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Disco Balls are Ridiculous, and We Love Them · Ridiculous History

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  Speaker 1: Ridiculous History is a production of iHeartRadio. Welcome back to
• 0:27
  Speaker 1: the show, fellow Ridiculous Historians. Thank you, as always so
• 0:31
  Speaker 1: much for tuning in. We can't wait to introduce you
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  Speaker 1: to the Man, the myth, the legend, the super producer,
• 0:38
  Speaker 1: mister Max Tracksuit, Beil Bottoms, Williams, Shiny Boy, Shiny Boy Williams.
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  Speaker 2: Wait, so you did not wait that I have been introduced?
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  Speaker 3: There he is.
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  Speaker 1: That's Noel Brown, you heard as well. I am Ben
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  Speaker 1: Bullen as well, and Noel. We are very excited about
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  Speaker 1: this one. We've been working on it for a minute
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  Speaker 1: a while ago, sixty of them.
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  Speaker 3: A while ago.
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  Speaker 1: Of course, we were talking off air, as we do,
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  Speaker 1: and I think we were all three of us just mystified.
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  Speaker 1: But you know what it was. It was one of
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  Speaker 1: our conversations about how strange things seem normal, and you,
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  Speaker 1: in an earlier pitch meeting, you said, guys, do you
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  Speaker 1: think about disco balls?
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  Speaker 3: Yeah?
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  Speaker 4: And it's funny because that was a while back and
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  Speaker 4: it hadn't really occurred to me at the time that
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  Speaker 4: disco balls has sort of seen a bit of a resurgence,
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  Speaker 4: a renaissance, a renaissance, a disco ball renaissance in the
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  Speaker 4: form of like TikTok's decor things and projects, art projects,
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  Speaker 4: crafts and stuff like that, and also pinterest even as
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  Speaker 4: far back as and little.
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  Speaker 1: Homemade disco balls, you know.
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  Speaker 4: Yep, at c stores in like fruit shaped disco balls
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  Speaker 4: and anything kind of sparkly and mirrored, and a lot
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  Speaker 4: of this kind of new disco ball boom times can
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  Speaker 4: be traced back to like a lot of things trends
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  Speaker 4: to COVID times, but even further back than that, I think,
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  Speaker 4: you know, both of us probably pictured starting an episode
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  Speaker 4: about the history of disco balls, talking about you know,
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  Speaker 4: disco but whether you grew up you know, cut cutting
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  Speaker 4: rugs in the East Village disco texts of the seventies,
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  Speaker 4: or like Ben and I have been to an LCD
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  Speaker 4: sound System show in the last decade or so. Oh,
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  Speaker 4: that's massive disco ball they have on their stage and
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  Speaker 4: it's an incredible lighting effect, which we'll get to. Or
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  Speaker 4: speaking of lighting effects, you're just into having sparkly twinkle
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  Speaker 4: lights dancing.
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  Speaker 3: Around your bedroom or living room.
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  Speaker 4: You're probably familiar with the iconic lighting effects slash art
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  Speaker 4: object colloquially known as the disco ball, but then I
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  Speaker 4: think we both thought we'd probably start this conversation about
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  Speaker 4: the history of disco balls talking about disco Yes, not
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  Speaker 4: the case though.
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  Speaker 1: Eh, well, we're going in a different direction as you
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  Speaker 1: as you called it there, Noel, I want to credit
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  Speaker 1: where due is very important to me personally, so I
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  Speaker 1: just want to thank you in advance for being our
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  Speaker 1: research associate on this excellent work here. You you dug in,
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  Speaker 1: you did the research, and you've delivered a lot of
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  Speaker 1: stuff I didn't know about disco balls. So I'm going
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  Speaker 1: to learn from you.
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  Speaker 4: Where you know, I get a little pet project and
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  Speaker 4: will be in my bonnet every now and again. But
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  Speaker 4: this is a It definitely intersects with a lot of
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  Speaker 4: other stuff that I'm interested in, and I personally own
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  Speaker 4: about five disco balls in my house. But like we teased,
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  Speaker 4: would you believe that the origins of this delightful mirroage
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  Speaker 4: sphere or date back way way way wait, wait, wait, wait,
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  Speaker 4: way further than John Travoltz's iconic disco dancing in Saturday
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  Speaker 4: Night Fever.
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  Speaker 3: So let us go. Let's take it back way back.
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  Speaker 4: Not to the psychedelic sixties or the booming fifties or
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  Speaker 4: what is it the wartime forties or the Roaring twenties.
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  Speaker 4: Let's go way way back to the early nineteen hundreds,
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  Speaker 4: where we joined the beginning of the story of the
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  Speaker 4: disco ball already in progress.
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  Speaker 1: Oh my gosh, this is a phrase that you taught
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  Speaker 1: me through your research the Myriad Reflector. You might remember
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  Speaker 1: the slightly lesser beloved Arcade Fire album Reflector that was
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  Speaker 1: produced by James A. Murphy of LCD sound System and
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  Speaker 1: had a bit of a disco feel to it. And
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  Speaker 1: they're talking about they have the most popular song on
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  Speaker 1: there was called Reflector. Pretty certain that is a reference
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  Speaker 1: to the original name for the disco ball, which was.
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  Speaker 3: The Myriad Reflector.
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  Speaker 4: We, as we've mentioned, typically think of it as linked
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  Speaker 4: to the disco era of the seventies. However, the first
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  Speaker 4: kind of piece of decor let's call it, or a
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  Speaker 4: lighting effect or whatever, actually dates all the way back
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  Speaker 4: to eighteen ninety seven. I was off by three years,
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  Speaker 4: but hey, you know, not too bad to good old Charlestown, Massachusetts,
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  Speaker 4: where members of a local electricians union were getting together
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  Speaker 4: for their annual Electricians Ball. Oh so yeah, like they did,
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  Speaker 4: and they decided to take their electrician skills and parlay
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  Speaker 4: those into a.
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  Speaker 3: Cool kind of showpiece. I guess for this shindick.
