Elegance Bratton Discusses 'Move Ya Body': How Disco Demolition Echoes Today’s 'MAGA Maelstrom' — "Partying Is Political"

Elegance Bratton, who directed the documentary " Shift Your Body: The Origin of House It made its global debut earlier this week at the Thessaloniki Documentary Festival, highlighting kor.news Regarding the significance of house music’s past during the era of Trump, and his sentiments as he gets ready to direct the crime thriller "By Any Means," which features Mark Wahlberg and Yahya Abdul-Mateen II.

Bratton, who initially gained recognition with the documentary "Pier Kids" and the drama " The Inspection ", and was chosen as one of kor.news 's 10 Directors to Watch
In 2023, someone found a deep personal link to house music due to its empowering effect during their teenage years when they identified as LGBTQ+. As a young person, they faced bullying primarily related to their gender expression. They explain, “I felt immense pressure to appear less feminine.” Both within their household and broader social circles, attempts were made through intimidation or physical force to suppress behaviors deemed too expressive for males.
However, watching TV one day changed everything; images showed patrons at New York’s iconic Limelight nightclub exhibiting far more pronounced flamboyance compared to what they had been accustomed to seeing. Inspired by these depictions, they ventured into the same venue whereupon experiencing firsthand an environment celebrating such traits without judgment. Reflecting back, they state, “The transformation was astonishing since aspects previously targeted via harassment—such as perceived femininity which others used against them asserting weakness—suddenly transformed into strengths inside this nocturnal setting.”
They continue, emphasizing how individuals embraced rather than shunned characteristics once seen as liabilities, noting fiercely independent attitudes flourished amidst vibrant nightlife scenes set to pulsating beats provided predominantly by house music compositions. This genre served not only as background ambiance but also catalyzed feelings of liberation among participants navigating societal norms challenging traditional masculinity constructs.

Oscar-winning director Roger Ross Williams suggested that Bratton should helm a documentary about the origins of house music, which he was working on alongside Hillary Clinton’s production company, HiddenLight. Upon hearing this, Bratton remarks, “I thought, 'Hold up, Hillary Clinton enjoys house music?’ I had no idea. Apparently, she hails from Chicago and has a deep love for house music. This piqued my curiosity.”

The movie made its global debut at the Sundance Film Festival and is produced by Chester Algernal Gordon. The production entities involved include A One Story Up founded by Ross Williams, Hidden Light, Los Angeles Media Fund, and Impact Partners.

When kor.news exclusively announced When Bratton became involved with the project, it had a distinct title: “The Night Disco Died,” along with a varied emphasis. The event took place in 1979 during Disco Demolition Night at Comiskey Park, located in Chicago. Prior to this date, DJ Steve Dahl encouraged attendees to carry disco records into the stadium where they would be placed inside a bin and detonated via an explosive device. Consequently, a disturbance erupted among young Caucasian individuals, which many interpreted as racially charged and homophobic.

While conducting research for the project, which influenced him to pursue it, Bratton found out that Vince Lawrence, employed as an usher at Comiskey Park that evening, later recorded "On and On" in 1984. This track came to be recognized as the inaugural house music recording. Jesse Saunders delivered this performance. According to Bratton, Lawrence’s journey was truly “inspiring.”

Bratton argues that the riot at Comiskey Park wasn’t merely aimed at disco but sought to discredit all forms of Black music. He believes that “On and On” demonstrates how their efforts to extinguish Black dance culture could never prevail. This thought inspires me deeply today as we navigate our current social landscape. Reflecting on Disco Demolition Night reminds me of the divisive climate akin to the 'MAGA' fervor surrounding us presently. Many feel helpless amid these circumstances; witnessing a supposed majority of Americans reject principles of equality and civil liberties evokes disturbing parallels with historical atrocities—such as book burnings under Nazi rule. These individuals advocate for censorship, attempting to remove texts from curricula and dictate educational content within institutions. Essentially, they aim to suppress freedom of expression simply to prevent marginalized groups including people of color, LGBTQ+ communities, and women from voicing opposition against systemic injustices directed towards them.

When I reflect on Vince Lawrence’s journey, I think, 'This demonstrates that if you cling to your aspirations as he did and uphold your principles just like him, there's a chance you could produce something capable of improving the world. That's why I felt compelled to share this message with the film industry.'

While working on the documentary, he discovered that several similar projects were underway, realizing early on that his film needed to stand apart. He also noted that members of the house music scene reject the idea that Disco Demolition was responsible for the birth of house music, asserting instead that its origins lay before that incident, evolving within venues such as The Warehouse. “My aim wasn’t to focus on acts of white backlash,” he explains. “It’s not about framing Black happiness and innovation solely through negative reactions to White hostility. There’s far more nuance involved here. Initially naming the movie 'The Night Disco Died' would have put undue emphasis on those perpetuating negativity rather than celebrating the creators behind house music.”

