Volume 1 by William Wheaton's Disco Insurrection

Disco. Insurrection Manifesto-
Or

Why I Created William Wheaton’s Disco Insurrection





It has been my growing inclination as a musician only really to bother making music which consist of right wing conspiracy theory audio samples played over disco tracks assembled from very stock sounding loops that came with my GarageBand software. It isn’t to gain an audience. I’ve only ever gotten any substantial internet traffic doing covers. I’m naively hoping this music is offensive enough to get attention, because as the far right know so well, that’s what gets you the most media attention, as Donald Trump facing his many legal battles now gets more media attention than Obama ever did while he was in office even.
The original idea to do this came when I was going through a right wing phase. At the time I was obese and hung out at swinger’s clubs and casinos, which play a lot of disco. The thing is you meet some fairly right wing folks in a Vegas swinger’s club or local casino, and right there the esthetic juxtaposition did come out of something I encountered in nature, in the wild. Literally I could be hearing right wing conspiracy theories with a disco track in the background. I felt at the time that sounds of the seventies playing in Dotty’s was like the new Velvet Underground or Psychic TV- that it had become something quite taboo, the soundtrack of a twilight world of gambling addicts on other riffraff you might run into at a casino- hookers for example. The obvious irony is that the original disco scene was very queer and disco very much an African-American stylistic invention. Those people never seemed to register that though, the right wing conspiracist at the gaming bar or at The Red Rooster probably didn’t register. By then disco was old and so are a lot of the swingers and gamblers in Vegas. Those places were, of course, shady as fuck as thy say. If David Lynch had encountered Dotty’s casino around the time he was working on Blue Velvet I am absolutely sure he would have gotten an erection. Dotty’s Casino used to play a lot of disco on their playlist, but that places was frequented by older vets and trailer park residents, many of whom had less than progressive political views. By then disco no longer meant what it had meant in the days of Studio 54. It was there as an odd but largely ignored backdrop in casinos, white noise that played while you lost money at video blackjack. The mindset of QAnon as it was to emerge is on typified by paranoid delusion, racism, homophobia and transphobia, and violence. It would seem emotionally incongruous with the celebratory nature of disco and its cultural queer black roots. Largely I would say it is which is good for comedic effect. Disco has a sinister undertones though- that was a lot of cocaine in the backroom by all accounts, implying addiction and the sex going on wasn’t all completely consensual, as by many accounts quaaludes were often used as tools of getting sex in the era, as noted by professional expert on the subject Bill Cosby. If I put some sample of some QAnon type going on about non-existent child sex trafficking rings run by Satanists that control Hollywood and the democratic party going on with disco in the background, that also implies that the QAnon believer fetishizes child sex trafficking, that it is erotic fantasy for the QAnon, even if they don’t quite realize it. This again mocks the QAnon. Then of course there is the old notion that the homophobic or transphobic secretly can’t deal with how bad they want that big black cock, which is again good for comedic effect.
Psycho Las Vegas was the festival that brought me back to my roots in metal, punk, goth and industrial music and freed me from the prison of listening to the Dotty’s playlist. I have never gained the skill at guitar well, so software it is, and nothing is quicker and easy to do to offend people than put some audio of hate speech or violent threats from a right wing conspiracy theorist with superficially cheerful disco in the background. It’s heavier than black metal. The musical background is emotionally incongruous with the conspiracy theory sample, which is itself intellectually incoherent. The effort is to make an absurd and incoherent music, something that suggest the far end of cocaine induced psychosis. The final frontier of the creation of such a music would naturally open the question of psychedelics. I have yet to find test subjects on this. My guess is they wouldn’t respond well, giving some credence to the New Age notion of bad energies, though if that idea is true at all, the New Age movement is surely where one finds the worst energies. That ended up being a channel into QAnon for many, oddly enough, as crackpots will move from one crackpot lie to another, and they will all eventually end up sitting next to me at a vegan potluck or a Greyhound bus.
So it is. Life is largely worthless. However, try not to laugh at the thought of Alex Jones tearing up the dance floor like Travolta in a leisure suit. That man was born to boogie.

William Wheaton's Disco Insurrection is a project by writer, musician and animal rights advocate William Wheaton utilizing samples of right wing conspiracy theory audio with retro-70's disco instrumental backing. William Wheaton is the grandson of David Mathewson, the man who invented the M14, and his first words where signing along to "Stayin' Alive", so right wing disco came naturally.