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  Speaker 1: Okay, yeah, yeah yeah. They were getting this from vinepaar
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  Speaker 1: dot com. Their idea was that they would make a thing,
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  Speaker 1: as you said, Noel, a flex really a showpiece ornament
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  Speaker 1: that could emit light visible for miles around Boston. And
• 5:52
  Speaker 1: to do this they created invented their own incandescent lamps
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  Speaker 1: that would cast a no number of colors and a
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  Speaker 1: carbon arc that are all reflected off what they called,
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  Speaker 1: as you said, a mirror ball. And we first learned
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  Speaker 1: about this in the Electrical Worker, which was the Electricians'
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  Speaker 1: union magazine trade paper whatever you might call it. One
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  Speaker 1: hundred percent the bulletin posted in the magazine promised a
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  Speaker 1: new novelty that would change a hall into a brilliant
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  Speaker 1: fairy land of flashing, changing living colors, a place of
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  Speaker 1: a million colored sparks darting and dancing, chasing one another
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  Speaker 1: into every nook and corner, filling the hall with dancing
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  Speaker 1: fireflies of one thousand hues.
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  Speaker 4: Gotta give them notes for using dancing a future too
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  Speaker 4: many times, or at least but the rest of this
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  Speaker 4: is it not poetry?
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  Speaker 1: I love it in a.
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  Speaker 3: Place, a place span of a million colored sparks.
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  Speaker 1: I like the way you did the intonation of thousand
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  Speaker 1: hues by the way, thank you.
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  Speaker 3: Yeah, it feels like a place that I want to
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  Speaker 3: go to.
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  Speaker 1: Yeah, there it is. And this was at the time
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  Speaker 1: a one off thing, a very special unique boy. It
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  Speaker 1: was custom made for the Gup Party. Yeah, they weren't
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  Speaker 1: planning to make a hundred of these and sell them
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  Speaker 1: throughout New England until a guy named Louis Bernard Woost
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  Speaker 1: Woeeste applied for a patent because the streets were watching.
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  Speaker 1: And so in nineteen seventeen, as he said, this guy
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  Speaker 1: goes to our friends at the US Patent Office and
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  Speaker 1: he says, I got a crazy pitch. You heard he reflectors, Right,
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  Speaker 1: you've heard of the word myriad, Well, why not a
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  Speaker 1: myriad reflector.
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  Speaker 4: Which just means a lot of reflectors, that's all it means.
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  Speaker 4: Myria just means many, you know, multitudes of a plenty
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  Speaker 4: and you know, so ultimately, while it may sound like
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  Speaker 4: a clever marketing kind of name, it really is just
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  Speaker 4: like a descriptive for the purposes of filing the patents
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  Speaker 4: which we're going to read from.
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  Speaker 1: He does get the patent. He's got a company out
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  Speaker 1: there in the Natty, Cincinnati. I don't know if they
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  Speaker 1: called it the Natty in nineteen seventeen, but in the
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  Speaker 1: nineteen twenties they said, look, we're going to fill all
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  Speaker 1: your favorite clubs, all your dance holes with these dancing
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  Speaker 1: fireflies of a thousand que thousand hues.
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  Speaker 5: So that's good.
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  Speaker 3: That's more marketing speak right there. Let's let's read a
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  Speaker 3: little bit more from the inventor himself. When it gets
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  Speaker 3: a little more dry, but not too much less delightful,
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  Speaker 3: you want to you want to take this one, Ben,
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  Speaker 3: and we go back and forth.
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  Speaker 1: Yeah, let's round, Robin. Sounds great, all right. So, pulling
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  Speaker 1: from the actual facts, patent shout out Lauren Vogelbaum, our
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  Speaker 1: buddy says, my invention relates to reflectors to be used
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  Speaker 1: for exhibition or theatrical purpose is for the production of
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  Speaker 1: effects effects.
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  Speaker 3: Exactly.
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  Speaker 1: Love that.
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  Speaker 4: You got to think about this too, man, because now
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  Speaker 4: we think of like effects, lighting.
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  Speaker 3: Effects, special effects, visual effects.
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  Speaker 4: But this is I think a pretty novel use of
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  Speaker 4: this term. He needed something to call it right like,
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  Speaker 4: and maybe I'm wrong, maybe I'm reaching here, but it
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  Speaker 4: does feel like as early as this was file that
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  Speaker 4: this is probably where you start to see this term,
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  Speaker 4: if not coined by him, it's around this time where
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  Speaker 4: you start to see maybe more theatrical devices that are
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  Speaker 4: there to generate an effect. Although now that I think
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  Speaker 4: about it, Ben, I bet you even farther back than that,
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  Speaker 4: because it makes me think of the kind of tricks
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  Speaker 4: that mediums would pull, you know, back in the day
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  Speaker 4: and having dry ice and various things. So I'm probably reaching.
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  Speaker 1: Well, every every patent is a pitch. I think we're
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  Speaker 1: with you on this wouldn't because.
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  Speaker 4: No, no, I just mean the term effects feels like
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  Speaker 4: there may have been a time where it was a
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  Speaker 4: little more novel than than it is today.
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  Speaker 3: And I might misjudging it timeline here a little bit,
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  Speaker 3: but it just was worth mentioning.
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  Speaker 1: But he goes on. Luis goes on to specify and
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  Speaker 1: explain what he means by effects.
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  Speaker 3: He does.
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  Speaker 4: He goes on in the patent, the object of my
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  Speaker 4: invention is to produce a myriad reflector reflecting surfaces, the
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  Speaker 4: same to be arranged in such a manner that the
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  Speaker 4: several reflections shall be projected at varying angles. The device
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  Speaker 4: itself being arranged so that it may be rotated or
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  Speaker 4: otherwise moved, so that the reflections may create spectacular effects.
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  Speaker 1: Okay, all right, we're escalating a little.
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  Speaker 3: We are.
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  Speaker 1: We started with effects and now it's a spectacular effect.
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  Speaker 3: That's true.
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  Speaker 1: I can hear I can hear Louie gassing himself up
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  Speaker 1: as he's writing this.
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  Speaker 4: One hundred recent It is fun to read these patterns
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  Speaker 4: sometimes because while there is some sparkly no pun intended
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  Speaker 4: language in here, in general it is just a very
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  Speaker 4: cut and dry description of what makes the thing unique,
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  Speaker 4: and that's obviously very necessary for a pattern.
