Swellsville in China

Or Swellsville in books about China, I mean. As in Nixon in China; or, more specifically, as in Apple in China (2025), a book about China that suggested to me this roundup of some recent books about China. 

China is another one of my ongoing Mr. Magoo retiree reading projects. Why China? In world history, a high school course I taught for many years, China is a big deal. The oldest and most populous civilization in world history. There were actually many patronizing attitudes and/or omissions in the history of Western civilization I was taught in school growing up but no bigger and more globally consequential oversight  than the poor attention given China. 

A byproduct of that Eurocentric oversight, going back at least to China’s Opium Wars with Great Britain in the 19th century-- notably, the subsequent 100 years up to China's communist revolution in 1949, a period known in Chinese history as the “Century of Humiliation”-- hardened into a condescending Western (or Washington anyway) consensus. China is viewed as technologically backwards, economically hobbled by communist dictatorship, inferior and incapable of matching the technological development of the free Western capitalist countries. 

Emboldened by a couple centuries of colonial and imperial global domination and the great technological advantages of industrialization, and distorted by 20th century Cold War paranoia, it is not hard to figure where arrogant western views of China came from but if you do read any world history before the Industrial Revolution (IR) you know China was nearly always in the mix if not a central driver in globalizing developments.   

And, now, or at least since the 2008 Summer Olympics, China has been projecting big time global superpower vibes again, showing off monumental world building in staggering scales and with awesome speed. China’s building for the games was impressive enough. Beijing's National Stadium, the "Bird's Nest," was broadcast via the wide world of sports in '08. Behind this coming out party, however, were already decades of what is now called the Chinese Economic Miracle. Or China’s “Opening and reform." China's “Economic takeoff.” Or just “China speed." All noting, essentially, the astonishing economic growth in China beginning in the 1980s. An industrial revolution in the building of housing and infrastructure in China, creating massive regional urban complexes, called Special Economic Zones (SEZs), like Shenzhen (mainland across from Hong Kong), a population under 100,000 in 1979 expands to over a million by 1990; or Pudong, a SEZ startup in 1993, and a district of greater Shanghai, metastasizes into a massive urban conglomeration of over 16 million by the end of the ‘90s.  

There might be some exaggeration in China’s growth numbers over this period, such claims they are exaggerated exist in the English press anyway. But the World Bank, a western created and dominated global institution, reports annual growth rates in China between 1990 and 2010 regularly hitting between 10% and 15%, and almost never dipping below 7%. By contrast, US growth rates in the same period average between 2% to 4%, actually dip into recessionary negative growth in three years (all republican, btw), and tops out in 1999 at 4.8%. In those same 20 years China’s annual GDP growth rate is below the US single year peak in only one year. In those same 20 years the annual growth rate in the European Union (EU) peaks at 3.9%. Nobody disputes anymore that China’s economic growth has far outpaced US/EU growth over the same period. There are patches of GDP growth numbers comparable, industrializing growth spurts in Japan, South Korea, maybe others, but none I know that sustain 10% plus growth averages for two decades solid.  

And nobody can seriously dispute that China’s industrialization of a population of 1.4 billion people is unprecedented. There are economies of scale in China's growth that we have never seen before. Going back to Deng Xiaoping’s “Reform and opening” program launched in 1978, the Chinese Economic Miracle is not the first industrial revolution by a couple centuries but China is the largest state so far to fully industrialize. Most the reduction in world poverty over the last forty years has taken place in China. Since that global coming out party in the '08 Summer games China has taken over the global economy for green energy technologies, solar panels and batteries, and EV cars, crucial to scaling down our dependence on fossil fuel energy carbon emissions and transitioning to some more sustainable energy future.

So now after nearly two centuries of waning influence China appears to be rising again in global influence. And as a long-time high school world history teacher, I’m interested in such international topics; international relations and global power politics. I make no grandiose claims for any expertise on any of these subjects. My background is reflexively progressive leftist retired schoolteacher from working class origins, semi-follows the news if always grumbling about the news. I like to shout back at the TV/social media and blogosphere now and then, maybe the way you might throw popcorn at the TV during games; or trash talk prestige TV shows while watching them. I have absolutely zero “influence,” and close to zero readers. Blogging like I’m doing is like publishing online your diary entries. In this case, the diary entries of an old geezer merely trying to keep what little wits about him he has left in some kind of working order. I read books, listen to music, watch sports, and follow the news.  

Anyway, so some people write books about China for us English-speaking peoples and I've read a handful of them. A recent spate of such books try to help us understand China’s economic miracle. How’d China get so big so fast? How much should we worry about China now that they're gotten so big so fast? Etc. In my random survey of popular books about contemporary China, comments following, I’ll establish upfront my general sense is these books do a little too much sensationalizing about the menace of a rising China and not enough careful consideration of how China got so big so fast but my sample size is small and probably idiotically random. Should you dear reader know a good book about China I've left out of my roundup, please, do share. 

The conventional history in these books begins with Nixon in China in 1972. This diplomatic event marked a new opening in US and China relations. Two conservative world leaders decide better trade relations between two big states like the US and China would be a good thing. Deng Xiaoping’s visit to the US in 1978 celebrated new trade and a new openness with China, signing several expansive trade deals in 1979. The exchange in theses trades? The US gets more economic trade access to China’s 1.4 billion potential customers, selling them lots of soybeans and other mostly agricultural products to start, and China, Deng, who was China's supreme leader at the time, wanted extensive knowledge transfers, deepening exchanges in science and technology and joint education ventures with the US. 

In some recent accounts of US-China relations the impression is given that China has been stealing technology know-how from the US. Point of historical fact: Deng, going back to 1978, was always quite up front about this. Deng's impressively blunt pitch was for spreading education, science, and technology as progressive values that build a better future, promoting peace and prosperity in the world, and what China always upfront explicitly asked for in trade with the US. (Related, in China's expanding global trade relations today they are reportedly offering now in return knowledge transfers to states less developed in Africa for natural resource extractions.) Anyway, back in the USA, hoping for the best in such promising beginnings, maybe most firmly believing that free market capitalism would promote more democracy in China, the US gradually welcomes China into big time global trade markets. China rejoins the international market trading system ran by the IMF and World Bank in 1990 and is finally fully accepted into the (neoliberal scripted) WTO in 1999. 

Lately, however, in the Trump era, sentiments about US-China relations have grown more cautious; if not openly hostile. There are China hawks who think we ought to get out of China altogether, "decouple," etc. 'We gave them the engineering codes of growth capitalism and now look how they’re doing us' might serve as a rough translation of free marketeers who were all in for opening up more trade with China in the 1980s when it looked like a potential new markets bonanza. We had hoped capitalism would make China more democratic and free and open and instead we get the China virus and China bullying Apple and threatening the democratic independence of Tibet. Or, more specifically, Taiwan, where as it happens almost all of the super-duper high-end computer chips essential, reportedly, to many national security weapons technologies are made. Gulp! If China decides it’s time to assert its claims over the islands of Taiwan, and they blow their horns about this inevitability all the time, they could possibly just like that (I know, not really just like that but we’re talking maximal risks here) control over 90% of world production in super high-end chips crucial to AI and national security weapons technologies. Ack!

(Que very scary dramatic major chorded music!)

An essential companion to the story of US-China relations since Nixon in China is Chris Miller's alarming Chip War (2022). An Economic history professor at Tufts, and a widely read NY Times bestseller, Chip War pushed semiconductors from business page news into everyday geopolitical vocabulary. So alarming Biden’s CHIPS Act, boosting investments in chips technology and science, was passed in the same year. 

In Chip War Miller tells the surprisingly dramatic history of how chips became the world’s most critical industrial input, essential to AI, essential to national security—and why the supply chain now runs through a few choke points in the United States, the Netherlands, Japan, South Korea, but above all, Taiwan, and even just one company: Taiwan Semiconductor Manufacturing Company (TSMC). Where reputably over 90% of these essential high-end chips are currently produced. This is a red alert national security issue, not surprisingly. The risk of China controlling (again, something they threaten with drumbeat regularity) that many of the chips used for military defense appears obviously inadvisable. 

Nonetheless, Biden’s CHIP’s act invested in rekindling domestic production of cutting-edge AI chips with places like Intel. Where full-disclosure I worked in Intel's Fabs, manufacturing clean rooms, on the line and in training for three years in the early 1980s; although I possess no trade secrets of any value, I assure you. My point is some positive actions in this area are underway but reducing the scale of dependence on chips from TSMC is also not something you do over night. There was some promising industrial policy response initiated under Biden but all bets are probably off with Trump 2’s insane trade wars and deaths-of-despair anti-green energy crusade. 

Miller’s bigger history of the semiconductor industry in the US, the chip makers, goes back to WW2 and is on its own quite fascinating. Launched mostly by post-WW2 military investments--yes, the working stiffs behind cybernetics and technocracy images in comic books-- the chips industry begins as a military contractor and doesn’t turn to private production and consumer demand until the 1960s. When transistor radios and then calculators and Walkman’s and personal computers and iPods and finally iPhones lead the industry into the 21st century. Our little multi-purpose hand-held computers. There are some booms and busts in that history, of course, but the growth trend in chips was always up, I thought. But was it really?

Miller problematizes chip tech boom nostalgia with what he argues was a decisive break in the domestic chips industry in the 1980s and 1990s. A split between design and manufacturing in the US semiconductor chip industry devastates the industry, or Intel and the domestic production of chips anyway. The neoliberal global economic strategy rolled out in the '80s was that the US would move up the global production value chain, doing the high-tech design work domestically, at home, and outsourcing and offshoring the lower paying manufacturing work. This happened in the auto industry, hence the rust belt spread across the midwest. And this eventually happened in chips manufacturing as well. By 2010 former Apple CEO Steve Jobs was famously lecturing President Obama on how iPhone manufacturing couldn’t come back to the US. No way US workers could match the manufacturing acumen and "labor cost scaling" (read: endless supply of cheap labor) available in China. Apple designs the iPhones and China manufactures them, Jobs asserts conclusively. 

This leaves former CEO of Intel, Andy Grove, about the same time, 2010-ish, to point out the hidden tragedy in the story: the US was losing important manufacturing technology know-how that could only come from actually doing the manufacturing. Technological knowledge generated on the shop floor or in the Fab. Not only in designs and models, but knowledge developed directly in the factory production process. It only took another 12 years, 2022, before Biden’s CHIPS act (enjoy repeating that, sorry) finally does something about it. Boosting domestic production by Intel, Miller’s poster child for the pivotal 1990s downfall in the chips industry. 

Back to Miller's downfall of Intel story the business guys take over from the engineers and production people. They separate design from production in pursuit of the lowest building costs and cheap available labor. They focus on producing chips for cloud storage and cut Intel off from the chip development that would go into the iPhone. They outsourced their production labor costs to Japan and Korea and Taiwan, where a worker costs them 15-20% as much as a worker costs them in the US or EU. How could they resist? How could any manufacturing business resist those kind of labor cost differentials if they are offered to them? 

Since the 1980s, if not before, the chip makers, like many large industries in the US were aggressively looking for ways to cut their labor costs by outsourcing manufacturing labor to places in Asia. Low wage manufacturing labor still costs today in China or Vietnam 1/5 or 1/6 what labor costs in the US or EU. I see primarily mercenary concerns in this feature of globalization; if admittedly, I also see cost savings it would be hard for any profit seeking private business to refuse. What I don't see is much interest in spreading democracy. 

This is part of the story I think Miller glosses over a bit. He’s a scholar, he doesn’t want to be targeted by the right as anti-business or Marxist or woke whatever, but it’s this part of the story, that the chip companies were fine with the cheap labor conditions in China or Asia, even pursued them and preferred their “discipline” to labor unions or wage pressures and worker’s rights back home. Any actual evidence of the chip industry supporting the development of democracy in Taiwan or China or anywhere else in Asia, the hopes coming out of Nixon in China, are sorrily lacking. 

