropeNamer was to TheEighties -- i.e. the subject of mockery for an entire generation. After big success in the '80s, hair metal went into rapid decline at the start of the '90s, when Music/{{Nirvana}}'s 1991 album ''Nevermind'' set the world on fire and turned grunge into the next big thing by providing a heavier alternative. While '80s nostalgia has caused its popularity to increase, at least in the mainstream, it has never climbed back to its former heights, and is still treated as a subject of mockery by metalheads (as seen in ''BrutalLegend'').
* Standard "grunge" took a rather sharp decline in popularity during the mid-90s once AlternativeRock came around (though KurtCobain's sudden suicide didn't help either). However, unlike Hair Metal, its influence on popular rock music stayed and remains enormous even today. So-called "post-grunge" (a slightly more mainstream variation of grunge) generally dominates modern rock radio. Meanwhile, bands like Music/PearlJam and Music/AliceInChains are still recording "Classic Grunge," even though the former's sound has changed significantly since their heyday.

* "Shock rock", rock music whose main allure was how shocking and offensive it was to MoralGuardians (such as Music/AliceCooper, Music/BlackSabbath, and Music/{{GWAR}}), has largely died out. The big reason is cultural desensitization to such musical flamboyance -- pop singers like Music/LadyGaga, Music/NickiMinaj, Music/AdamLambert, and others have made shock value such a major part of their routines that it's become, well, routine to expect musicians to push the envelope, while the internet has made far more extreme bands accessible to young people wishing to rebel against their parents. In addition, the '90s and beyond have seen the rise of competing genres like {{gangsta rap}} and {{horrorcore}}, while the MoralGuardians that once railed against shock rock -- and [[NoSuchThingAsBadPublicity gave it much of its allure]] in the process -- are now seen as ineffectual jokes. The last true shock rock band to make it big was Music/MarilynManson, and since then, this once-controversial style of rock music has turned into [[HilariousInHindsight joke]] [[OzzyOsbourne fodder]].

* In the 1980s and early 1990s, tape trading (the practice making copies of audio cassettes and sending them via mail to other fans of the music) was practiced by fans of extreme music such as heavy metal and hardcore punk, allowing fans all over the world to hear bands that they'd normally never hear on the radio or [=MTV=]. Tape trading allowed many bands to garner fanbases far from their homes despite being ignored by mainstream media outlets, and is credited with contributing to the early success of bands such as {{Metallica}} and {{Slayer}}. In the mid-1990s the rise of digital media and internet file sharing made tape trading obsolete, as fans could download high-quality mp3s of songs in less than an hour rather than waiting days or weeks for tapes to arrive in the mail. These days tape trading is only practiced by a small number of heavy metal fans as a nostalgia hobby rather than a practical way of getting new music.

* MCHammer is a notable example of a single musician succumbing to this trope. In the early '90s, he was one of the biggest rap stars in the world, with the album ''Please Hammer, Don't Hurt 'Em'' going diamond (ten million sold -- the first rap album to accomplish that feat) and "U Can't Touch This" becoming a sensation. He made flaunting flashy clothes and lifestyle fashionable (rather than the strictly "hood" styles of most rappers of the time), and was on the leading edge of rappers acting as commercial pitchmen. Then, however, came three factors that derailed his success and caused him to fall harder and faster than even MichaelJackson, turning him into an almost overnight punchline:

** [[WolverinePublicity Overexposure.]] Even before he switched to gangsta, rivals like LLCoolJ were dissing him for what they saw as over-the-top commercialization, which included shoes, T-shirts, Hammer pants and his SaturdayMorningCartoon ''{{Hammerman}}''. This may have actually provoked his switch to gangsta rap, as it's possible that he felt he needed to prove to his detractors that he wasn't a one-trick pony.

-->'''Bart''': We're in Branson, Missouri. My dad says that it's what LasVegas would look like if it were run by Ned Flanders.

* The TropeNamer is the entire musical genre of {{disco}}. For a time in the late '70s, it was the biggest thing ever, spurred on by the blockbuster success of ''SaturdayNightFever'' and its soundtrack. Then, even before TheEighties officially started, a backlash emerged from both white and black music listeners. Whites gravitated towards various forms of rock (mostly {{punk|Rock}}, assorted types of [[Music/HeavyMetal metal]], and to a lesser degree [[ProgressiveRock prog rock]]), while the black leaders of {{funk}} (e.g. GeorgeClinton) actively led a campaign to "rescue dance music from the blahs." It got to the point where on July 12, 1979, the [[TheWindyCity Chicago]] White Sox (whose South Side base meant that its fans were black and white in about equal measure) were hosting a "[[ExactlyWhatItSaysOnTheTin Disco Demolition Night]]" promotion (see picture, see TheOtherWiki for [[http://en.wikipedia.org/wiki/Disco_Demolition_Night more information]]), the brainchild of a White Sox executive and a spurned album-oriented rock (code for progressive) DJ. Fans could bring in their disco records in exchange for less than a dollar admission; since the game was a doubleheader (against the [[MotorCity Detroit]] Tigers), the plan was the records would get blown up in the middle of the field between the games. Instead, the White Sox were forced to forfeit the second game (the last time a game was forfeited in the [[UsefulNotes/{{Baseball}} American League]]) after the explosion led to a riot--fueled by another ill-considered moneymaking venture that afternoon: Comiskey Park had a discount on beer that day (whoops). It got so bad that even rock artists who were ''influenced'' by disco, like Rod Stewart, were attacked and [[http://www.youtube.com/watch?v=AyvxD1v-NXg parodied.]]\\