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  Speaker 3: We'll reread it.
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  Speaker 4: These last two points that basically outlines those exact things
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  Speaker 4: what makes it unique.
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  Speaker 1: Right, and it's design, which you have to prove for
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  Speaker 1: a patent, and do check out our excellent series on
• 11:13
  Speaker 1: patents and IP. I can call it excellent because we
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  Speaker 1: didn't write it. Our pal Max did.
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  Speaker 3: So here we go.
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  Speaker 2: Somehow it is not absolutely boring, and I don't know how.
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  Speaker 4: Oh, I really agree this stuff is fascinating. I think
• 11:28
  Speaker 4: all of us says. We definitely try to. We're like
• 11:31
  Speaker 4: a dog with a bone with patents and IP.
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  Speaker 1: So here is the first point, we'll round Robin this.
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  Speaker 1: Louis specifically goes to Uncle Sam and describes what we
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  Speaker 1: would call the disco ball. He says, you guys know mirrors, right,
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  Speaker 1: He doesn't say that, but that's his pitch. He says,
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  Speaker 1: a myriad reflector comprising mirrors mounted to form a polyhedron,
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  Speaker 1: bounded by a convex system of playing faces E L
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  Speaker 1: A N E in combination with means for suspending the device,
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  Speaker 1: the little thing that you hang it from, so that
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  Speaker 1: it may be swung and rotated simultaneously to produce way
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  Speaker 1: for it myriad reflections when light rays from an extraneous
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  Speaker 1: source are through there on, I.
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  Speaker 4: Would argue he should have used the word external instead
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  Speaker 4: of extraneous. There does an extraneous mean it's like extra
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  Speaker 4: and not necessary.
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  Speaker 3: Yeah, kind of.
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  Speaker 1: External would be good because.
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  Speaker 4: It's not contained within the device and it's required separate,
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  Speaker 4: like external light source not included.
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  Speaker 3: Let's just say, but, y'all, what he's.
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  Speaker 4: Doing here is very brilliantly and plainly and of course
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  Speaker 4: a little dryly describing how mirrors work and the fact
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  Speaker 4: that it's convex, and that is is it's arranged in
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  Speaker 4: the circular or spherical array is what gives you that
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  Speaker 4: massive spread and throw of these light rays as they're
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  Speaker 4: reflect off of those surfaces and then bouncing in all
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  Speaker 4: different directions, essentially in three hundred and sixty degrees in
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  Speaker 4: all directions, because there's one of these on every possible
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  Speaker 4: inch of the surface area of the ball. And that's
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  Speaker 4: what gives you this insane coverage. And the bigger the ball,
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  Speaker 4: the more insane the coverage. That LCD sound System one.
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  Speaker 4: Then when they hit that for a lighting effect, it
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  Speaker 4: lights up the whole theater like and it's you know,
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  Speaker 4: if there's smoke in the room, you start to see
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  Speaker 4: these just what's the word swaths of light kind of
• 13:29
  Speaker 4: cutting through the fog, and it's an absolutely remarkable thing
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  Speaker 4: to behold. And I actually included a second point here,
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  Speaker 4: but Ben pointed out off Mike that is basically the
• 13:38
  Speaker 4: same thing except for what Except as.
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  Speaker 1: The mirrors are separated from each other, the facets are
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  Speaker 1: separated by a non reflecting subst got it, which is
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  Speaker 1: why the mirror ball, the myriad reflection looks.
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  Speaker 3: Like a grid. There you go, one hundred percent, that's
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  Speaker 3: exactly right.
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  Speaker 4: Let's jump into the rise fall rerise and reimagining of
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  Speaker 4: the myriad reflector, or as it came to be known,
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  Speaker 4: the mirror ball or the disco ball. So this company
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  Speaker 4: that you talked about, Ben Stevens and Wost, we don't
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  Speaker 4: know much about Stevens.
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  Speaker 3: We know about Wost, who's the one who filed the patent.
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  Speaker 4: Their flagship magnificent globe, as they marketed it. It was
• 14:24
  Speaker 4: twenty seven inches and covered with, as they described it,
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  Speaker 4: more than twelve hundred special made mirrors.
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  Speaker 3: They were able to sell these like hotcakes to dance halls,
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  Speaker 3: like you said, Ben, skating rinks, jazz clubs, nightclubs.
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  Speaker 4: This is obviously very much pre disco. This is more
• 14:42
  Speaker 4: in the pre war kind of swinging, you know, big
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  Speaker 4: band era, right, yeah, yeah, and this.
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  Speaker 1: Has got to be a banger. When you go into
• 14:51
  Speaker 1: the club, you know you're in the party district. You
• 14:54
  Speaker 1: can go here, jazz at one of three places. Which
• 14:58
  Speaker 1: place are you gonna go to? You're gonna go to
• 15:00
  Speaker 1: the one with the mirror ball. People are space man. Yeah.
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  Speaker 1: There's a nineteen twenty one copy of Illustrated World that
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  Speaker 1: features a photograph of what we call the disco ball today,
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  Speaker 1: and it says, no, this is not a photograph of
• 15:17
  Speaker 1: the Heavens, the Milky Way, or New Constellation. It was
• 15:22
  Speaker 1: made at a dance palace in Dayton, Ohio.
• 15:26
  Speaker 3: Sounds like a disk at the end. There no offense
• 15:28
  Speaker 3: to date, No, no offense.
• 15:30
  Speaker 1: We love you.
• 15:30
  Speaker 4: This is hilarious, especially when you did it in that voice.
• 15:34
  Speaker 4: And I love the idea of a dance palace bio.
• 15:36
  Speaker 2: Actually, I'm trying to think Dayton and Canton share an airport.
• 15:40
  Speaker 2: I actually have family in Dayton, Ohio.
• 15:43
  Speaker 1: I'm sorry for your loss.
• 15:45
  Speaker 2: Yeah, no, no, I am not someone who lives in
• 15:48
  Speaker 2: Ohio for very obvious reasons.
• 15:51
  Speaker 4: Well, I'm sure there's great things about it, and it
• 15:53
  Speaker 4: would appear that one of those great things might have
• 15:54
  Speaker 4: included a disco ball, an early example of a badass
• 15:57
  Speaker 4: disco ball.