But I don’t actually learn much about how good or bad working conditions are for production line workers at TSMC in Taiwan in the 1980s and 1990s, the place that produces over 90% of the cutting edge technology chips in the world discussed in Chip War. I do, however, get a semi-horrifying look at working conditions for Foxconn and other Chinese production facilities contracting with Apple in the 2000s and 2010s in Patrick McGee’s deeply reported, Apple in China (2025), another NY Times bestseller. And let me tell you those working conditions are not good. They are not democratic in any sense. No respect for human rights, or even basic human dignity. 

In 2010 it got so bad over 100 employees of Foxconn, Apple’s biggest manufacturing contractor in China, committed suicide protesting working conditions by jumping off the roofs of the dormitories where as many as 12 people are crammed into one living space. Reinforcing my point, Apple, like most foreign industry in China and other parts of  Asia, only cares about local working conditions and worker’s rights when the worst sweatshop abuses make the news and only then so long as the story is in the news. 

At places like Foxconn’s vast “factory city” campuses in China—and at other assemblers in Apple’s orbit—the recurring picture is a dormitory-labor regime optimized for speed: young migrant workers housed on-site, standing assembly work and strict line discipline, and heavy reliance on overtime to hit launch-season quotas. Few workers last more than two years. It’s for young workers with no other better options. This is “China speed” as a form of brutally oppressive factory organization. Near prison labor camp conditions are reported. In fact, reviewing conditions at Foxconn you wonder how much worse could working conditions be in the Uyghurs prison labor camps in northwestern China? 

The global spotlight on working conditions in China intensified after the 2010 wave of worker suicides at Foxconn. An investigation commissioned by Apple reported serious noncompliance issues including excessive hours that, at times, averaged over 60 hours a week—followed by the familiar cycle of audits, promises, and partial fixes that never fully change the pressure-cooker incentives of “time-to-volume”-is-money electronics production. In short, working conditions for Apple’s front line manufacturing workers in China are, shall we say, not very democratic; and do not respect the dignity of the low wage worker. McGee covers for Apple, arguing that these factory labor conditions are organized by China, not Apple. But that is outsourcing to save on labor costs and then blaming the outsourcing when it turns out your contracted Fabs are being run like prison labor camps. 

My main point: For American business in China (or Asia), Intel or Apple anyway, it was never about spreading democracy in China. It was principally about securing a large and cheap factory labor force. Always.  

But there is another interesting way the story in Apple in China, in the late 2000s-2010s, differs from the story told in Chip War about US-China relations in the 1980-1990s. When Apple is scaling up production in China and iPhone sales are exploding in the 2000s, McGee argues Apple is giving away everything to China.  

In contrast with the stark separation between design and manufacturing portrayed in Chip War, Apple claims to have invested billions in Chinese technological development and manufacturing in the 2000s and 2010s. A big section of Apple in China is about the large and continuous flow of Apple engineers flying between Silicon Valley and China throughout the Apple expansion in China. Death march schedules worked in China by US engineers, problem solving the manufacturing process, refining manufacturing step procedures, doing that manufacturing technology know-how stuff, more or less the heart of Miller’s critique of the chip industry in the '90s and what Andy Grove was complaining about in 2010. The US was losing crucial chip manufacturing process know-how. But Apple in China paints a different picture. The design people, the engineers in Cupertino, were deeply involved in the iPhones manufacturing process setup at Foxconn and other manufacturers in China. 

Accordingly, McGee’s most sensational claim is that Apple was too involved, giving away manufacturing process secrets and expertise: “My argument is essentially that Apple is playing the role of Prometheus, handing the Chinese the gift of fire.” China’s recent official clap-back says Apple and McGee’s claims about Apple’s investments in China and taking credit for China's gains in technological development are over-stated and exaggerated. I will only say comparing the iPhone assembly process to the gift of "fire" does sound, yes, a tad overstated and exaggerated.  

Both Chip War and Apple in China are very readable, Chip War a little drier and more academic but also significantly more convincing. From a national security standpoint alone, the US or EU, or any state really does not want to be that vulnerable to the possibility of China, or any potentially hostile state, controlling so much cutting-edge chip production relevant to your national military defense. And Apple probably should not depend on China for 80-90% of their iPhone production either. Although the national security threat seems significantly less with the iPhone. I own one, but truth be told I’m still not clear as to whether it is more a security asset or threat? If Apple doesn’t like China’s heavy-handed censorship or local data control rules or local labor conditions, the latter tellingly absent in most of Apple’s lists of grievances, btw, they ought to diversify where they produce iPhones. And they are apparently doing so, moving more production to Vietnam right now. 

But excuse me if I am unmoved by the crocodile tears in Apple in China about Apple feeling bullied by the Chinese state. Apple got fabulously rich in the 2000s producing iPhones in China essentially because, as Apple in China substantiates, the CCP gave away land to Apple nearly free, they subsidized and removed any regulatory impediments to expanding Apple manufacturing in China, and secured for Apple a cheap labor force living in what looks now like near prison labor camp conditions. A labor force Steve Jobs was lauding as incomparable in 2010, remember. And working conditions Apple never objected to until workers began jumping off the over-crowded dorms they lived in next to the massive manufacturing factory complex where Apple iPhones are produced in China. 

I’d like to see Apple keep a significant footprint in China and try to adjust to rising labor costs and social spending in China, which after all are to be expected and only fair. Obviously, trade doesn’t stop wars but I think significant trade connections can deter wars. Better to stay engaged with China, and work for better trade relations, relations that better respect worker’s rights and the environment. 

But McGee likes to pitch the conflict in extreme terms, however. For instance, claiming Xi Jinping vows to destroy capitalism in 2014, which appears to be based on internal CCP notes from a speech in 2013 in which Xi actually said, “the eventual demise of capitalism and the ultimate victory of socialism must be a long historical process.” This kind of Us vs Them, Capitalists vs Socialists, stuff goes viral on social media but it too is absurdly overstated and exaggerated. 

For a sharper, more economics-first explanation of the Chinese Economic Miracle-- or how China got big so fast?-- I read Yuen Yuen Ang’s How China Escaped the Poverty Trap (2016).  

“The poverty trap” is a self-reinforcing pattern in modern economic development identified in decolonization and national independence movements after WW2 taking place in what comes to be called the global south. But the roots of the poverty trap refer to centuries of European colonialism and western imperialism around the world. In the 19th and 20th centuries industrializing states in the global north extract natural resources and wealth from colonial and/or underdeveloped states in the global south, enriching a small local factory/plantation owner elite and trapping working populations and the general populations in underdeveloped states in austere cycles of grinding poverty. The Poverty Trap. What wealth the colonized and/or imperialized subject state produces, or a hog’s share of it anyway, was extracted and sent back to the industrializing and colonizing trade metropoles in Europe, the US, and Japan. The rip-off remains much the same after WW2 but the poverty trap becomes pervasive in the global south, where new decolonizing UN member states quadruple to nearly 200 nations in the second half of the 20th century. 

In standard modern economic development theory, heavily influenced by German sociologist Max Weber, rational “public institutions,” legal and bureaucratic expertise should precede the creation of new markets, defining a fair and predictable legal structure for businesses to grow and thrive in. Drawing on a close first-person study of China’s reform period during the 1980s and 1990s, Ang, a Professor of Political Economy at John Hopkins University, makes the case why China’s Economic Miracle escaped the Poverty Trap. She argues that economic development is "coevolutionary": growth and governance improve together, and the first move to escape the poverty trap is often to “use what you have” to build markets even under messy, seemingly weak institutions. Her key concept—“directed improvisation,” note compatibility with the Deng's pragmatic adage, “crossing the river by feeling the stones,” where China’s party-state leadership in Beijing sets broad direction while local officials experiment and adapt to conditions on the ground. This wild west Laissez-faire approach spread bribes and corruption, but it also unlocked economic growth while managing to keep private capital wealth interests, foreign or domestic, from capturing the power of the state. 

Another Deng quote, “Let some people get rich first,” gets at the essential Laissez-faire (leave it alone) principle at work. We can’t wait for the perfect plan, or expert legal officials. We need to let the builders and inventors and free-enterprise hustlers loose, even if this means tolerating some unfair labor practices and inequality and polluting externalities requiring people to wear masks in the cities for a time. This gets the wheels of commerce turning and growth and development happens.You can’t argue with the effectiveness of such an approach, Ang documents in detail how it worked in China, but it isn’t all that hard either to see how this could just be kicking the poverty trap can down the road a piece. It doesn’t eliminate the poverty trap but internalizes it inside China for hundreds of millions of low wage workers. This is an unfortunate pattern of capitalism, trapping low wage workers in sweatshop labor conditions. 

Another sharp economic take on Deng’s crucial “Opening and reform” decade of the 1980s is Isabella M. Weber’s How China Escaped Shock Therapy (2021), which I’ve raved about before. Widely discussed well beyond academia and decorated with major prizes, Weber reconstructs the 1980s fight inside the Chinese economic policy world over price liberalization, inflation, and the pace of market creation, arguing that China’s leaders used pieces of the state planned economy rooted in ancient Chinese history as positive and essential scaffolding for markets rather than getting rid of the state economic system altogether, as they were being urged to do by the big interests of global private capital. Weber's economic argument rubs against free market ideology and its ban on gov't meddling in markets, and provides critical insights into how China got big so fast over the past half century. 

At the time of China's "Opening and form" policy debates in the 1980s Milton Friedman and free-market global finance capitalist elites, IMF/WB, multinationals, libertarian neolibs, full-court pressed China to remove all state restrictions on the global flow of private capital in one “Big Bang”of shock therapy. Doing the neoliberal economic shock therapy kind of thing like in Chile in the 1970s; and would do to Russia in the 1990s. Essentially, armed overthrow of democratically elected socialists and letting private big business interests have their way with workers. The state violently suppressing any labor organization. That's the realpolitiks of neoliberalism. But in its fundamentalist free market dogma form peddled in China in the '80s debates shock therapy policies advocate removing all state taxes and regulations and state controls over the private economy in one big ripping off the band-aid of the overbearing state holding down the dynamic energies of the market economy. (Not unlike, btw, what Trump/DOGE and Project 2025 are trying to do in the US right now: Remove all limits on private wealth while, additionally, taking over the national security state.)

China struggled with these “Opening and reform” or "Opening" (read: privatizing) pressures from global capital throughout the 1980s and '90s but were able to establish effective state controls over the private economy in that crucial period in the '80s, limiting the flow of foreign capital while investing heavily in education and technology and infrastructure building. The inference in Weber's case is that state guidance and industrial policy and resistance to neoliberal privatizing pressures were crucial to establishing the institutional conditions for the Chinese Economic Miracle. Weber’s book is a close study of ideas and institutions, and also doubles as a reframing of state-directed “gradualism” as a legitimate policy frame, showing how statecraft can stabilize economic growth and avoid the social hardships and chaos that privatization shock therapy has produced elsewhere.

A couple years back when they were first trying to introduce Chinese EVs into the US some people complained that Chinese EVs had not been produced fairly. China’s EV industry received substantial state subsidies, Biden whined to the press. Maybe not at the same scale but rarely mentioned Big Tech in this country has also been subsidized heavily by the state; as have many other Big industries. It's not just the state subsidies but the state capacity and clear vision of a better future that wins out in China's green energy tech revolution. What China’s impressive green tech development over the last 10-15 years shows us is that any viable vision of an abundant and sustainable future will require more state industrial policy, not less. Not just because private capital, monopoly capital, and free markets in the West haven't delivered the green technologies we need at a cost we can afford, like China now apparently has (although no saying how long before we can enjoy those cost savings in the US), it's how China's green tech revolution has exposed Big Oil and Big Tech monopolizing and obstructing the development of new alternative energy technologies, as now with the Trump2/DOGE regime.   

For the bigger political history and backstory behind the Chinese Economic Miracle and China’s economic takeoff, Ezra F. Vogel’s biography of Deng Xiaoping and the Transformation of China (2011) is now my go-to doorstop classic on the subject—a big award-winning, widely read biography that helped popularize Deng as the central architect of the “Opening and reform” era. 