* In 1989 and 1990, German pop duo Milli Vanilli was one of the biggest pop acts on the planet. Best known for their hit single "Blame It On The Rain", the group managed to sell over six million copies of their North American debut album ''Girl You Know It's True'' over the course of a few months. In February of 1990 they were awarded the Grammy Award for Best New Artist. The problem was, the duo's members, Rob Pilatus and Fabrice "Fab" Morvan, didn't sing their own material on the album. Over the course of 1990, after a series of onstage lip-synching mistakes and an MTV interview in which they displayed a spectacularly poor grasp of the English language (much worse than on their album), rumors began to circulate that Pilatus and Morvan weren't the real singers. When Milli Vanilli's manager confessed in November 1990 that the rumors were true, there was a ''huge'' public bashlash against the band, with 27 lawsuits demanding refunds being filed and their Grammy Award being revoked. Milli Vanilli's popularity collapsed overnight, and for the next several years they were only brought up as the butt of jokes by stand-up comedians. They would not make headlines again until 1998, when Pilatus was found dead of an apparant drug overdose in a hotel room.
* The Brazillian heavy metal band Music/{{Sepultura}} was one of the most popular and critically acclaimed metal bands in existence during the '90s. However, the departure of their charismatic lead vocalist (Max Cavalera), coupled with the band's perceived pandering to the NuMetal trend of that era (ironic when you consider that ''Roots'' came out a little before the Nu-Metal movement really took off), caused a rapid decline in their popularity. Today, the band is pretty much forgotten by all but a few loyal and dedicated fans, despite how popular and influential they were during the 90's.
* The DixieChicks. Extremely popular in the late 90s-early 2000s for their eclectic style that mixed mainstream country and bluegrass with just enough of a pop edge to be cool outside the typical country demographic. Then in late 2002-early 2003, lead singer Natalie Maines got in a feud with TobyKeith over his song "Courtesy of the Red, White and Blue", and later said in a concert that she was ashamed that then-president GeorgeWBush was from her home state of Texas. Overnight, country radio dropped the Chicks like a hot potato — their then-current single "Travelin' Soldier" plummeted from #1, their next single went nowhere, and their only subsequent album (''Taking the Long Way'' in 2005) was largely made in response to the massive fan backlash. (As they sang about in "Not Ready to Make Nice", some people started sending Natalie death threats over her comment.) Since then, the other two members recorded one album as the Court Yard Hounds, and Maines has pretty much stayed out of the limelight.

* Straight forward R&B, slow jams, ballads, and pure Soul music is almost none existent on urban radio. Their was the revival of {{Retraux}} soul called Neo-Soul but it burned out possibly due to mislabeling and HypeBacklash.

** As of 2012, though, it seems as though boy bands are [[{{Uncanceled}} making a comeback]], with Series/BigTimeRush and British bands Music/OneDirection and Music/TheWanted very quickly gaining international popularity. Music/OneDirection even broke a record and became the first ever UK group to debut Billboard's top 200 album chart at #1 with the American release of their first album. A lot of the boy bands from the '80s and '90s (Music/NewKidsOnTheBlock, the Music/BackstreetBoys, etc.) have also recently had reunion concerts, which attracted a sizable number of twenty- and thirty-something females. Too soon to say whether [[PopularityPolynomial the comeback will last]], but stay tuned.
*** One Direction are the only one of the three to really become a phenomenon on the level of their predecessors.

* The DixieChicks. Extremely popular in the late 90s-early 2000s for their eclectic style that mixed mainstream country and bluegrass with just enough of a pop edge to be cool outside the typical country demographic. Then in late 2002-early 2003, Maines got in a feud with TobyKeith over his song "Courtesy of the Red, White and Blue", and she later said that she was ashamed that then-president GeorgeWBush was from her home state of Texas. Overnight, country radio dropped the Chicks like a hot potato — their then-current single "Travelin' Soldier" dropped from #1 to #3, then disappeared entirely from ''Billboard''. Their next single went nowhere, and their only subsequent album (''Taking the Long Way'' in 2005) was largely made in response to the massive fan backlash. (As they sang about in "Not Ready to Make Nice", some people started sending Natalie death threats over her comment.)