• 15:58
  Speaker 1: Wait, wait, why are we? Why are we weirdly dissing
• 16:01
  Speaker 1: the Buckeye State here?
• 16:02
  Speaker 3: I didn't mean too. It was my fault I started,
• 16:04
  Speaker 3: and I fully walk it back. Y'all are great.
• 16:06
  Speaker 2: We love four and a half years of this podcast
• 16:09
  Speaker 2: experience of dissing Ohio, and I'm not changing now.
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  Speaker 3: All right, all right, Well, let's it's differences that make
• 16:16
  Speaker 3: us a good tea.
• 16:17
  Speaker 4: It sure is so there was a bit of a
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  Speaker 4: boom time for the disco ball followed by a bit
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  Speaker 4: of an approaching bust time. A depressions came. Yeah, I
• 16:25
  Speaker 4: it was a bit of a depression. No one was
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  Speaker 4: wanting sparkles at this point. They wanted, you know, to
• 16:30
  Speaker 4: be able to feed their families. So Stevens and Wost
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  Speaker 4: did stop production of the disco balls, and it kind of, I.
• 16:36
  Speaker 3: Don't know, took a back seat in the zeitgeist for
• 16:39
  Speaker 3: quite a while. Wasn't produced again until the nineteen forties
• 16:43
  Speaker 3: when we have a new company entering the chat ooh.
• 16:47
  Speaker 1: And I love their name. Just from a writing perspective,
• 16:51
  Speaker 1: Omega National Products sounds like Illumination Global Dlimited.
• 16:55
  Speaker 4: It does very much so, and call back to our
• 16:58
  Speaker 4: recent Kentucky Derby episode. This company was based in Louisville, Kentucky.
• 17:04
  Speaker 4: So at this point the company is has I don't know,
• 17:09
  Speaker 4: they're back to it. They're kind of capitalizing on some
• 17:12
  Speaker 4: of the popular art deco okay styles they're popular at
• 17:17
  Speaker 4: the time, modestly successful at first, but not an immediate hit.
• 17:22
  Speaker 4: What set the Louisville company, Omega National Products apart from
• 17:26
  Speaker 4: Stevens and woe's was that they weren't just making the balls.
• 17:29
  Speaker 4: They were making this flexible, like faux fabric y type
• 17:35
  Speaker 4: the sheets of mirrored material that were again in keeping
• 17:40
  Speaker 4: with that Art Deco furniture style of the era that
• 17:42
  Speaker 4: was super popular and you could like bedazzle stuff. You
• 17:47
  Speaker 4: may remember Liberaci's very you know, iconic mirrored piano that
• 17:53
  Speaker 4: was done using these flexible mirror ball sheets.
• 17:57
  Speaker 1: Yeah. Liberacci famously the most subtle musician in history.
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  Speaker 3: Yep.
• 18:02
  Speaker 4: And also I mean I got there's this incredible clip
• 18:05
  Speaker 4: of him from I think he was on laughing that
• 18:07
  Speaker 4: mega sixties show where all the like girls kind of
• 18:10
  Speaker 4: wore bikinis and painted their bodies and Goldie Hawn was
• 18:13
  Speaker 4: on it originally, I want to say. And he does
• 18:15
  Speaker 4: this thing where he's like, hey, young people, what you
• 18:19
  Speaker 4: groove in this Liberaci? And I'm here with you, And
• 18:22
  Speaker 4: it's like the most go home dad.
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  Speaker 3: Kind of thing you've ever seen in your life. Deedly,
• 18:27
  Speaker 3: do do you feeling groovy? Liberacis he's turning on, That's
• 18:32
  Speaker 3: what he says.
• 18:33
  Speaker 1: And Omega is turning on for sure, because they are
• 18:38
  Speaker 1: the only source of this new miracle substance, this application
• 18:44
  Speaker 1: of mirrored sheets in that grid thing. They're saying, we
• 18:48
  Speaker 1: don't just make balls. You name an object, we can
• 18:51
  Speaker 1: put our mirror amalgamation upon it. And so they get
• 18:56
  Speaker 1: a bunch of clients. We're talking jukebox hauls, amusement parks.
• 19:01
  Speaker 1: People are coming to them and asking them to put
• 19:04
  Speaker 1: this stuff on any imaginable thing. But the main thing
• 19:08
  Speaker 1: they still love is the original mirror ball.
• 19:12
  Speaker 3: That's right.
• 19:13
  Speaker 4: And these things, you know, ranged in size for any budgets,
• 19:17
  Speaker 4: and they were produced largely by women because this is
• 19:21
  Speaker 4: during World War Two, and as we've talked you know
• 19:24
  Speaker 4: often on the podcast, the men were away and the
• 19:28
  Speaker 4: women took over those factory jobs, and it led to
• 19:31
  Speaker 4: of course the whole Rosie the Riveter thing and a
• 19:33
  Speaker 4: lot of like you know, demands for equal rights for
• 19:37
  Speaker 4: women because like you know, women get the job done.
• 19:39
  Speaker 3: I mean, and that's absolutely true.
• 19:41
  Speaker 4: And it's weird that it took this to create that outcry,
• 19:45
  Speaker 4: but sometimes that's what it takes, I guess, especially.
• 19:48
  Speaker 3: In times where things are maybe a little more backwards.
• 19:50
  Speaker 1: Dude, It's like we were saying in this is a
• 19:54
  Speaker 1: bit backstage, and I acknowledge this may sound pretentious, but
• 19:58
  Speaker 1: we have literally travel the world teaching people how to
• 20:02
  Speaker 1: make a good show. And maybe one day you and
• 20:06
  Speaker 1: I will make a good show as well.
• 20:07
  Speaker 4: Yeah, who knows, maybe someone will travel to us to
• 20:10
  Speaker 4: teach us how to do it.
• 20:11
  Speaker 1: But one of the key things that I think speaks
• 20:13
  Speaker 1: to Omega's brilliance here is that they decided to meet
• 20:18
  Speaker 1: the consumer where they're at. I think it's key to
• 20:21
  Speaker 1: meet people where they're at. And so they say, we're
• 20:24
  Speaker 1: not just going to make one size fits all mirror balls.