Vogel follows Deng from revolutionary insider to pragmatic modernizer, explaining how he rebuilt party control after the humiliating violence of the Cultural Revolution, while unleashing markets, foreign investment, and export-led growth that reshaped daily life for hundreds of millions in China. Deng was purged twice under Mao, forced to live in rural re-education camps for a total of seven years in the long period before he came to power, and still he was above all to the very end a staunch CCP loyalist, and even still loyal to the legacy of Mao. For Deng and many Chinese, Mao was the George Washington of modern China’s political independence. And, recall, a hard-won independence gained only after a century of humiliating foreign control. The book doesn’t dodge the darker side of China's revolutionary independence legacy, including the harsh limits Deng set on political liberalization, but it’s a useful reminder that today’s China was engineered as much by political institutional decisions about where the buck stops, so to speak, as it was by GDP charts. 

The keys to Deng’s “Opening and reform” were liberalizing private enterprise and making continuous and large compounding state investments in agriculture, industry, national defense, science and technology, what Deng called the four modernizations —while never letting private wealth, foreign or domestic, get the upper hand over CCP state power and control. 

Deng errored in favor of the heavy-handed state, most famously during the Tiananmen Square crackdown of June 3–4, 1989. After weeks of student-led demonstrations in Beijing calling for political reform (and broader protests in other cities), the government declared martial law and sent the People’s Liberation Army into the capital to clear protesters from the square and surrounding streets using lethal force. The exact death toll remains disputed—official figures were far lower, while many outside accounts describe hundreds, possibly thousands killed—followed by mass arrests, long prison sentences for activists, and decades of censorship and enforced forgetting inside China. Still, overall, Deng's rule, especially in contrast with the humanitarian catastrophes of the Mao era, is typically characterized by Deng's relative benevolence and his progressive investments in education and science and technology. 

Additionally, from another angle, one cultivated by Vogel, Deng’s fierce commitment to not letting anything threaten the power of the state, or the political control of the CCP, not foreign capital, foreign states, nor student protesters, was arguably crucial to the Chinese Economic Miracle, drawing strict boundaries around China’s political independence from private capital and foreign control. Deng’s Chinese nationalist engineering task, what I think you could reasonably call Deng's Mandate of Heaven (even though he was in fact a devout secular modernist), was to encourage economic liberalism while never allowing any challenges to the authority of the single party-state government of China, a party-state gov’t that won China’s sovereign political independence in 1949, and above all for significant majorities of the Chinese people, insures that political independence to this day. 

Stepping back even further, the strengths of centralized political control are a feature of Chinese civilization going back three or four thousand years. This point can be exaggerated. In China’s actual history political control was often split into warring states or China was ruled by foreign powers for centuries at a time. But, even so, actually not so much as most other world civilizations. And a meritocratic national civil service examination system, reinforcing centralized authority, goes back 2000 or more years in China’s history. At any rate, amongst centralizing political heroes in China’s history I should think Deng has to be one of the greatest, and to my mind has to be on any short list of the most productive and benevolent world leaders of the 20th century. Professor Vogel makes a persuasive case.    

Dan Wang’s Breakneck: China’s Quest to Engineer the Future (2025) is a punchy, highly popular addition to the the growing genre of books trying to explain to Americans the Chinese Economic Miracle. When the book was published Wang worked as a research fellow for the Hoover Institution at Stanford University. He name-drops Ezra Klein’s and Derek Thompson’s Abundance book (2025). Wang’s central argument is that modern China is an “engineering state” and the US is a “legal state,” and the differences explain the Chinese Economic Miracle and why US governments (and especially Blue governments like California, chime in Abundance devotees) are always getting bogged down in process and litigation and can’t build anything. 

Wang mixes on-the-ground reporting with political economy to explain how China learned to build big stuff at astonishing speeds—bridges, rail, factories, whole cities. He shares historical experiences of “China speed,” like stories of China building hospitals during Covid from the ground up in a matter of weeks. Wang takes a bike tour through a rural region of China transformed in a only a few years with roads and massively scaled urban industrial infrastructure. He doesn’t ignore the human and political costs of China’s social engineering, surveillance, and coercive campaigns. But the book’s central contrast (China run by engineers, America run by lawyers) is blunt and reductive in the way binary comparisons always are. 

I’d like his engineering state argument (and the abundance arguments, for that matter) better (Deng did have the mindset of an engineer after all, and the Chineses Economic Miracle is a colossal achievement in civil engineering) if these arguments didn’t rhyme so damn much with monopoly power and lawless dictatorship and more corporate disregard for labor and the environment. There is a weird sense in how Wang’s engineering state eerily seems to prophesize and/or endorse a host of illiberal engineering schemes, Foxconn labor, Project 2025, the unitary executive theory, Musk's DOGE. Only recently Ezra Klein was still apologizing for Musk and DOGE as wrong-headed but at least trying to bust through walls and cut through all the red tape and get something done in a government stuck in democratic gridlock. (Yeah, gridlock caused by millions in campaign donations to block popular democratic reforms; and instead getting stuff done like destroying gov't programs saving hundreds of thousands of lives.) Anyway, it's this tendency to reductive binary evaluations that makes me skeptical: let the Engineers cook, sideline the lawyers; building good, rules and regulations bad. 

To be clear, I think the US ought to build more and invest more in public goods and infrastructure too, like China. Unfortunately, when Wang and the Abundance crowd talk about the engineering state (and techno-optimism) it is always about these heroic engineering world builders eschewing rules and regulations to build and get great things done. But Japan in the 1930s and 1940s has been described as a Techno-fascist engineering state. Surely, China's prison labor camp system for Uyghurs is also a product of China's engineering state. DOGE is a cartoon troll version of the engineering state. Each of these are arguably just various ways the engineering state builds power and doesn’t get bogged down by legal processes or NIMBY neighbors or human rights concerns. Nearly any lawless action can find justification in Wang’s engineering state argument if it can be attributed to some constructive end goal of the engineering state, rendering the distinction kind of useless, if not in fact a negative frame for understanding the Chinese Economic Miracle. 

Changho Sohn’s China Worldcraft: From Beijing: Four Concise Keywords of Chinese History You Need to Know to Deal with Chinese (2022) is a compact, thematic “China primer” written from the vantage point of a South Korean diplomat stationed in Beijing, and so naturally it is a bit of a hagiography. Sohn emphasizes often neglected Chinese stories in the west. For instance, how the CCP actually stabilized inflationary pressures after WW2 much better than many “free market” western economies. A story Weber also reinforces in How China Escaped Shock Therapy. But ever the diplomat Sohn also completely ignores shameful humanitarian disasters in China like The Great Famine that plagued rural China between 1959 and 1961, resulting in 30 to 46 million excess deaths, or the Cultural Revolution that terrorized China from 1966 to 1976, leading to 1.6 to 2 million unforced deaths and massive forced displacements. Both standard bullet point history of communist era China in high school history courses in the US. Sohn’s overall message emphasizes China’s long, rich, imperial history and its immense size and ability to absorb conflict and change and still maintain centralized state control. Like I said, China is the oldest and most populous civilization in world history. India, or South Asia, is close but never experiences as much centralized state political control as China. 

China Worldcraft is explicitly aimed at outsiders trying to make sense of how Chinese leaders and Chinese public culture reasons from history. Chinese history through Chinese (or a Korean diplomat's) eyes, so to speak. A look into how the Chinese think so that we English speaking people might learn to get along with China better. Instead of a straight dynasty-by-dynasty review of imperial Chinese history, Sohn organizes his story around four recurring keywords in Chinese history—cycle, harmony, evolution, and humiliation—and uses them as a kind of interpretive frame for everything from philosophy and statecraft to modern economic and foreign-policy behavior. Examples: China’s worldcraft is about the dynastic cycle in the Mandate of Heaven, authorizing centralized political authority in an emperor or autocrat; It’s about the harmony in Confucian hierarchy and social order, the Daoist harmony in the yin/yang “unity of opposites; It’s about the evolutionary value of China’s centralizing state in China’s ancient meritocratic civil service examination system; And finally, again, and undoubtably most importantly, it’s about the humiliation of the Opium Wars of the 19th century, and perhaps the bitter residue of all the other periods in history when China has suffered foreign rule, as an absolutely resolute force behind China's commitment to political independence and the centralized authority of the CCP. 

Ian Johnson’s Sparks: China’s Underground Historians and Their Battle for the Future (2023) shifts the focus from the Chinese Economic Miracle to its victims and collateral damage. Built around writers, filmmakers, and citizen-archivists who document everything the state, the political authorities, and the CCP would prefer to erase—famines, political campaigns, local massacres, and the lived reality of recent crackdowns—Johnson, a journalist and Pulitzer Prize winner, shows how control of history functions as a pillar of oppressive political power. China tolerates no political dissent, and runs a repressive surveillance police state. One measure of that repression is to what length the state will go to suppress historical memories they would rather be forgotten.

Sparks is about how people in China, jailed, driven underground, driven into exile, still fight to reclaim some of those repressed historical memories. Johnson’s book circles a few especially searing collective “memories,” beginning with the starvation deaths in forced labor camps in the late 1950s/early 1960s, terrible public humiliation mob rituals during the cultural revolution, all the way up to the earthquake of 2008—especially the evidence gathered by parents and citizen investigators that many schools collapsed during the earthquake from shoddy construction, followed by the harsh suppression of accountability efforts backed by the loved ones of victims and local communities. 


The title, Sparks, was the name of a magazine published in 1961 and committed to sharing the stories of family and loved ones that lived through the Great Leap Famine. The publications’ staff were all jailed and/or sent to “retraining” camps in distant rural sections of China. The “underground historians” chronicled in the book, including connections to the original Sparks publication, continue to dodge the authorities and continue to document and distribute historical memories from The Great Leap Famine to housing crackdowns during Covid, but I have to admit what stays with me most from this book is how relentlessly intolerant the CCP is of any organization or publication critical of the government. It doesn't even have to be a direct insult but anything the party thinks might reflect badly on government authority. . 

I’ve accumulated a whole other shelf of books I’ve read about China’s older history, pre-economic miracle (1978 to present), pre-Communist Revolution (1927-1949), many older titles, but none more relevant historical background to understanding China today than Stephen R. Platt’s books about 19th century China. One title about the Opium Wars (1839-1860) and another about the Taiping Rebellion (1850-1864). 

For a dramatic run through a couple of gargantuan geopolitical shocks of the 19th century—the era that set the humiliated chip-on-a-shoulder terms of China’s modern encounter with the West and its global neighbors—Platt's books leave a strong impression. Imperial Twilight (2018) traces the long fuse leading to the Opium War, when the British force a trade in opium on China, rationalizing British military aggression on the pre-text of “free trade.” And then Autumn in the Heavenly Kingdom (2012) plunges into the Taiping Civil War, a catastrophe at least in part provoked by the Opium Wars, and certainly one that foreign powers ultimately helped shape, and a catastrophe on a scale that’s still hard to comprehend. A Christian missionary educated Chinese religious prophet, Hong Xiuquan, says he is the younger brother of Jesus Christ, and leads a rebellion against the foreign rule of the Qing dynasty. Western powers side with the foreign rulers, not the Christian rebel they educated, essentially to preserve existing trading relationships with China's Qing state. It’s estimated that 20-30 million die in the 14-year civil war. I’d recommend reading them in chronological order and not the order in which they were published. Both books are written with novelistic drive and serious archival muscle, making Platt’s books a great guide to a time when China’s “last golden age” gave way to violent upheaval and humiliation.