** The "Nashville sound" of the 1950s and 1960s. It was characterized by swelling string sections and a slick sound more akin to 50s pop. The late 70s-early 80s revived the sound some under the name "countrypolitan". By the 80s, the poppier edges of country finally caught up to what was popular in pop music at the time, and the synchronicity has pretty much stayed intact.
** "Outlaw country" of the 1970s, pretty much the antithesis of the above. A more unkempt and raw style with rock influences, gruff vocals, and lyrics about drugs, alcohol, etc. Examples included WillieNelson, MerleHaggard, WaylonJennings, and HankWilliamsJr — and in many cases, they really were as rough and tumble as they professed until it caught up with them (the return to slick pop-country in the 80s didn't help). Many modern artists throw around the word "outlaw" when describing themselves, but they really can't hold a candle.

** The "hat act" craze of the 90s. Many of the aforementioned "Class of '89" were fairly young men in cowboy hats, and such men came to flood the country market. While some (Clay Walker, Mark Chesnutt) actually proved to be talented, many others were criticized as bland copycats, and "hat act" came to be a derogatory term. The craze died off in the late 90s as country shifted back to a more pop influence. One of the few "hat acts" who survived into the 2000s is KennyChesney, who managed to move beyond the "young hunk in a cowboy hat" image to his own unique sounds.

* The BoyBand craze. From approximately 1998 to 2001, boy bands such as the BackstreetBoys and *NSYNC ''dominated'' the pop music scene, with multi-platinum albums and incessant airplay and TV spots. At one point, the Backstreet Boys even had ''Burger King kids' meal toys''!! Inevitably, the over-saturation led to a huge backlash and by 2002, it was like they never existed. The boy band stigma has largely prevented most former boy band members from having much of a solo career afterwards (except JustinTimberlake, who beat the stigma by downplaying his association with *NSYNC, and is now as well-known as an actor as he is a singer). Another reason for the downfall of boy bands was the increasing popularity of pop-punk bands like Simple Plan, Good Charlotte, and Fall Out Boy, who soon became the next big thing among the younger demographic, and since they actually played instruments and wrote their own songs, they had much less of a stigma attached to them than boy bands did.\\
\\
As of 2012, though, it seems as though boy bands are [[{{Uncanceled}} making a comeback]], with Series/BigTimeRush and British bands Music/OneDirection and Music/TheWanted very quickly gaining international popularity. Music/OneDirection even broke a record and became the first ever UK group to debut Billboard's top 200 album chart at #1 with the American release of their first album. A lot of the boy bands from the '80s and '90s (Music/NewKidsOnTheBlock, the Music/BackstreetBoys, etc.) have also recently had reunion concerts, which attracted a sizable number of twenty- and thirty-something females. Too soon to say whether [[PopularityPolynomial the comeback will last]], but stay tuned.

** TakeThat have had a phenomenal comeback after they reformed in 2006 - their three studio albums since their reformation vastly outselling their three before their breakup and their 2011 tour becoming the 22nd highest grossing in history.

* The TropeNamer is the entire musical genre of {{disco}}. For a time in the late '70s, it was the biggest thing ever, spurred on by the blockbuster success of ''SaturdayNightFever'' and its soundtrack. Then, even before TheEighties officially started, a backlash emerged from both white and black music listeners. Whites gravitated towards various forms of rock (mostly {{punk|Rock}}, assorted types of [[Music/HeavyMetal metal]], and to a lesser degree [[ProgressiveRock prog rock]]), while the black leaders of {{funk}} (e.g. GeorgeClinton) actively led a campaign to "rescue dance music from the blahs." It got to the point where on July 12, 1979, the [[TheWindyCity Chicago]] White Sox (whose South Side base meant that its fans were black and white in about equal measure) were hosting a "[[ExactlyWhatItSaysOnTheTin Disco Demolition Night]]" promotion (see picture, see TheOtherWiki for [[http://en.wikipedia.org/wiki/Disco_Demolition_Night more information]]), the brainchild of a White Sox executive and a spurned album-oriented rock (code for progressive) DJ. Fans could bring in their disco records in exchange for less than a dollar admission; since the game was a doubleheader (against the [[MotorCity Detroit]] Tigers), the plan was the records would get blown up in the middle of the field between the games. Instead, the White Sox were forced to forfeit the second game (the last time a game was forfeited in the [[UsefulNotes/{{Baseball}} American League]]) after the explosion led to a riot--fueled by another ill-considered moneymaking venture that afternoon: Comiskey Park had a discount on beer that day (whoops). It got so bad that even rock artists who were ''influenced'' by disco, like Rod Stewart, were attacked and [[http://www.youtube.com/watch?v=AyvxD1v-NXg parodied.]]