• 20:29
  Speaker 1: We're going to see if someone can just afford a
• 20:33
  Speaker 1: tiny one, A tiny boy that's.
• 20:35
  Speaker 3: For you for your keys, maybe you know, put it
• 20:37
  Speaker 3: on your key rank.
• 20:38
  Speaker 4: So yeah, no, it's they are absolutely meeting the customer
• 20:42
  Speaker 4: where they are six feet They're accommodating all sizes and
• 20:46
  Speaker 4: budgets and needs, and they go from the two inches
• 20:48
  Speaker 4: you mentioned, Ben to six feet in diameter. We even
• 20:54
  Speaker 4: see ones as large as forty eight inches, amounting to
• 20:57
  Speaker 4: you at the time, y'all four grand and we must
• 21:01
  Speaker 4: inflation calculator that bad boy.
• 21:03
  Speaker 3: So let's can we get a Can we get a boop? Max?
• 21:06
  Speaker 3: Do you want a boop?
• 21:07
  Speaker 2: I'll take a boop, dude, I'm booping currently, this is
• 21:11
  Speaker 2: a boop.
• 21:13
  Speaker 4: Nineteen forty four thousand dollars. We're forty esque ish. We
• 21:17
  Speaker 4: don't have an exact number here in today's dollars. Twenty grand,
• 21:22
  Speaker 4: twenty wow, that's a lot of cheddar. That's a ball scratch.
• 21:26
  Speaker 4: It's a big ball, man, You got you gotta throw
• 21:29
  Speaker 4: down if you want to ball that size. Omega National,
• 21:32
  Speaker 4: to your point, Bend had the monopoly on this this product.
• 21:35
  Speaker 4: They at one point we're producing as many as ninety
• 21:38
  Speaker 4: percent of the world's disco balls.
• 21:41
  Speaker 1: What a cool so. I love specific brags and flexes.
• 21:46
  Speaker 3: I like the Glitter Company. Remember when we discussed it.
• 21:49
  Speaker 1: Yeah, oh yeah, that's a good callback. I love the
• 21:52
  Speaker 1: idea of picture it this way. You are in the
• 21:57
  Speaker 1: c suite of a mega national and maybe you're going
• 22:00
  Speaker 1: on a date, right, You're meeting your prospective spouse in
• 22:04
  Speaker 1: the future, because everyone was getting married back then. And
• 22:08
  Speaker 1: they say, what do you do? And you say, I
• 22:10
  Speaker 1: make ninety percent of the world's disco balls, not one
• 22:14
  Speaker 1: hundred percent.
• 22:15
  Speaker 3: No, one hundred percent. I would kill to be that person.
• 22:20
  Speaker 3: We know.
• 22:20
  Speaker 1: The company should pointed out, continues to produce mirrored balls
• 22:25
  Speaker 1: disco balls for a lot of big time operations. And
• 22:31
  Speaker 1: you want the best, you go Omega, you go Omega?
• 22:33
  Speaker 1: What do you want the best? That's a free tagline.
• 22:35
  Speaker 1: By the way, guys, you're welcome. They've been at it
• 22:38
  Speaker 1: for a long time. They should know.
• 22:39
  Speaker 4: It would appear that some of their high end clients
• 22:42
  Speaker 4: are folks like Beyonce, who really is responsible in many
• 22:45
  Speaker 4: ways for the resurgence of the disco ball, because it's
• 22:49
  Speaker 4: a big part of her or has been a big
• 22:51
  Speaker 4: part of her stage performances. And Madonna, I want to
• 22:54
  Speaker 4: say in the nineties, there might have been the late
• 22:56
  Speaker 4: eighties or mid eighties, like there was a concert tour
• 22:59
  Speaker 4: where she would merge from a giant disco ball that
• 23:01
  Speaker 4: would crack open. And they also produce them for like
• 23:05
  Speaker 4: film and television shows like Dancing with the Stars and
• 23:08
  Speaker 4: even the Academy Awards.
• 23:10
  Speaker 1: Oh that makes sense. Yeah, shout out to Oscar. But
• 23:14
  Speaker 1: we have a question that I think is on everybody's mind.
• 23:18
  Speaker 1: How did the idea of the myriad reflector or the
• 23:22
  Speaker 1: mirrored ball become so inherently tied to the era of disco.
• 23:29
  Speaker 4: Well in the nineteen seventies, we really did start to
• 23:33
  Speaker 4: see these guys being strung up in disco texts and
• 23:38
  Speaker 4: made a fixture of the zeitgeist and of pop culture.
• 23:44
  Speaker 4: It is tough to kind of pin down, as the
• 23:47
  Speaker 4: vine par article points out, exactly which club in New
• 23:51
  Speaker 4: York City first kind of brought these glowing do dads back,
• 23:56
  Speaker 4: but places like the Loft in the East Village in
• 23:59
  Speaker 4: New York played a huge role, as well as a
• 24:05
  Speaker 4: venue known as The Gallery, which was created by an
• 24:09
  Speaker 4: iconic disco booster named Nikki Siano. I just want to
• 24:13
  Speaker 4: take this opportunity to if you want to do a
• 24:15
  Speaker 4: deeper dive into disco that includes a lot of this stuff.
• 24:18
  Speaker 4: Great podcast I worked on some years ago with this
• 24:21
  Speaker 4: cooly cool guy named Steve Greenberg who's a record producer
• 24:25
  Speaker 4: and he was around during a lot of this stuff,
• 24:28
  Speaker 4: and he does a super deep dive into the history
• 24:31
  Speaker 4: of disco in the Speed of Sound podcast. We did
• 24:34
  Speaker 4: like a multi part series on disco that includes Saturday
• 24:38
  Speaker 4: Night Fever nineteen seventy seven, huge smash hit movie with
• 24:41
  Speaker 4: John Travolta where he does a very iconic disco dance
• 24:45
  Speaker 4: featuring a mirror ball and an unfortunate event that kind
• 24:50
  Speaker 4: of brought Disco to its knees the Disco Demolition Night
• 24:55
  Speaker 4: in Chicago at Comiski Park.