Armchair takeaways-

1. The economies of scale, the state capacity to build out infrastructure, roads, bridges, hospitals, massive high-tech factory complexes, solar panels, batteries, and EVs, and assuming a dominant market position in green energy producing technologies with astonishing speed, are all something to behold and feel like possibly some kind of great game changer. At the very least, it is a new model of industrial policy operating at scales and speed never seen before. Where will this new found immense economic power China is now generating lead? At least for now it appears that it will act as a significant counterweight to the monopolizing demand and scarcity economic model of private capital in the west, or anywhere China chooses to counteract private capital’s dominant global market power anyway. This doesn’t have to be so bad. So it turns out China will be delivering the Green New Deal, they could have done much worse with their newfound economic might, right? But this does appear to also indicate that the scale and speed of China’s state industrial policy buildouts will now force older global economic powers like the US and EU to adapt to and adjust to China’s economic development priorities, and not the other way around. Like the cold war in the 20th c maybe checked the exploitation and abuse of workers in the capitalist West, maybe China's industrial policy will check the private billionaires monopoly on progressive technologies. I just learned that the Chinese are now producing learning units of AI so much more cheaply than they are available in the US that several if not all the AI tech giants in the US are training their cutting-edge AI models on AI they buy from China.  

2. Of course the Chinese state, the party leadership in China,  and the CCP are paranoid. To a degree all political power blocs or groups demonstrate this tendency. They always have great ideas about how to make things better when they're not in power but when in power they end up spending all their time holding onto power. It's a rule in political science; machine politics, dominant party rule, etc. China is no different in this respect but the CCP is a particularly bad case of paranoid party leadership. For some good historical reasons, as I've recounted. It took the CCP 22 years to win China’s independence from foreign meddling and unequal treaties (1927-1949); a humiliating condition that China had lived under for the previous century, going back to at least the Opium Wars (1839). The CCP was also, as reported in the Deng biography, traumatized by the collapse of the Soviet Union in 1989, and feared any sign of weakness by party leadership could jeopardize state power like Glasnost and Perestroika had in Russia. And, actually, beyond contemporary times, as I've already alluded, there's more than enough warring states and foreign rule in China's history to warrant a strong tradition of paranoid nationalist leadership. 

Besides, complicating matters, it appears almost certain that China’s paranoid insistence on absolute political sovereignty and power over private foreign capital, haunted by the century of humiliation at the hands of Western colonialism and imperialism, directly contributed to the Chinese Economic Miracle, enabling China to avoid privatizing shock doctrine economics and escaping the poverty trap and avoiding the IMF/WB Structural Adjustment Programs (SAPs), neoliberal afflictions attacking democratic state capacity to build for the future everywhere else in the developing world but China at the end of the 20th century. 

It's not surprising to find China very resistant to foreign capital and foreign entanglements with foreign states for reasons already stated. But why does China and the CCP have to be so hard on their own students and workers? Why force over a 100 million workers to toil and live in sweatshop conditions? One big reason I've picked up from various sources, although they shall go unnamed so as not to be blamed for my crude translation, is that Chinese leadership, Xi and the CCP, fear raising the living standards of workers and making them bigger consumers would only increase the laboring classes crazy demands and turn them all into potentially angry street protesters like in democracies. Like the George Floyd protests. Etc. Again, very paranoid. 

China’s paranoid dilemma now still looks a lot to me like Deng’s dilemma: how to open and reform economic development in China, modernizing industry and technology, while never compromising or jeopardizing China’s political independence or the established authority of the CCP leadership. Party dictatorship, basically; free speech and dissent not allowed. You might say the Chinese Economic Miracle is powerful evidence that the CCP has figured out how to effectively defend China’s political independence from foreign private capital and still prosper impressively, still build like nobody's business. But what Deng never figured out and what the CCP has still not figured out is how to extend to its working classes living wages and basic human rights, let alone other democratic rights, which China's leadership views as grave threats to their authority. 

You would think the leadership would eventually realize that in the the long-term the legitimacy of their authority also depends to some degree on them at least incrementally improving the conditions of their laboring masses. But you are not getting China to submit to anything that feels like a threat to their national independence and/or political authority. Apple or the US; Students or workers. This goes back at least to the emergence of the CCP in China's 1949 revolutionary independence movement, and almost certainly originates as a paranoid form of national leadership in the humiliation of the Opium Wars and unequal treaties of the 19th and early 20th centuries. 

3. United and disunited nations. A lot of the commentary about the Chinese lab leak theory during Covid struck me as crude bigotry and harassment, probably why I've avoided reading so far any of the China books about Covid and the pandemic. But China’s alienating lack of transparency and cooperation around international efforts to investigate the source of Covid was a big blow to peaceful international cooperation and the UN system. Likewise, cracking down on democracy in Hong Kong isn't smart or honorable. I hoped China would try to live with Hong Kong as another SEZ, a democratic SEZ, another SEZ experiment, and see how that would go; Deng's “Feeling the stones as you cross the river.” But the crackdown on Hong Kong's democracy reinforces the CCP’s paranoid abhorrence for democracy and basic civil rights protections. I also wish China would at least try to show some respect for Taiwan or Tibet’s right to self-determination, a nationalist right certainly very important to the Chinese. 

But for all that, for all their paranoid state tyranny, China has now electrified global green energy markets, selling relatively cheap solar panels and batteries and EVs in very big numbers all over the world. Or except in the US where they are banned as products of unfair competition but are actually about the most democratic thing China could possibly do for the working poor around the world. Creating the impossibly ironic situation where the adamantly anti-democratic, CCP party-state dictatorship in China, what some are now calling political capitalism, could save democratic capitalism from the monopolizing stranglehold of the fossil fuel industry. Maybe more, who knows? 

And, of course, what the conservative right takes from all this is the necessity of the billionaire "engineering state" takeover and aggressive police-state surveillance and suppression of labor organization and protest agitation and antitrust litigation, which they slander as "illegals" or "leftist radicals" or a "woke mind virus." Drill baby drill, etc. 

When the real abundance supply-side takeaway of the Chinese Economic Miracle and US-China relations over the last half century, to my mind, oughta be the necessity of big state investments in education, science, and technology, including sustainable energy tech adaptations and projects, and expanding basic civil rights protections for all workers. 

For one big reason, in the last instance, supporting workers and providing basic human rights protections and a rule of law and justice that does not favor any particular race or religion or gender or class over another remains our biggest comparative advantage with dictatorships like China, even if we have often fell short of this multicultural democratic ideal. Just as the EU and UN General Assembly and the promise of more justice and peaceful coexistence remains a powerful animating social force in the world, and we may hope can mount some defense of the "free world" against the power-grabbing march of tyranny now in control of the US.   


Brainthump EP, Tenshin, 1992: Hypnotic Big Beat Acid

Susumu Yokota (1960–2015) was a Japanese electronic musician, DJ, and composer whose work moved between club music and more contemplative ambient sounds. On the club side, he emerged in the early 1990s with acid house and techno bangers like this monster 17-minute EP. Sometimes under aliases such as Frankfurt Tokyo Connection, Ebi, and Stevia, or here as Tenshin with his friend Makoto. Behind the big slugging beats and frantic Noirish stabs of cheap synths you can already hear the shifting, building, cascading, looping, Musique concrete of Yokota's more mature ambient music. Hypnotic big beat acid house right there when raves and EDM were blowing up for the first time. Not that I was there but I can hear the energy; experimental dance music energy. Rocking out, getting down, etc, universal musical languages.    

Disco-- Everybody's doin' it: Richie Havens "Back to My Roots" (1980)

A funny part of getting into the deep cuts of the disco era, as I've mentioned before, is how eventually everybody's doing it, everybody seems to get around to making their disco track. B.B. King. Little Feat. Camel. Barbara Streisand. The Beach Boys. Even the opening act at Woodstock! 

"Going Back to My Roots," Richie Havens (1980): Havens covering Lamont Dozier's 1977 original, about going back to Detroit to see family. Black family. The Roots TV series chronicling the saga of an American family going back to Africa aired in '77. But Havens turns the song into a global multicult anthem and inspiring model blueprint of the spiritual side of House music. The deconstructed dancefloor parts give it that proto-House production feel and Haven's soulful voice an anthemic and universal pop heft that is indomitable. "I'm not talking about the roots in the land/I'm talking about the roots in the man/It's not red, it's not white, it's not yellow, it's not black, it's down to earth." 


Richie Havens with Groove Armada live in Brixton (2002): Numerous other versions chart over the years, peaking in the US with NYC disco group Odyssey in '81, and then a founding Italo House version for the FPI Project in '89, and other chart appearances in South Africa and UK and other parts of  Europe again in '89 and '94 and '99 and 2002. At this point Dozier's disco classic is practically a standard of House style dance music. Here's Havens still bridging disco's spiritual House music soul with EDM millennials.

"Going Back to My Roots," Lamont Dozier (1977): For Dozier, the great songwriter who co-wrote and produced 14 Billboard number one hits with Motown, living in LA at the time the song was about going back to his Black roots in Detroit. An intimate psychological (if epic) journey; the original clocks in at over 9 minutes long. But Hugh Masekela, South African trumpeter, producer, anti-apartheid artist, contributes to production and takes the song back to Africa. The final section moves explicitly into Afrobeat territory, chanting in Yoruba and carrying on with the collaborative energy of sizzling global funk music; so LA to Detroit to Soweto. It's a great track, if maybe a little disjointed by its Dozier and Masekela sides. But Havens' voice and the way his discofied version fully transforms the song into this multicultural global dance anthem really takes it to another level for me. Makes it a post-disco global disco classic. 

country blues-jazz-soul-funk proto-disco

Despite the upscale disco-w-strings velvet rope fantasy stereotype, Barry White, "The Hustle," Deodato*, what struck me reviewing '70s disco DJ playlists in The Disco Files was how much gutbucket country blues-jazz-soul-funk gets played in the underground gay discos. The first two tracks following are in that spirit and the other three I'm pretty sure I found in TDFs. 

"That's What Love Will Make You Do," Little Milton (1971): Stax/Volt soul single. A country blues soul workout with a buoyant groove. There's a 21 minute extended mix out there, in case you looking for the full meal disco deal.


"Let My People Go," Darondo (1972): Obscure soul man from the Bay Area. Put out three singles in the early '70s, then got hitched and decamped to Fiji. Slinky funk groove set to beseeching blues plaint. Brings the slow disco heat. 


"Njia (Nija) Walk (Street Walk)," The Fatback Band (1973): Proto-disco and proto-hiphop, The Fatback Band were in the middle of chart R&B and dance music throughout the '70s. TFB's "King Tim III (Personality Jock)" came out a few months before "Rapper's Delight" in '79 and gets mentioned as one of the first commercially released hiphop or rap songs. They are not the JBs, nobody is, or even the Ohio Players, but solid P-Funk approved funk. 

"Soul Turn Around," Blue Mitchell (1973): Jazz trumpeter Mitchell goes way back and is reputably the most recorded trumpeter sideman on soul jazz organ records in the 1950s. Next he played in the Horace Silver Quintet from 1958 to 1964, and appears on an all-time jazz album favorite, "Song for My Father" (1965), and then went on to play in Ray Charles' touring band in the late '60s and early '70s. In short, he was a soul jazz pro's pro from the 1950s through the 1970s. And I have a big weakness for hot instrumental pop like this. Another one of those '90s retrospective series that I love was Rhino's Rock Instrumental Classics, five volumes, which included many jazz-funk and disco classics but not this one, not so much a failing of the series as another indication of what a brilliant period the disco era was for the rock era pop instrumental. 

"Philadelphia," B.B. King (1974): B.B. King made a disco record?! No way, exclaims the disco sucks people. But he did. Here's B.B. King channeling TSOP's funky disco sound. 

*- Brazilian pianist, composer, and jazzy disco record producer Eumir Deodato has a daughter married to actor Stephen Baldwin and a granddaughter married to Justin Bieber. Keeping up the legacy of the '70s disco era's decadence, they're apparently still getting into trouble at nightclubs in the 2020s. 