The movie starts with Bratton telling Lawrence that the film isn’t about him to ease his anxiety; however, Lawrence’s narrative remains integral throughout. Bratton explains that he aimed for an approach “grounded in individual experience.” He further states: “I genuinely think each person embodies history, so if you take the time to listen to someone recount their life story, it will inevitably intertwine with significant global occurrences from their lifetime.”

He mentions that instead of concentrating generally on the history of house music, he aimed to zero in on an individual Black life. This approach allows the audience to see that this person recognizes their own significance, irrespective of what the MAGA movement claims. He believes that highlighting this perspective is significantly more uplifting as it offers greater empowerment and control over one’s narrative.

Of course, it aids matters that Lawrence was involved in significant events throughout that history, and indeed, Lawrence refers to himself as "the Forrest Gump of house," according to Bratton.

A significant figure in the movie is house music producer Rachael Cain, commonly referred to as Screamin' Rachael. She tied the knot with promoter Larry Sherman, who founded Trax Records. This record label for house music reportedly did not adequately remunerate the African American musicians behind the tracks they released. Following their divorce, Cain gained control over numerous groundbreaking house records.

Bratton emphasizes that in the movie, Sherman is portrayed as the "villain," rather than Cain. He expresses his fondness for Rachael Cain, describing her as a "bigger-than-life character" who presents herself as the "queen of house" within the film. Bratton mentions that one of his go-to directors is John Waters and draws parallels between Cain’s presence and that of Divine in Waters’ works. According to him, Cain exudes charisma and possesses an undeniable screen appeal.

She embodies a larger story within the movie. As he explains, “While I’m dedicated to highlighting the happiness, particularly the African American joy, found in the birth of house music, I also aimed to address the underlying systems that allow those who pioneered house music to be denied credit for their contributions.” In this context, Rachael represents the recipient of such systematic racial discrimination.

He notes, “In Chicago, segregation was such that if you’re a Black kid from the South Side or the West Side with dreams of achieving a middle-class lifestyle, you inevitably need support from within the white community, and both sides understand this reality. This means that people like Vince and his peers were constantly at risk of being exploited. It’s unavoidable; crossing over into mainstream success requires bridging these racial divides. However, there is a price to pay for this, and sadly for the early innovators of house music, they ended up losing ownership of their own creations.”

A key aspect of the film highlights the significant role played by the Black queer community in shaping house music. According to Bratton, during these cultural conflicts with the “fanatical Nazi religious right,” they attempt to downplay gay culture as trivial and insubstantial. They view it merely as "a group of frivolous men partying and indulging in substances and sexual activities," deeming such expressions irrelevant. Conversely, the far-right expresses anxiety over “the diminishing influence of white individuals” since both African Americans and homosexuals manage to establish their own cultures. Bratton reflects on his upbringing within what he calls an ambiguously contentious space; at one extreme, he feels entirely disregarded, whereas, at the opposite pole, he becomes the primary target of hostility and dread.

He states, “It was crucial for me to demonstrate that engaging in festivities is inherently political. By choosing to dance alongside someone who differs from you, you actively challenge a societal structure designed to maintain divisions among us. My aim was to emphasize to a new generation the significance of coming together socially. We must not permit structures of division—such as racism, sexism, and homophobia—to render us passive bystanders, since those split apart can never truly unite.”

Coming next for Bratton is the creation of "By Any Means," which holds a special place in his heart. He recounts an incident from the 1960s: "A man named Vernon Dahmer paid poll taxes to enable African Americans in Hattiesburg, Mississippi, to vote out the Ku Klux Klan’s influence. The KKK discovered what he was doing and set fire to his home along with his family inside; tragically, he did not survive the attack."
Bratton continues, saying, “This entire narrative is factual. It revolves around how the FBI recruited mob hitman Greg Scarpa to apprehend these criminals either dead or alive.” In their upcoming film titled 'By Any Means', one character will be a Black FBI agent teaming up with this hitman to crack the case. For the roles, Bratton has cast Mark Wahlberg as Greg and Yahya Abdul-Mateen II as the FBI agent.

He says, "I find myself drained by Hollywood’s portrayal of an extremely narrow spectrum of Black experiences—life, struggles, and victories. And I realize that audiences grow tired of narratives lacking happiness. However, for me, genuine joy cannot be achieved without overcoming challenges; otherwise, it becomes an illusion. True victory comes from the fight itself."

'By Any Means' is a thrilling blend of a Civil Rights drama and a gangster flick. The film is packed with unexpected twists, and I am thrilled for audiences to experience it. However, beyond the entertainment value, it’s crucial to convey that waiting idly for others to rescue you isn’t necessary. Don’t rely on political figures—whether they’re Democrats or anyone else—to articulate what truly impacts your liberty. Instead, seize control of your own freedom. By doing so, you compel societal structures to adapt to your actions. These are vital messages for younger generations, and I’m delighted to present them through an engaging and captivating cinematic journey. Rest assured, this won’t be just another traditional Civil Rights story.

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