Attacked on two sides and with a powerful image against it, disco was fading fast and completely dead in early 1981, and with it the fashions and styles related to or heavily associated with it (such as flared trousers). For the rest of TheEighties, admitting that you liked disco may as well have been admitting to cannibalism. While dance artists like {{Madonna}} and JanetJackson continued to take influence from it (not to mention the influence it had on early hip hop), whatever remaining fandom the genre itself still had was restricted to gay clubs, which marginalized it even further. Disco would start to reemerge (or at least, come to the surface for fresh air) during TheNineties' [[PopularityPolynomial wave of nostalgia for the '70s and its backlash against all things '80s]], mainly in the form of {{sampling}} for [[http://www.youtube.com/watch?v=qiKOif0UKRM rap and]] [[http://www.youtube.com/watch?v=fSV0D_Id8Ho&feature dance songs]] (it didn't hurt that most popular dance music, particularly {{house|Music}} and its offshoots, can trace its lineage straight back to disco). Still, during this same time, ''TheSimpsons'' had a character named [[DiscoDan Disco Stu]] who was used almost purely for comic relief, showing that the genre was still a ways away from returning to public acceptance.

Today, it seems as though the TropeNamer itself is becoming [[PopularityPolynomial a subversion of its own trope]]. The newest generation of teenagers has grown up with no memory of disco or their parents' hatred of it; to them, it's simply a style of music that they will like or dislike on their own merits. The Sirius XM disco station probably introduced more than a few new fans, as seen by the surprisingly large reaction to its removal, which forced it to be {{Uncanceled}}. Similarly, the advent of the internet allowed some people to discover disco for the first time after terrestrial radio stations stopped playing it. Finally, music historians who have investigated why disco became so fiercely hated agree that overexposure wasn't the sole factor behind the death of disco, but that [[UnfortunateImplications homophobia and, to a lesser degree, sexism and racism]] also played into it (disco having succeeded, if only for a brief time, in uniting Americans across color and sexual lines). While few new disco songs are being recorded, many of the negative connotations associated with it have died out, and many of its enemies have toned down the vitriol.

Of course, the above only describes the United States. If you ask a Brit or a European about any anti-disco backlash, you will likely get a series of puzzled looks. Across ThePond, [[PostSomethingism post-disco]] [[GermansLoveDavidHasselhoff stayed popular well into the '80s]], heavily influencing Music/NewWave, {{synthpop}} and other styles of popular music such as ItaloDisco. In Eastern Europe and in Russia, it lingered well into early 1990s, and disco is still very much alive in Poland (as ''disco polo'', which became something of an AscendedMeme when used in a presidential election). For much of TheEighties, the global pop charts were dominated by derivatives of disco, post-disco and {{punk|Rock}}. Artists like Amanda Wilson and LauraWhite now carry its torch proudly into the present day.

The TropeNamer is the entire musical genre of {{disco}}. For a time in the late '70s, it was the biggest thing ever, spurred on by the blockbuster success of ''SaturdayNightFever'' and its soundtrack. Then, even before TheEighties officially started, a backlash emerged from both white and black music listeners. Whites gravitated towards various forms of rock (mostly {{punk|Rock}}, assorted types of [[Music/HeavyMetal metal]], and to a lesser degree [[ProgressiveRock prog rock]]), while the black leaders of {{funk}} (e.g. GeorgeClinton) actively led a campaign to "rescue dance music from the blahs." It got to the point where on July 12, 1979, the [[TheWindyCity Chicago]] White Sox (whose South Side base meant that its fans were black and white in about equal measure) were hosting a "[[ExactlyWhatItSaysOnTheTin Disco Demolition Night]]" promotion (see picture, see TheOtherWiki for [[http://en.wikipedia.org/wiki/Disco_Demolition_Night more information]]), the brainchild of a White Sox executive and a spurned album-oriented rock (code for progressive) DJ. Fans could bring in their disco records in exchange for less than a dollar admission; since the game was a doubleheader (against the [[MotorCity Detroit]] Tigers), the plan was the records would get blown up in the middle of the field between the games. Instead, the White Sox were forced to forfeit the second game (the last time a game was forfeited in the [[UsefulNotes/{{Baseball}} American League]]) after the explosion led to a riot--fueled by another ill-considered moneymaking venture that afternoon: Comiskey Park had a discount on beer that day (whoops). It got so bad that even rock artists who were ''influenced'' by disco, like Rod Stewart, were attacked and [[http://www.youtube.com/watch?v=AyvxD1v-NXg parodied.]]