• 24:58
  Speaker 1: Right and pretty long time fellow Ridiculous historian, you may
• 25:03
  Speaker 1: recall that we did an entire episode on Disco Demolition Night.
• 25:08
  Speaker 1: This was a pivotal moment in history. It's about forty
• 25:13
  Speaker 1: six years after this occurred. It was a promo event
• 25:17
  Speaker 1: on July twelfth, nineteen seventy nine. Long story short, do
• 25:22
  Speaker 1: check out the episode the Chicago White Sox Twilight doubleheader
• 25:26
  Speaker 1: against the Detroit Tigers, and it quickly fell into pandemonium
• 25:33
  Speaker 1: because of the activity of a guy we could call
• 25:37
  Speaker 1: a predecessor of a podcaster, a DJ named Steve Dahl.
• 25:41
  Speaker 1: He was known on WLUP ninety seven point nine Rock Yeah,
• 25:46
  Speaker 1: Pardon my Radio voice for mocking disco. He didn't like disco.
• 25:51
  Speaker 1: He had been fired from a previous gig because the
• 25:54
  Speaker 1: station switched from rock to disco, and Steve had principles.
• 25:59
  Speaker 1: So they asked all these fans to bring with them
• 26:02
  Speaker 1: a disco record when they when they came to the game,
• 26:05
  Speaker 1: and if you brought a disco record, you got a
• 26:08
  Speaker 1: discount on admission. You would get ninety eight cents admission
• 26:13
  Speaker 1: and you would lend your well, you donate your disco
• 26:17
  Speaker 1: vinyl to be gathered up and then blown up live
• 26:23
  Speaker 1: in front of the audience between the games. It did
• 26:26
  Speaker 1: not go well.
• 26:27
  Speaker 3: It didn't go out for various reasons.
• 26:29
  Speaker 4: But I don't know if we talked about this in
• 26:30
  Speaker 4: the episode then, but it does occur to me that,
• 26:32
  Speaker 4: like vinyl records are sharp, doesn't it seem like someone
• 26:36
  Speaker 4: could catch some shrapnel from this.
• 26:38
  Speaker 1: That's exactly what happened.
• 26:40
  Speaker 4: Oh okay, I'm not remembering cool check out the episode.
• 26:43
  Speaker 2: It was terrible and they oversold the event and stuff
• 26:46
  Speaker 2: like that. I just want to jump in here and
• 26:48
  Speaker 2: draw a recent parallel to I know I mentioned to
• 26:52
  Speaker 2: you guys, but it's been referred to as Baseball fire Festival.
• 26:55
  Speaker 2: But this past season they held a baseball game at
• 27:02
  Speaker 2: I forgot which speedway was, but at of speedway event
• 27:05
  Speaker 2: and they marketed and it had the Atlanta baseball team
• 27:07
  Speaker 2: in it. So that was a big deal around us.
• 27:09
  Speaker 2: But it was like something that it had a massive
• 27:11
  Speaker 2: rain delay the entire time. But oh, I remember hearing
• 27:14
  Speaker 2: about this, and but like it's like one of these
• 27:17
  Speaker 2: things where it's like, oh, yeah, you heard all these
• 27:18
  Speaker 2: things that happened.
• 27:19
  Speaker 3: It's so bad.
• 27:20
  Speaker 2: And then you find out beforehand that there was like
• 27:22
  Speaker 2: they were selling seats that didn't face the field. They
• 27:26
  Speaker 2: ran out of hot dog buns before the game started,
• 27:29
  Speaker 2: handing people just single hot dogs and stuff.
• 27:33
  Speaker 1: Throwing at them.
• 27:34
  Speaker 3: So if you've.
• 27:35
  Speaker 2: Heard of for the listeners out there, if you've heard
• 27:38
  Speaker 2: of that story that happens to year, I just wanted
• 27:40
  Speaker 2: you to know that Disco Demolition Night was so much worse.
• 27:44
  Speaker 4: Oh my god, I mean it's outrageous. Like I didn't
• 27:46
  Speaker 4: even remember about the shrapnel. So do check that out.
• 27:48
  Speaker 4: It makes perfect sense.
• 27:49
  Speaker 5: But most of the facts.
• 28:11
  Speaker 3: Max with the facts.
• 28:12
  Speaker 4: Indeed, most importantly I think for our purposes here is
• 28:16
  Speaker 4: that this really represented this shift into like almost a
• 28:19
  Speaker 4: demonization of disco. There already was a lot of tension
• 28:23
  Speaker 4: from the rockers, you know, folks that were more into
• 28:26
  Speaker 4: like heavier music. I imagine this era. Yeah, definitely, we've
• 28:31
  Speaker 4: got punk happening. Disco definitely has been around, sort of
• 28:35
  Speaker 4: maybe seen as having its having had its heyday, and
• 28:39
  Speaker 4: people are a little sick of it. And I'm not
• 28:40
  Speaker 4: saying that's wrong, but the way this was handled was
• 28:44
  Speaker 4: in fact wrong because Disco was, of course a huge
• 28:48
  Speaker 4: part of the black, Latino and queer community, that club culture,
• 28:53
  Speaker 4: and that musical scene, and there was a sense at
• 28:57
  Speaker 4: this event that folks were not only prote and the music,
• 29:00
  Speaker 4: but protesting the people that made it and.
• 29:05
  Speaker 3: Becoming a culture war.
• 29:13
  Speaker 1: We know that disco, being the new kid on the
• 29:17
  Speaker 1: block genre wise, was clearly going to be vulnerable to
• 29:21
  Speaker 1: attack and criticism and mockery. And this is what leads
• 29:26
  Speaker 1: folks like Nile Rogers, co founder of a band called
• 29:30
  Speaker 1: Sheik the Disco Band.
• 29:32
  Speaker 3: Uh.
• 29:32
  Speaker 1: He looked at the footage the day after this happened
• 29:35
  Speaker 1: in Kmisky Park and he said to us, it felt
• 29:39
  Speaker 1: like a Nazi book burning. Thank goodness they didn't burn
• 29:44
  Speaker 1: all the disco records, because I unreservedly love a lot
• 29:49
  Speaker 1: of disco. I'm stupid super into it.