In Defense of The Disco Files

"The best discotheque DJs are underground stars, discovering previously ignored albums, foreign imports, album cuts and obscure singles with the power to make the crowd scream and playing them overlapped, nonstop so you dance until you drop," Vince Aletti

The Disco Files 1973-1978: New York's Underground, Week by Week
by Vince Aletti (1998/2009/2018) 

This book existed more by legend than anything else for me for many years. The “Dean of American Rock Critics,” Robert Christgau, would mention something about it in his Village Voice columns and essays. The author, Vince Aletti, was a neighbor, and lived in the same building in the East Village of NYC. But the actual book was hard to get my hands on. For a long-time it was too expensive; or never available for what I felt like I could afford anyway. Quickly gone out of print and revered by dance music enthusiasts, presumably. I eventually got a look at a library copy, in a big coffee table book format, but discovered it was for the most part record lists that no way could I adequately process in the amount of time I could check it out from the library. 

The heart of The Disco Files are weekly columns Aletti compiled and wrote for Record World from 1973 to 1978. Along with Billboard and Cash Box, Record World was one of the big music industry trade magazines publishing at the time. It was a fat period in the music industry, a production boom still catching up with the youth culture explosion of the 1960s. The form of TDFs column evolves some but always features Aletti highlighting what records are hot in the local NYC dance club scene he frequents, personal favorites, industry gossip, plugs for DJs and coming attractions. It's an insider's tip sheet. And Aletti is an enthusiastic crate diving records guy working at a music industry trade publication. Then as the popularity of dance clubs and dance music grows-- or explodes, more like it-- he gets caught up in this excitement, adds DJ top ten lists first from NYC and LA but eventually spreading out to include DJs in Boston, San Francisco, Chicago, etc. By early 1975 the column is capped off by a Disco File Top 20 and there are thousands of working dance music DJs across the land. In short, TDFs book, weekly columns compiled over five years, chronicles the first boom incarnation of the dance music DJ and is made up mostly of hundreds of underground disco DJ top ten lists from that time.  (1)

 Finally, in 2009 a new edition came out, adding interesting interviews and other disco-related Aletti write-ups that appeared in Rolling Stone and elsewhere. In a more reader-friendly format and price, I eventually snagged a copy of that edition. And that began my more careful reading (or 'careful listening' to the records) of The Disco Files. I started adding to a TDFs playlist (standing at 549 streaming songs or albums or disco mixes) and I’ve been lost in the music ever since, so to speak. Feeling my way towards some kind of geezer understanding of my life long special affection for dance music and the original form in which I encountered it: 1970s Disco.  

First off, this book has to be the most detailed first-person primary document account of the popular records of the first DJ dance club music boom. Aletti's columns span five years, 1973-‘78. Aletti and a DJ/music writer pal agree 1972 is the starting point for Disco in a interview included in the volume. You could also reasonably argue that the disco era began with DJ David Mancuso's inaugural dance party at The Loft on Valentine's Day, February 14, 1970. I’d also probably stretch the classic era to ’79, 1972-1979, for reasons I'll hopefully get to later. Nonetheless, Aletti's weekly columns', '73-'78, document disco DJs favorite records through the beating heart of the disco era. If Saturday Night Fever ('77) was disco's obvious imperial commercial peak, The Disco Files are the secret archives. 

So what were the disco records that led up to Saturday Night Fever? Basically, they were the records that gay DJs played in underground dance clubs in NYC in the early 1970s.  “Disco” was essentially a commercial dance music bubble triggered by the Stonewall Uprising in 1969, gay protests that opened-up gay club and dance party opportunities or at least reduced dramatically the harassment they had operated under up to that point in NYC. Between 1970 and 1975 gay dance clubs went from a handful to thousands. Classic era 1970s disco marks the cultural origins of gay and/or LGBTQ+ friendly urban dance club music scenes that eventually spread to many cities around the world, expanding, downsizing, recombining, by the 1990s proliferating dance music sub-genres with a mad glee, transmigrating disco music into Eurodisco, House, Techno, and a gazillion dance pop permutations of EDM, of which I know and appreciate many but only superficially or glancingly.

Important to remember, foremost, none of the original so-called disco DJ’s called the music they played disco or even clubs where they played it discos. Discotheques as a kind of private dance club was a French import and had arrived in NYC in a place called Le Club in the 1960s but the early gay discos in NYC went by names like The Loft, 12 West, Infinity, and the Flamingo. Playboy magazine called LA dance clubs 'discos' in the '60s but really no one was talking about "disco" as a music genre before Aletti. Disco, the genre label, was music industry hype that Aletti obviously aided and abetted, if he didn’t in fact invent. But not because he anticipated and desired the kitsch abomination of "Disco Duck" but because he wanted to promote the great records he heard his favorite DJs play to turn on dancers in dance clubs in NYC. He hung out around the DJs and for him "disco" records were records DJs played to get a big response on dance floors and that was a cool thing. The animating idea is really that simple: Let's make hit records out of records that were hits first in the dance clubs, where people went to dance to their DJ's favorite records. We'll call these 'disco' records!  (2)

In the beginning disco DJs were predominantly gay Italians and their mixed-race, Black and Latino friends, states Aletti upfront and matter of factly. The music industry, including Aletti, sees this growth in DJ music at the time, 1972-1973, as possibly a new and hot source for making hit records. The first disco record—i.e., a Top 40 chart hit record that was first a hit in a NYC gay dance club-- is Manu Dibango’s massive Afro-funk single in 1973, “Soul Makossa,” a big hit at Mancuso's Loft parties in '72. The song had been released and left for dead by radio before being revived and re-released to international success after hitting it big in NYC’s underground gay discos. Also, noteworthy that the first actual disco Top 40 hit isn't in the popular souped-up '60s Neo-soul or Euro-techno sounds but what Aletti calls "left field" disco, instrumental centered world beat and/or global funk. Another example The Chakachas "Jungle Fever," reached number 8 on the Billboard Hot 100 in 1972, a quintessential one hit wonder, and also leads off Aletti's 1978 Disco's Greatest Hits double album, Steppin' Out, which isn't the greatest by any stretch but does try to encapsulate proto-disco's diverse palette of sounds. "Jungle Fever" leads off the comp, like "Soul Makossa" does disco, as a kind of global music multicult Exotica for the 1970s. Some Danish session musicians team up with Kari Kenton, the wife of Latin mambo jazz bandleader Tito Puente, panting and moaning through a sultry jungle funk trifle made in a modern recording studio in Europe. (3) 

Aletti (left) writes the first accounts of the music emanating from these gay underground dance clubs in New York. DJs become underground legends for throwing the best dance parties: Mancuso, Nicky Siano, Richie Kaczor, David Rodriguez, Richie Rivera, etc. The DJ burnout rate was terrible, as it always is in party scenes, but in those first peak years, with a couple turntables and a big soundsystem, maybe some flashing lights and/or balloons, DJs choreographed epic dancefloor workouts. The best DJs knew how to weave these rich sonic tapestries, always groovy, hot, sweaty, screaming and shouting buildups alternated with cool them out mood-elevating interludes and musical fanfares (the latter rooted in an ambience of psychedelic bliss, and replicated in chillout rooms at Raves in the '90s). Hippie dance music, basically. The best original disco DJs were inveterate crate diggers, discovering otherwise ignored album cuts and foreign cutouts that they parted out and stretched into extended dancefloor workouts, medleys, suites of dance music with dramatic sweep, build-ups and cool-downs and, above all, foremost, mesmerizingly syncopated dance grooves. By 1975 they were making pop hits out of songs DJ’s played to ecstatic responses on dancefloors in a great pop music convergence: The Temptations "Papa Was a Rollin' Stone" ('72), O'Jays "Love Train" ('73), Barry White's "Love's Theme" ('73), "TSOP" ('74), etc. The first most practical and material music industry achievement of the classic disco era was the establishment of a record pool distribution system that gave DJs greater access to new dance music records. Aletti was instrumental to this effort.  

The emerging disco sound, 1972-1975, says Aletti, was Afro-Latin, Black, although not always American, heavy on the drums, minimal lyrics, chant-like choruses, foreign languages fine, and long instrumental passages with tricky breaks. These were disco formula conventions by 1975. 

Philly International was to this first wave of Disco what the Ramones were to the same era of Punk Rock. An ideal model, not without the conservative tendencies of all such models. In the actual underground gay dance clubs Aletti was reporting on what jumps out at you is the crazy variety. There was “Soul Makossa” and other international stuff,  the “left field” disco records. There were oodles of gutbucket funk, campy Broadway cabaret Drag Show affectations, good grooved jazz fusion, souped-up '60s soul styles galore, nostalgia for previous eras of dance music, Swing, Rock & Roll, even Hot Jazz. Really, if whatever music style could be set to an uptempo beat it was disco ready. 

Consider Mancuso’s Loft playlists, again (Aletti more or less upfront concedes that The Loft was his  Disco dance music Platonic ideal), drum heavy rock music (Babe Ruth, Steve Miller Band, J. Geils) was played next to drum-circle Afrobeat world music was played next to good grooved jazz fusion fantasias next to palette cleansing psychedelic chill-out numbers (War’s “City Country City,” EW&F’s “That’s The Way of the World”). Still, for all that variety, Mancuso often centers long-form Philly International/souped up Neo-soul music as if it were the consensus Disco blueprint like all the other DJs: again, specifically, bigger intros and outros, more beats, more strings, more sex, and more extended instrumental breaks. In 1970 Mancuso's invitations to his first dance party at The Loft read "Love Saves The Day"; and in 1973 Philly International's house band, MFSB (Mother Father Sister Brother), put out the number one disco pop hit that year, "Love Is The Message." Classic era disco was born somewhere between those two dates. 

"Sultana," Titanic (1971): Proto-rock disco from Europe in the Santana style. Guy with tambourine and shaker looks like inspiration for Will Farrell's SNL cowbell sketch. Also, member of Titanic ends up in legendary French space disco group Space.  

In fact, Aletti muses about the first “disco” records with a friend and fellow DJ/music writer, agreeing about the primacy of Eddie Kendricks (former Temptations falsetto), “Girl, You Need a Change of Mind” (1972), and the Temps long version of “Papa Was a Rollin’ Stone,” same year. Souped-up Motown, ready to let the funk out. And Philly International ran with this longform funky disco structure further than any other record company: The O’Jays, Harold Melvin & The Blue Notes, The Traamps, The Three Degrees, The Intruders, People's Choice, etc. They were The Sound of Philadelphia and also the iconically OG sound of classic era gay disco, or proto-disco, whatever mixed feelings Gamble & Huff may have about the latter status. 

So the popular center of disco in its first phase, 1972-1975, was gay DJ adoration for Philly International Records (PIR) and souped-up '60s soul sounds. The formal keys, again, were long-form Neo-soul, if you like, songs or often more like extended dancefloor workouts, over 5-6 minutes, please, long instrumental intros and outros, more drums and beats, with the soul on top, more chanting, more sex, less actual words, more lost in the music dancing, the words even more incidental than with other standard pop fare. And another practical material achievement of '70s disco was the development of the 12-inch dance single. The ideal disco dance club DJ dance music form in the days of vinyl records at least. Record producer Tom Moulton, often credited with inventing the 12-inch single idea, lovingly elaborated on the instrumental breaks in the prototype Philly International sound. Harold Melvin & The Blue Note’s “The Love I Lost” (1972), proto-disco top ten classic for me, goes from 6 minutes to 12 minutes in Moulton’s epic remix.

 

"The Love I Lost," Harold Melvin & The Blue Notes (1972): Disco producer Tom Moulton remixes The Sound of Philadelphia. Songs so long always threaten monotony of course but many of Moulton's best, this one, Patti Jo's "Make Me Believe in You," The Intruder's "I'll Always Love My Mama," "Backstabbers," "Do It Any Way You Wanna," all immensely satisfying studio production pop homages to the Philly International sound.  

