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But it’s also an inadvertent nod to a major part of the disco experience: straight people adopting a gay persona, if only to fit into a milieu that was quintessentially gay.
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This is about as close as the ’90s can get to the profound issues of sexuality that disco raised.
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He’s a hetero yuppie who embraces an occasional gay identity to get out of messy straight relationships. The only gay character in Whit Stillman’s Last Days of Disco isn’t gay. All the contours of a new disco boom are in place, but there’s something missing, something that can only be conveyed through the smell of poppers and the sweat off a stranger’s body–some reminder that the soul of disco, after all, was gay. But ever since the relaunch of slut gear (i.e., Candies) and the huge success of VH1’s “Seven Days of ’70s” celebration in 1996, disco has become the latest prize in the scavenger hunt of the Nostalgia ’90s.Īlong with this summer’s two big dance movies, The Last Days of Disco and 54, the top-10isms of disco are popping up in everything from Burger King commercials to designer jeans, neo-vintage wrap dresses, and the ubiquitous mirrored ball. For nearly two decades, disco has been high on the list of cultural unmentionables, along with Barry Manilow and the leisure suit.