• 29:52
  Speaker 4: See, I love it very much as well. I love
• 29:54
  Speaker 4: the hypnotic kind of repulsiveness of it. I love a
• 29:58
  Speaker 4: lot of the arrangements.
• 30:00
  Speaker 3: Fun are you kiddy? Yeah?
• 30:02
  Speaker 4: Absolutely, And I mean I really love a lot of
• 30:04
  Speaker 4: electronic music as well, and a lot of that was
• 30:06
  Speaker 4: begat from disco culture, like techno and house music and
• 30:10
  Speaker 4: four on the Floor that beats that is so propulsive
• 30:13
  Speaker 4: and hypnotics Kroud rock over in Germany, things like craft
• 30:17
  Speaker 4: work and can and things like that. While they were
• 30:22
  Speaker 4: pre disco, there is a similar hypnotic kind of what's
• 30:26
  Speaker 4: the word that Alex Williams likes to use a lot
• 30:28
  Speaker 4: motoric beat quality that is sort of this trance inducing
• 30:32
  Speaker 4: sort of type of music.
• 30:33
  Speaker 3: So red meat for me.
• 30:35
  Speaker 1: That's our composer, Alex Williams. You'll recognize them at the
• 30:38
  Speaker 1: beginning and end of every episode.
• 30:40
  Speaker 3: Mm hmm, you sure will. But I guess we can
• 30:43
  Speaker 3: wrap this episode.
• 30:43
  Speaker 4: I'm just kind of bringing it back to what we
• 30:45
  Speaker 4: talked about at the top, this idea of disco balls.
• 30:49
  Speaker 4: Disco has been having a resurgeon since the early two thousands, man.
• 30:52
  Speaker 4: I mean, like a lot of that New York sleeze
• 30:55
  Speaker 4: kind of music like the Yeah Yeah yeahs, and a
• 30:58
  Speaker 4: lot of that dance punk kind of stuff like The
• 31:00
  Speaker 4: Rapture and Phoenix even and you know, a lot of
• 31:04
  Speaker 4: bands have been truly honoring that four on the floor
• 31:08
  Speaker 4: and kind of disco quality LCD sound system as we mentioned.
• 31:12
  Speaker 4: But as a art object, disco balls have really kind
• 31:16
  Speaker 4: of come back in a big way since.
• 31:19
  Speaker 1: COVID right, yeah, yeah, and I think this is something
• 31:22
  Speaker 1: a lot of us have encountered in our own neck
• 31:25
  Speaker 1: of the Global Woods. The lockdown, Max, give me dramatic
• 31:29
  Speaker 1: music here in a word where you can't go outside.
• 31:36
  Speaker 1: What do you do to make your home more interesting?
• 31:42
  Speaker 1: Disco ball?
• 31:44
  Speaker 3: That's right.
• 31:44
  Speaker 1: People are buying disco balls for their own homes, which
• 31:48
  Speaker 1: I love. And nol, I believe that you are the
• 31:50
  Speaker 1: proud owner of a couple of myriad reflectors.
• 31:54
  Speaker 4: Yeah, I got one upstairs as small. I got ones
• 31:56
  Speaker 4: downstairs at my studio this medium, and I have like
• 31:58
  Speaker 4: a couple of sort of artsy stized one.
• 32:00
  Speaker 3: They have one that looks like it's melting. I just
• 32:03
  Speaker 3: it's fun.
• 32:04
  Speaker 4: And a YouTuber that I was watching, I'm sorry I
• 32:07
  Speaker 4: didn't copy the link, but just look up history of
• 32:11
  Speaker 4: disco balls on YouTube and.
• 32:12
  Speaker 3: You'll find this video. It's like nine minutes.
• 32:14
  Speaker 4: She pointed out that I think a lot of people
• 32:17
  Speaker 4: really started getting into disco balls and they realized that
• 32:19
  Speaker 4: it would also reflect daylight. So you just hanging in
• 32:22
  Speaker 4: your living room and you have really nice natural light
• 32:24
  Speaker 4: coming in. You wake up in the morning to a sparkly, dancy, twinkly.
• 32:29
  Speaker 3: Light show and it roles. It just feels good, you know.
• 32:32
  Speaker 1: Okay, Yeah, I could see that. We know that one
• 32:37
  Speaker 1: producer of disco balls not related to Omega, a person
• 32:42
  Speaker 1: named Libby Rasmussen, talked to The New York Times and
• 32:45
  Speaker 1: said that during her first year of disco ball production,
• 32:49
  Speaker 1: during the COVID lockdown, she got over five thousand orders
• 32:55
  Speaker 1: and further demand seemed to be increasing. You also so
• 33:00
  Speaker 1: found a stat from Etsy that appears to confirm this trend.
• 33:05
  Speaker 4: Yeah, from that same New York Times piece that the
• 33:07
  Speaker 4: vine Pair article referenced, Etsy searches for disco ball increased
• 33:12
  Speaker 4: nearly four hundred percent in twenty twenty two during the
• 33:16
  Speaker 4: past three months and when that article was released compared
• 33:19
  Speaker 4: to that same time period the previous year. Another person
• 33:23
  Speaker 4: that they spoke to, a let's see Sophie Peoples and
• 33:26
  Speaker 4: artists from Oakland, California, talks about the kind of inseparability
• 33:31
  Speaker 4: from gay nightlife and culture. They say, being in the
• 33:35
  Speaker 4: queer community, disco balls have kind of always been a
• 33:37
  Speaker 4: part of that culture and a part of nightlife, and
• 33:39
  Speaker 4: tucked inside of our apartments and hanging from our windows
• 33:42
  Speaker 4: and sitting in the soil of our houseplants. Oftentimes, queer
• 33:45
  Speaker 4: and trans people are kind of the creative pavers of
• 33:48
  Speaker 4: what's on trend, and it just sometimes takes everyone else
• 33:51
  Speaker 4: a little bit longer to catch up. And that's absolutely
• 33:54
  Speaker 4: true of a lot of slang, of a lot of
• 33:56
  Speaker 4: cultural things, trends, clothing, fashion, etc. You can trace a
• 34:01
  Speaker 4: lot of that back to the queer community, and you know,
• 34:04
  Speaker 4: like drag culture and things like that.