To say I love this stuff feels like insufficient understatement. Can it be campy, excessively glitzy, overloaded by overwrought orchestrations, yes, but the best disco records are mesmerizingly and gloriously groovy dance music. Diana Ross's "Love Hangover," a massive number one hit in 1976, is another imperial peak of the Disco era for me. It's the first wave neo-soul sound fully discofied: combining the extended DJ overture, lush fanfare, building anticipation, twirling like a slow disco ball before dropping into the reckless abandon of a funky dance floor inferno. At its apex Ross crying ecstatically, indecently, "I don't need no cure/I don't need no cure." To disco dancers Donna Summer's "Love To Love You Baby" clocking nearly 17 minutes in 1975 was never too long. It was a dance music revelation. "Love Hangover," Ross's response to "Love To Love You Baby," was maybe the only song to get all that disco dancefloor energy and style in a Top 40 number one smash, March 1976. 

"Love Hangover," Diana Ross (1976): Epic and copied, disco's sincerest form of flattery.   

At any rate, no sooner was Disco branded by the music industry than rock critics in Rolling Stone were trashing it as a commercial abomination. One of Aletti’s best pro-Disco essays, appearing in the Village Voice in 1976, was his mockingly deadpan demolition of a Rolling Stone attack on Archie Bell and The Drells (another Philly International act) for going, with sneering Dave Marsh-ian disdain, “Disco.” Aletti shoots holes in Marsh's "disco sucks" hostility, concluding such sentiments were always there, before disco (long before they were burning disco records in Chicago in ’79, btw), and the scorn may have been vaguely rooted in some homophobia or racism (which seems more blatantly obvious in retrospect), but came back mostly to an uptight priggish rockist attitude about dance music that was dominant at Rolling Stone and in the rock press. Rockist rock snob nonsense about how dance music was not serious enough, escapist, repetitive; silly, too campy, etc. Classic era Disco was all those things, as larded with schmaltzy crap as any other big pop music genre, but its was also at its best, as silly and campy as, say, Taste of Honey's "Boogie Oogie Oogie" ('78), "don't be thinkin' you're too good to boogie," great 20th c popular dance music, up there for me with any 1920s Hot Jazz or 1950s Rock & Roll, two other 20th century dance music favorites. (4)

At any rate, Aletti was no mere industry flak for Disco. He loves the souped-up ‘60s soul revival, the Neo-soul sound and the genre-bending “left field” global diversity played at The Loft. The guy is listening to a lot of dance music records in those five years and genuinely appears to be turned on by the gay friendly multicultural dance music scenes emerging out of the new DJ curated dance clubs. But he is already bemoaning the deluge of copycat records and lame covers in the disco scene by 1975; everyone trying to be the next Gloria Gaynor or make the next “Rock Your Baby” (1974). This is part of every pop culture boom, really. Producers try to replicate proven hit formulas until they stop scoring hits. Aletti’s spirits are revived by the commercial breakthrough of Eurodisco, Giorgio Moroder/Donna Summer's electronics based disco productions, the imperial pop phase of the classic era, or at least for a time anyway. 

 Just Moroder/Summer’s pop breakthroughs alone, decidedly disco songs, silly and campy to the hilt, were epic turning points in pop music history. There are sparks of electronic dance music pre-history in "Popcorn" ('69) and "Fly Robin Fly" ('75) and others but it is "I Feel Love" in '77 that really goes supernova for popular electronic dance music, EDM, inspiring in subsequent decades countless electronic dance music scenes over and way beyond what I know. But includes many post-disco dance music sub-genre favorites like Italo Disco, House, Hi-NRG, Latin Freestyle, Techno, Ambient, and truly on and on. Machine music that hits the groove spot with relentless power, like James Brown's original sex machine, only with new drum machines and various keyboard synthesizers. It all really takes off with the pop transcendence of "I Feel Love" and Moroder's experiments with a Moog synthesizer. 

But for all its disco smasharoo success, "I Feel Love" lights up the discos in TDFs, overall EDM remains an exotic outlier on DJs lists or up to '78 anyway, the period Aletti chronicles. DJ lists are mostly dominated by instrumentally souped-up and stretched out '60s Neo-soul and after 1976 industry-knockoff bubblegum disco takes. I mean, there's also still lots of jazz fusion and latin funk and funky world beat and what not but electronic dance music is semi-rare on DJ set lists throughout the TDFs period. There are other pre-'79 electronic disco landmarks, to be sure, Patrick Crowley/Sylvester, "Bionic Boogie," Synth-Pop pioneers, YMO, Gary Numan, but barely so, most relevant songs coming out in '78-'79, and EDM remains rare in the states throughout the '70s. It likely takes off first in Europe, Moroder, Space, Eurodisco or Italo Disco, and then relaunches in Chicago in the early '80s, generating House and Acid and Techno and what all, again, I don't know exhaustively by any stretch but I like a lot of what I do know. (Sample.) (Also, another big EDM playlist; 228 tracks and counting.) My point, EDM is a classic disco era breakthrough but remains a minor dish for most the disco DJs sharing lists with Aletti for TDFs

"I Feel Love," Donna Summer (1977) live on Midnight Special. 

My sense going through the DJ lists is that 1975-ish is something of a turning point for Aletti in that his original dream of getting more DJ dance club hits onto the charts was giving way to a creeping sense that “Disco” was producing untold numbers of mediocre DJs who would just as soon play the safe disco hits distributed by the new disco departments of the record industry. Creative DJs digging through the record bins for dancefloor gold was looking more like a romantic memory of yesteryear, even if that yesteryear was only two or three years back! And maybe he was noticing the high-end DJs seemed increasingly locked into these decadent record production wars, turning out grandiose and drecky disco, Alec R. Costandinos’ 30-minute long disco version of "The Hunchback of Notre Dame" ('78) serving as a kind of apotheosis, although I gather Aletti was even into this stuff longer than most. True blue disco record guy to the very end, or until he got out of it anyway. At any rate, my take is by 1975 it was dawning on Aletti that DJ's discovering crate diving gems and making hits out of them playing them for dancers, the source of his original enthusiasm for the music, was more or less lost and over. 

What is the evidence for a theory that the classic disco era was actually over before the commercial Disco boom years, 1976 to '79 even got started? Aletti complains about it but also Andrew Holleran, another key primary source about '70s disco, author of the 1978 gay disco novel, Dancer from The Dance, insists disco was over by '75 or '76, latest. As I've said, Aletti bemoans the assembly-line "Disco" copycat records taking over by 1975. Holleran says, additionally, there was something dark and desperate and beautiful about disco that gets lots in the commercial glare of Disco in 1976 and thereafter. As disco got more popular it is striking how everyone wanted to try their hand at a disco track: Barbara Streisand, Richie Havens, Rod Stewart, Lonnie Liston Smith, Rolling Stones, Andy Williams, B.B. King, Little Feat, for heaven's sake, Chicago blues guy Johnnie Taylor scores four weeks at number one with "Disco Lady" in 1976. 

By '75 the chart-seeking disco sound had settled into a formula, grew oversaturated and kitschy, as almost all pop chart sounds eventually do. And this Van McCoy/Gloria Gaynor/Donna Summer mass produced disco sound drowns out the variety of styles of dance music being played in the discos by the best DJs. There is something to this argument. Certainly between '72 and '75 disco records were what DJs played for dancers, a lot of Philly International, soul, funk, Latin, proto-world beat stuff; whatever records worked. The DJs were often reviving old records. But by '75 disco records are predominantly for a lot of the new DJs what the disco departments of the record industry are putting out labeled "Disco," and naturally that's going to include a lot of terrible musical dreck and a tendency to standardize the style into a marketable brand. I'm not unsympathetic to this argument, I probably prize most the proto-disco period myself, but I'll suggest some of this question may come back to where you stand on Saturday Night Fever ('77). If your first reflex is sneerish disdain then I'm betting you'll like this disco was over by '75 or '76 theory. If more disposed to the charms of SNF, like I am, than you're likely to note some of the limits of the disco-is-dead by '75-'76 doomsayers. (5) 

From my distant historical perspective, what stands out about the disco DJ's favorite records lists, '73-'78, are indeed how much they stray from the now dominant Philly International or electronic Eurodisco commercial models of the classic disco era. For example, and crucial to the foundations of classic era disco, funk, and its many variations, Sly Stone funk, James Brown funk, P-Funk, jazz-funk, and what Aletti calls the “left field” stuff, global Afro-beat, Latin-funk, very little of which fits neatly into the aforementioned Disco sound buckets, or the Saturday Night Fever master mix, are staples of underground gay disco set lists from their outset and all the way through 1978. Pointer Sister's "Yes We Can Can," southern blues funksters, Richard 'Popcorn' Wylie, Oliver Sain, Bohannon, Miami disco, George McCrae, KC & The Sunshine Band, Caribbean disco, Boney M, Brazilian disco, Deodato, SF's Patrick Cowley, etc. You get the picture. Disco was a hugely popular "Love Train" brand by '76 but what got played in the best discos was often something else, or at least a lot more of something else. 

So basic dance tracks overloaded by overwrought orchestrations do arguably get worse as the decade of the '70s advances. And lots of classic era commercial Disco does sound now like clutzy and over-produced music revivals of past music fads or random Disco Duck pop themes packaged for the dance floor. It's as if the music industry found this dance music formula, longform Philly International (and even lavishly longer Tom Moulton 12" mixes), lots of uptempo bass and percussion chasing the elusive dance floor beat you can't lose, in Chuck Berry parlance, bathed in strings and sophisticated tempos, and now they were going to prove you could make hit records out of anything attached to this solid chassis of the golden era disco sound. Some of this pop culture scavenging the past gets over as these grandly elaborate disco fanfares, say, "The Fifth of Beethoven" or Meca's "Star Wars," but the ratio or number of examples of excessive disco dreck does increase as the end of the '70s nears. 

I won't dispute any of this but my slightly contrary case to Aletti (and Holleran) is based mostly on my own first exposure to Disco via Top 40, not the underground gay disco stuff played in the early '70s. The first records marketed as Disco that turned me on, were in fact assembly line product of the industry glut period, '77-'79 and later: above all "I Feel Love" but also the Bee Gees, Village People, Chic, Sister Sledge, Sylvester; songs like Dan Hartman’s “Instant Replay,” Aimee Stewart’s “Knock On Wood,” Anita Ward’s “Ring My Bell,” Chic’s “Good Times,” etc. Even in disco’s most bloated imperial phase, the bubblegum designs of a lot of the industry disco product schlockingly obvious, many of these Top 40 disco hits were as exciting to me as Little Richard or Bo Diddley singles. At this point, Boney M’s 1979 disco hit “Rasputin,” another longtime favorite, appears to be as universally popular as Toto’s “Africa.” The music industry may have pulled the plug on Disco in 1979 but great disco dance club music, bubblegum or underground, hardly noticed. These are few reasons I resist claims peak disco was over by '75 or '76 and would instead extend the classic disco era to at least 1979; proto-disco period '72-'75, imperial Disco period, '76 to 1979. Everything after that is post-disco or, with all the dance music stuff anyway, from then on disco by another name. (6) 

"Instant Replay," Dan Hartman (Tom Mouton Mix/1978)

"Rasputin," Boney M (1979/Disco Purrfection Version)

I didn’t know the underground stuff partly because it was a little before my time but mostly because I was a hick teenager from the sticks of Oregon. Another thing hundreds of lists of records in TDFs reveals is how a lot of the stuff that was a hit in the actually really-existing ‘70s NYC gay discos or dance clubs never made it to Top 40, especially the gay stuff that came before the Village People breakout. My earliest disco experiences, beyond Top 40 radio, a dance club called Fat City in Medford, OR, circa 1978-1979, a college town disco, leaned heavily on Top 40 disco, or that's the only stuff I recognized in my illiterate condition at the time. I listened to the radio and knew a little bit of the charts and heard a little of the Eurodisco, proto-electro disco, Moroder/Village People/Sylvester second wave popular disco stuff, and very very much liked it, but I really had no idea about all this underground gay disco that figures so prominently in TDFs DJ lists.  

There's a lot of gay disco variations on the Philly International sound in particular, South Shore Commission’s “Free Man,” Double Exposure’s “My Love is Free,” and Carl Bean’s “I Was Born This Way,” for three obvious gay disco canon examples. Bean's "I Was Born This Way" ('77) is particularly interesting, marking the Philly International to Eurodisco transition, Bean's version propelled by an big electro disco pump only two years after Valentino's now deflated sounding soul review original in '75. It's longform Neo-soul dance turned up to an extended 12" dancefloor disco pump max, 7-8 minute or longer songs now standard or even minimal. Anyway, triumphantly anthemic gay disco, so probably precisely the stuff Holleran was already going sour on. But I beg to differ. This is transcendent disco. The long instrumental bridge that crescendos Double Exposure's "My Love is Free," for another exhilarating example, is an extended spiritual frenzy of hard funktastic soul music. 

Also, there's probably a great disco book in how the underground gay disco of the 1970s turns straight, or heterosexually oriented anyway, songs into gay anthems: that brilliant Intruder's song, "I'll Always Love My Mama," "Papa was a Rolling Stone," Eddie Kendricks' "Girl You Need a Change of Mind" or "He's A Friend," "I Will Survive," etc.  But Rhino’s 80-song, 4-CD, The Disco Box (1999), couldn't fit the biggest gay disco anthem of them all, "I Was Born This Way," really!? (A wrong finally avenged by Lady Gaga in 2011 but still?) Or no Patti Jo's "Make Me Believe in You" ('73/'75), no Santa Esmeralda's "Don't Let Me Be Misunderstood" ('77), no Tantra's "Hills of Katmandu" ('79)? Let’s just say if you are something of a record hound yourself the palette of disco music in The Disco Files goes many places you would never know from Rhino’s Disco Box, or beyond the liner notes anyway. (7)  

"My Love is Free," Double Exposure (Tom Moulton 12" Mix/1976)

A common theme in Aletti’s retrospective interviews is that money destroyed the classic era disco ideal of multicultural inclusivity and even musical diversity; “The more money involved the less people get along.” Actually, there are cracks and divisions in the small DJ recordpool group Aletti was a part of almost from the start. But certainly the bigger the dancing crowd the harder to sustain the peace-loving inclusivity vibe. This is evident in the transition between Mancuso’s Loft, in a private party community, that Mancuso bragged had never suffered an incident of violence, true or not, and its bigger spiritual heir Larry Levon’s Paradise Garage, where hundreds or over a thousand dancers sometimes moved to one beat.  In the land of a thousand dancers there was some core safe space center to Levon’s dance music scene, something that kept the dancers returning to the Garage, sustaining the "Love Will Save the Day" vibe at least for a time, but inevitably the bigger the crowd gathered the more drugs, crime, and violence gathered around the edges. Besides, this conflict, LGBTQ+ safe space dancing inclusivity versus burnout dance scene drug cultures that invite crime and violence, continued to be a feature of club cultures and the EDM explosion in the '90s and dance music subcultures into the 21st century, from what I've gathered.  I'm more inclined to an observation that while too much money hustle often contributes to the demise of dance club scenes the original LGBTQ+ friendly inclusivity ideal established however ephemerally in '70s disco keeps getting reborn again somewhere new. You can't keep that kind of thing down (nor should you want to but...). 

"Rude Movements," Sun Palace (1981)

It's a tension always there, pop music forms have grown out of the demimonde of bars and clubs since the 19th century. Bars, drinking, and associated commerce has subsidized popular music scenes since the saloon and brothel business got big in cities in the late 19th century. I’m not trying to suggest there was not plenty of coke-snorting excess and drug casualties to the classic disco era. As I've already mentioned the burnout rate with DJs was extremely high. But Aletti, reportedly, doesn’t go beyond weed and the occasional psychedelics. And I’m not so sure, despite the popular caricature, there was much more deadly drug abuse amongst dance club DJs and dancers than there was amongst rock musicians and their fans in the 1970s? Were there more drug casualties in disco than in the Grateful Dead and its fanbase? (8)

Aletti stops writing his column in ’78. He didn’t want to hang around until “Disco Duck” had made it to the senior rec centers, which is did shortly thereafter. Who could blame him? Disco departments in the music industry were slashed after 1979. My memory is music writer Nelson George argues in his book The Death of Rhythm and Blues that the rise of commercial Disco had hurt Black employment in the music industry. Presumably he was talking about record producers and promoters, as most Disco performers were Black throughout the disco era. At any rate, according to Aletti, a significant number of those gay record producers and promoters that had possibly pushed out the old guard of Black record promotors in the music industry got their comeuppance and also lost their jobs in the music industry by the early 1980s. Including Aletti who turns to writing about photography in the NY-er, and is ultimately maybe more famous now as a photography writer than as a music writer? I'm not familiar with his other work but I will insist that TDFs have to be the definitive source on the records of the '70s disco era, or '73-'78, anyway. 

Really, The Disco Files needs no defense, certainly not mine. If you're interested in the records played by DJs in the classic disco era TDFs is an absolutely essential resource. What you'll find if you dig into those classic disco era DJ lists is some Disco stereotypes, some very good ones, but also a much wider, earthier, even more wildly multicultural, goofy and kitschy variety of dance music than the classic disco models might suggest. In summary, having reviewed so many DJ lists, I'd say funky disco in all its funky, city/country, Euro and Afro-Latin global variety wins, even dominates. So I'm defending the actual really-existing disco records against the "disco sucks" attitudes again, which remain pervasive in my experience. Admittedly, it doesn't help the cause that oldie disco anthems today are all over beer commercials and political rallies, and often for the wrong side! Dance music is silly in the way that dancing is silly. Silly fun! It's not for "serious" contemplation, although you just  might find sometimes it to be the perfect antidote or relief or escape from all the seriousness of the world. My basic case as a music fan, a music listener, is that disco and antecedent and subsequent dance music genres are truer to the Chuck Berry school of rock & roll music--"it's got a back beat, you can't lose it"-- than a lot of the stuff recognized by rock snobs and the Rock & Roll Hall of Fame voters. And dance music is really its own reward. It convinces you with its infectious rhythms. Words and/or fancy musicianship are secondary features, so it is often mocked by serious-minded people and many music critic types. 

Dance music is made to make you move or thrill to how it moves. It's made for people who enjoy and thrive off the syncopated drive and forward propulsive charge of uptempo beat-centered music. If you are one of those people there is no better place to explore the wondrous variety of '70s dance music and the actual "Disco" records played in the 1970s discos than Vince Aletti's The Disco Files. (9)


Notes: 

1. You might call this book a records book. One obvious observation in ramping up my music book reading in my retirement leisure time would be that there are two kinds of music books for me, narrative music books (histories, biographies, etc) on the one hand and record books on the other. Of course, the two overlap and exist on a spectrum but I've found that I have to approach these two kinds of music books quite differently. The former I read like any novel or history, more or less straight through; or, you know, with regular pauses for other life stuff but not for any kind of extensive research. Look up something on Wikipedia maybe but that's about it. I'm listening to mentioned artists and records while reading but they're few enough that my typically slow reading pace works fine. But what I'm calling record books, even if I do read them more or less cover to cover, I have to go slower and pause more frequently to listen to the records because the records are the subject of the narrative and if I don't slow down and frequently pause to listen to records these books just end up a bunch of name-dropping lists and I don't get much out of them. TDF is a record book like that, and why I at first didn't get much out of it checking it out from the library. As far as I know, TDF is the definitive records book about the original disco era. There are hundreds of DJ lists of disco records in the book. 

2. I lived through '70s disco but really was a little too young and a hick teen from the outer western suburbs of Portland, OR to get all of it. I knew only the "disco" that reached me via the radio, Top 40, or maybe a little TV and never knew it as disco or heard anybody call it disco before probably 1975 or 1976 earliest.  I didn't read much about pop music, or beyond occasionally flipping through a fan mag at the newsstand before 1977 or really 1979 when I began reading everything I could about pop music. Before then the music played in the gay discos in TDFs I knew as soul or funk, if that. For instance, I loved the popping bass at the beginning of the O'Jays' "For the Love of Money" ('73) from the very first time I heard it, a lick about as funky as you can get. I used to pick up the needle and try to loop it, playing just the extra tight bass intro over and over, the build up of tension was thrilling to me, but I'm fuzzy about what I called it, definitely not "disco." At any rate, I'd heard lots of Philly International before I really knew anything about the record label. I heard this stuff thanks to Top 40 and the Columbia Records Club or maybe saw them on Soul Train or Midnight Special. It was part of my fumbling pre-literate audio discovery of dance music that went by "soul" or  maybe "funk" music, although at that point I was exposed only to its most commercial Top 40 forms: O'Jays, Ohio Players, EW&F, etc. My favorite hit music. In retrospect, at least half of the Rhino series Soul Hits of the 1970s: Didn't It Blow Your Mind, certainly all the uptempo tracks, were cherished staples of my early '70s Top 40 radio listening, "Jungle Fever," Kool & the Gang, "Rock The Boat," Average White Band's "Pick Up the Pieces," etc. And as it turns out this stuff was all over the early gay discos as well, but it wasn't being marketed as "Disco" to me or not enough to register with me as such until the late '70s. I've learned since that Hot Chocolate's "Disco Queen" came out in '74 but the first single by them I recall hearing was "You Sexy Thing" in '75. Anyway, I don't think I was recognizing any of this stuff as disco before '77 and really never encountered a lot of "disco sucks" reactions before '79, when they burned those records at a White Sox game and then you'd get some yahoo responses to that story, "yeah, Disco Sucks!" but I was still mostly oblivious to any "disco sucks" hostility until I began hanging out with other record collecting people in the early '80s.   

3. But for guys like Aletti, and Holleran, another key primary source about '70s disco, disco was over by '75 or '76 latest; note almost precisely when the music industry began marketing music as "Disco." Aletti's first "disco" records are longish, 5-7 minutes, funky disco dance jams by the Temptations and Eddie Kendricks in '72-'73. People love digging into this first disco song question or proto-disco precursors. I'm no different. James Brown, the Isley Brothers, and The Supremes are often mentioned but if I were to try to identify a record I heard before '72-'73, a record that anticipated the formula disco sound I think I'd actually probably go straight to Archie Bell and the Drell's "Tighten' Up" from 1968. Loved that song. Largely instrumental music. Bell's rap vocal is little more than some endearing hype about how tight his Drells are. The vocals are incidental or the cherry on top at most. The disco sound was hitting a groove and keeping it going for as long as you can, taking out instruments and adding them back one at a time, taking down and building up the groove for big sweaty feverish dance workouts. (And then add on the lavish fanfare interludes, sexual innuendo, etc; I know but...) But the basic structural form of disco, the chassis, extending the instrumental grooves and breaks on extended 12" records, goes back to what Archie Bell and Sly Stone were doing in the late '60s and what James Brown and the Temptations/Eddie Kendricks and Philly International turned into disco music production templates by 1972-'73. 

4. Marsh's head must have exploded when he was introduced to this abomination: The Yellow Magic Orchestra, the most popular band in Japan at the time, play a new wave disco version of Archie Bell's "Tighten' Up" on Soul Train in 1980. How YMO win over Don Cornelius and the dancers is actually sweet and inspiring. "You need to tighten up, even Elvis Presley did that," they enthuse with spastic robotic charm. Afrika Bambaataa loved Kraftwerk. And I actually liked several of Marsh's books but he needed to lighten' up now and then, as I recall. I actually can't say I like any of The Drells' disco songs as much as "Tightin' Up" but The Melting Pot band behind Bell during the commercial peak disco years, '75-'79, were an exceptionally tight funky dance groove band all the way up to '79's "Strategy." Words, verbal hooks, was not their strength. But they were always a tight disco band. 