• 34:06
  Speaker 1: Sure, the recursive property of esthetics, right, million we talked
• 34:11
  Speaker 1: about the nineties with nineteen nineties. Sorry, I have to
• 34:14
  Speaker 1: date myself and specify with our pal Ross Bettisch, who
• 34:18
  Speaker 1: is going to be returning for a conversation about wrestling.
• 34:22
  Speaker 1: We're really excited there. We know that, look, everything that
• 34:28
  Speaker 1: is cool at some point will become uncool and it
• 34:33
  Speaker 1: will become cool again. Society is a lot of things,
• 34:38
  Speaker 1: but not particularly original, right.
• 34:42
  Speaker 4: I want to know it's cyclical for sure. And in
• 34:45
  Speaker 4: fact that a vine Pear article that we've been referencing
• 34:49
  Speaker 4: the headline of it is the Spinning, Shimmering History of
• 34:53
  Speaker 4: the Disco Ball and begins with the line everything old
• 34:56
  Speaker 4: is new again, And that comes from the very pithy
• 35:01
  Speaker 4: singer songwriter Peter Allen who's more of a musical theater guy.
• 35:05
  Speaker 1: Big fan of musical theater. I dig it, I have
• 35:08
  Speaker 1: a pitch for you guys, just thinking out loud here.
• 35:12
  Speaker 1: You know, I'm a damn peer. I'm not a sunlight entity.
• 35:16
  Speaker 1: Is there a way to make it like a dark
• 35:18
  Speaker 1: disco ball, like something that will reflect darkness.
• 35:22
  Speaker 4: It's a good question. That would be really cool. Maybe
• 35:24
  Speaker 4: like if you cover it with tiny black holes.
• 35:26
  Speaker 1: Okay, there we go, or like the you know, now
• 35:29
  Speaker 1: my head's in hot topic and dad zooks gosh, speaking
• 35:32
  Speaker 1: a date in yourself. I wonder about a black light
• 35:35
  Speaker 1: disco ball. I feel like there are so many directions
• 35:40
  Speaker 1: people can take the concept of myriad reflectors too. You know,
• 35:46
  Speaker 1: this is just a brilliant invention and I can't thank
• 35:50
  Speaker 1: you enough, Nol. I love learning about inventions.
• 35:53
  Speaker 3: No man, we all do, and thank you as well. Ben.
• 35:56
  Speaker 3: And if you want on your own melted disco ball,
• 35:59
  Speaker 3: look no further than melteddisco ball dot com, where you
• 36:02
  Speaker 3: two can have one of any number of melti diisco
• 36:06
  Speaker 3: ball arrangements.
• 36:07
  Speaker 4: And they're super affordable and super fun. Not sponsored by them,
• 36:11
  Speaker 4: but I asked. I was tickled that they have their
• 36:14
  Speaker 4: own domain, and I believe they were featured in Vogue
• 36:19
  Speaker 4: and trend Book according to their own website that claims
• 36:24
  Speaker 4: that they are the new trends.
• 36:26
  Speaker 3: Take that for what it's worth. Amazing.
• 36:28
  Speaker 1: I want one. This is the next gift for your
• 36:33
  Speaker 1: loved one. This is a great way to surprise people.
• 36:36
  Speaker 1: By the way, totally the the idea of like Okay.
• 36:39
  Speaker 1: So recently I received a very thoughtful gift from a
• 36:44
  Speaker 1: friend of the show. I've been thinking a lot about
• 36:47
  Speaker 1: how astonishing and profound a thoughtful gift can be, you know,
• 36:53
  Speaker 1: not a gift card, not a Hallmark card, just something
• 36:59
  Speaker 1: that means I know who you are and I think
• 37:02
  Speaker 1: about you. Gosh, yes, and a disco ball you have
• 37:05
  Speaker 1: persuaded me knowl absolutely fits that criteria.
• 37:09
  Speaker 4: Well, I think so too, and Kate Regev, an architect
• 37:12
  Speaker 4: and historian at Zubatkan owner representation in New York City, agrees,
• 37:17
  Speaker 4: And I think we'll close out the episode with a
• 37:19
  Speaker 4: quote from them from that New York Times piece. I
• 37:22
  Speaker 4: do think that there are cultural shifts that are going
• 37:24
  Speaker 4: on that also play into the return of nineteen seventies design.
• 37:28
  Speaker 4: There's a decadence and exuberance and shapes and materials, shiny
• 37:32
  Speaker 4: metals like brass and chrome, bright patterns and bold tones
• 37:36
  Speaker 4: like orange and avocado green. That speaks to people's interests
• 37:39
  Speaker 4: today in moving away from the cozy, homey, comforting spaces
• 37:42
  Speaker 4: we craved during the heat of the pandemic. I think
• 37:45
  Speaker 4: people are looking for ways to celebrate again. They're looking
• 37:48
  Speaker 4: for moments of joy.
• 37:50
  Speaker 1: And with that, thank you so much for tuning in,
• 37:54
  Speaker 1: fellow disco fans, fellow fans of Stay It Alive, Stay
• 37:59
  Speaker 1: In All Live. Big, big thanks to our super producer,
• 38:02
  Speaker 1: mister Max Williams, our research associate for today's episode.
• 38:07
  Speaker 3: Noel Brown m M.
• 38:08
  Speaker 4: Thanks too, Alex Williams who composed our theme, the Disco
• 38:12
  Speaker 4: Boy himself, the Disco Duck, and Christ Frasciotis and Nieves
• 38:16
  Speaker 4: Jeff CODs here in spear.
• 38:18
  Speaker 1: Also big thanks to our pals that Ridiculous Crime. If
• 38:21
  Speaker 1: you dig us, you will love them. Take our word
• 38:24
  Speaker 1: for it. They're very much disco people, and I think
• 38:28
  Speaker 1: it's time to let the ball drop.
• 38:30
  Speaker 3: Yeah, let's go take a little disco now. We'll see
• 38:33
  Speaker 3: you next time, folks. For more podcasts from iHeartRadio, visit
• 38:42
  Speaker 3: the iHeartRadio app Apple podcasts, or wherever you listen to
• 38:45
  Speaker 3: your favorite shows.