5. As I hope I've made clear, I like both the proto-disco period, '72-'75, maybe even prefer it, but I like a lot of the commercial peak pop "Disco" years of 1976 to '79 as well. Also maybe a good reminder that in disco's peak years on the charts, say, '74-'79, disco never makes up more than half the number one singles, peaking in '79. People picking on dance records instead of, say, Bobby Sherman or Captain & Tennille records is just uptight and perverse. Still, I wouldn't dismiss entirely the take of two key primary sources like Aletti and Holleran. I think on balance I probably prefer their disco era but I like more of the imperial bubblegum disco era than they do. 

BTW, in the Dancer from The Dance, Holleran's novel, the tragicomic contrast between the gay liberation of the disco and the pervasive sense of doom, living as a pariah, an outcast in a straight world is very gripping and hilariously melodramatic. Gothic doom everywhere, let out of the closet only on the dance floor in dark twisted flamboyant desperation. A speed freak socialite and drag queen holds court through much of the story and is comically obsessed with penis size, suggests every gay man is obsessed the same and constantly mocks his own as the smallest in NYC. His basic social role appears to be leveraging beautiful young gay men (presumably with big penises) to the rich gay men who may or may not have a large penis but can afford one. They rendezvous for this semi-rough trade at the discos. The novel is very dark and funny at the same time. 

So I enjoyed the gay '70s disco novel. It's funny and poignant. But I was initially disappointed with it because there wasn't more actual disco music in the story, why I read the book in the first place after all. But the one classic era disco song Holleran does give special attention to, mentioned multiple times, is about as perfect a slice of what early gay disco was about as you're going to find. Patti Jo’s tough love “Make Me Believe In You” (1973), written and produced by Curtis Mayfield in his hard urban country soul style, or Tom Moulton’s 1975 extended play remix, both burning hot classic era disco tracks. It's this queer-eye for a hard Neo-soul sound and the identifying hard with the tough love position of Patti Jo. But, again, not in the Rhino Disco Box, or beyond the liner notes!? That’s just weird. 


"Make Me Believe In You," Patti Jo (1973/1975) (Original Curtis Mayfield production/Tom Moulton Remix) 

6. So I'm defending the quality of disco music in the imperial glut period '77 to '79. I've said elsewhere that "I Feel Love" and EDM are obviously the most lasting legacy of the classic '70s disco era. But I also want to point out that the influence of '70s disco on latter day dance music styles goes beyond electronics. Pumping out electro disco, hi-NRG, and danceable schlager throughout the 1980s, German record label ZYX's Italo Disco Collections, last I checked up to 35 in the series, although I've heard only a handful, are predominantly rooted in Giorgio Moroder's '70s Eurodisco, and echo Abba and beerhall polkas and singsong group-singing dance styles popular in Europe. French disco outfit Space launches the space disco sub-genre in 1977, splitting the difference between art rockers Kraftwerk and the schmaltzy side of Moroder. And now space disco thrives as a retro-futurist DJ niche sound into this century. It's not a big stretch to suggest Chicago's House music was essentially an adaptation of the souped-up '60s disco sound of the proto-disco period to EDM (think Philly International or Salsoul Records). Nearly all the House stuff in the '80s is produced with newly available cheap synthesizers and Roland drum machines. Detroit techno sounds like something new, also '80s, a mixture of Kraftwerk's dark wave melodicism with some latter-day Detroit techno-nerdy "discaires," as Holleran calls them.  It's a strikingly original sound, rarely any vocals, fast tempos, catchy beat details, minor-key dark wave "tuneage" (dating myself again) and a tremendous influence on the EDM explosion in the UK and Europe in the 1990s. From Disco to Detroit Techno to Aphex Twin is not a stretch. Daft Punk make the schmaltzy side of classic era space disco a big EDM hit in the late 1990s and 2000s. And Chic's late classic era funky disco guitar sound is still turning out hits in the 2010s. Dua Lipa and The Rise and Fall of a Midwest Princess and Jesse Ware and Roisin Murphy are all disco's children. Again, all this stuff prefigured to a degree and/or was inspired by the '70s disco era.My point, EDM is the  classic '70s disco era's greatest legacy but there's way more '70s 'disco than EDM in our post-disco world.

"Remake (Duo)," Paperclip People (1994/Produced by Carl Craig)

7. Humble thyself: Rhino's The Disco Box, 4-CDs, 80s songs, is an essential document of '70s disco music, for the super interesting and informative liner notes alone. But it has its flaws. Up front, the expertise of the writers that contribute to TDB goes way beyond my amateur dabbling. I don't know Brian Chin, the Executive Producer, but he's the disco columnist who followed Alettti at Record World.  And as I've written about before, I got so much out of Tim Lawence's Love Saves the Day. He contributes to TDB too. Even Aletti adds a note, appearing to endorse the project. 

When TDB came out in 1999 I was stoked. Culminating a decade of lavish retrospective music box sets precipitated by the advent of the CD, annoying on one level, everyone with vinyl collections felt like now they had to replace their vinyl collections with CDs, but on another level this radically upgraded access to popular music's past. It felt like that Bob Dylan quip about how he likes new music just fine, but it's just that there's also so much more great old music out there to listen to! The '90s, for me, was an explosion of awesome retrospective pop music box sets and especially retrospective collection series. Some of that might have been my age, entering my thirties. I still think the wheelhouse for new youth music is your teens and twenties. But the '90s were a boom decade for Rhino Records series collections and box sets, so I had great hopes for The Disco Box

But what do you make of a collection that includes three or four KC and the Sunshine Band songs, a band very deserving mind you, but no Boney M? Trying to compress disco into 80 songs I wouldn't repeat any artists but they, apparently, faced copyright restrictions, so no "Night Fever" either. I know, 'so now you're telling me they created a Disco Box without "I Was Born This Way" without "Rasputin" and without "Night Fever"?!' But they include "I Feel Love" and "Love Hangover" and Disco Tex and "I Should Have Loved Ya" and "Young Hearts Run Free" and and nearly all my late disco favorites. And I can appreciate why they start with "Love's Theme" in '74, the first year a radio station playing a disco music format appears in NYC, you have to draw the line somewhere. Again, classic era '70s disco in only 80s songs?! Impossible task. 

But the biggest flaw in TDB is the jukebox length and random segues feel of each disk. Essential to disco music's connection to dancing and dancers was the 12" vinyl dance single, the big instrumental interludes, extended funky breaks, and the seamless transitions, a continuous dance workout energy that is really hard to achieve in less than five minutes. Some great disco gets there in less time, "Love's Theme" or "The Hustle," for examples, probably partially because they're almost all instrumental records. But keeping everything under five minutes gives TDB's disco an abridged K-Tel feel, sacrificing the epic sweep of the best extended 12" classic era disco. Tom Moulton's Philadelphia International Classics collection and other 12" extended disco mix collections began appearing by 2000s and 2010s, remedying the situation, but too late for TDB.  

The other problem of the disjointed mix feeling might get to my bigger problem with the disco album in general. Perhaps my biggest problem with the disco album is that there were a dozen or so Michael Jackson and the Jackson's family albums and Stevie Wonder albums and EW&F and Sister Sledge albums, at the very least, that were absolute dance floor staples in the discos but rarely get counted as disco albums. All of Chic's albums or up through '79's Risque are disco albums, how could they possibly not be?! 

But beyond albums with several hits in the discos, extended 12" disco song productions or mixes weren't made for albums, so the approach to the epic dance song rarely translates very well to the album format. Also, rarely did disco albums even try to reproduce the way disco music was played in the dance clubs. The DJ seamlessly segues the mix of music, mixing one song into another, one artist with another, into extended sets of dance music that can last without pause for 15-20 minutes or much longer. This disco DJ mix energy is rarely attempted in the album format, probably principally because the most common album format presents only one artist at a time and disco DJs weren't spending much time making albums yet. 

There are exceptions. Disco Tex's live like mix and disco segues. Cloud One's Atmosphere Strut ('76), with crowd noise and that live mix flow feel. That Sylvester album, Step II ('78), makes an effort, certainly side one. I think Boney M's Nightflight to Venus is the best bubblegum disco album of all time but maybe its bubblegumminess is disqualifying as DJ music? At any rate, it's put together like seamless set of disco music. I recently read Alex Jeffrey's 33 1/3 book about Donna Summer's Once Upon a Time (2021), making the case her 1977 cinderella disco fantasy double album is the best disco album of all time. I was drawn to his argument because I used to play side one of OUAT obsessively way back when. An absolute favorite disco album or side of an album capturing that seamless DJ mix energy. Anyway, fun read. Lots of curious lyrical explication I totally missed. But reminded me that actually my two favorite songs on the album, "Working the Midnight Shift" and "Rumour Has It" (which Jeffrey's doesn't like at all), weren't even on the side one I played all the time. When I played those songs I almost always played just those songs and ignored the rest of those sides. But I always played side one start to finish, like one epic DJ set. And I played that side one obsessively.  

So I guess I had a taste for that disco DJ mix energy and continuous sweep of DJ dance music, even if faked by the producer, but I rarely found it in the disco album format. TDB's liner notes includes a list of 50 Essential Disco Albums, many personal favorites, but I still think the individual extended mix 12" dance song is disco and dance music's ideal format. There weren't a lot of great disco albums in the classic disco era because there weren't a lot of music producers or disco DJs making albums the way they made dancefloor mixes. 

You might say Madonna, The Pet Shop Boys, M.I.A., Daft Punk,  and Lady Gaga eventually solve this dance music albums riddle but that comes later.       

8. Admittedly, what I know, is almost entirely second hand. I read. I don't go to dance clubs anymore. And I need to read more about the intersection of dance club cultures and drugs and crime. Tim Lawrence's Life and Death on the New York Dance Floor, 1980-1983 sits in my reading stack. I'll get to it. I'm slow. For now, I'll only remark additionally, following an entirely different music thread, I recently read Dale Cockrell's Everybody's Doin' It: Sex, Music, and Dance in New York (2019), which argues that all popular music produced between 1840 and 1917, the root years of American popular music, was essentially supported and nurtured by bars and brothels, by the trade in alcohol and sex. Of course those connections still exist around dance club scenes. Are they a bigger problem than they are around any other music scenes for young people? I don't know. 

9. At this point it's a little silly bemoaning sneering attitudes about dance music. There is a veritable library of good books written about disco and dance music since the '70s. Some of my favorites for further reading (and some actual background expertise): Love Saves the Day, Tim Lawrence ('03),  Hot Stuff, Alice Echols ('10), Turn the Beat Around, Peter Shapiro ('05), Last Night a DJ Saved My Life, Frank Broughton and Bill Brewster ('99), and The Underground is Massive, by Michaelangelo Matos ('15). But, as I've said, my taste for dance music predates my introduction to rock criticism or reading a lot about pop music and I've found in my personal life few friends who share my affection for disco and dance music. It's like this old commercial where all the guys pretend to like dance music because they know it helps them get with the ladies when they're in their twenties but after that strategy gives way some Neil Young and Springsteen or U2 and Radiohead are always the preference in the mancave. But, and sometimes embarrassingly so, I actually always liked the dance music stuff, which grew varyingly awkward with most my music friends, who were either mocking or disdainful or wryly tolerant. But once I did start reading the pop music press, 1979-ish, I still encountered plenty of the "Disco Sucks" attitudes but they were never universal by any stretch. There was always a fair amount of hostility for electronic music and electronic pop as well, I might add. A lot of traditional musicians have hostile attitudes about electronic music. This has lessened some over the years perhaps but it's still a thing I encounter often. At any rate, my point is that there were a few important rock critics, music writers, who I followed for a while, pretty closely from 1979 to the mid-'90s or so, that gave me permission to indulge my affection for disco and dance music and electronic music and I'm grateful for their validations. Xgau, the Dean of American Rock Critics, was always stumping for Black music in a milieu that often marginalized it. And Frank Kogan and Chuck Eddy were championing disco and dance music long before the disco revival in books got going in the 2000s. 

"Love Island," Deodato (1978): End of another long night of dancing. Sweaty hugs and kisses. A gentle, sweetly sad, jazz fusion balm, mixing the downtempo vibe of the EW&F's "That's The Way of the World" and the theme song to Welcome Back, Kotter