‘Move Ya Body: The Birth of House’ Review: In Compelling Music Doc, Elegance Bratton Explores A Genre’s Black Queer Roots

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A pivotal scene in Elegance Bratton’s insightful documentary Move Ya Body: The Birth of House features Vince Lawrence, one of the genre’s main creators, discussing his experience at Disco Demolition Night. This chaotic event unfolded at Comiskey Park in 1979, orchestrated by radio host Steve Dahl as a promotional gimmick: Fans were encouraged to bring disco records to the Chicago stadium for a planned explosion on the field with their tickets. The turnout exceeded expectations with over 50,000 people attending, but the event quickly turned violent.

At one stage, Dahl found himself unable to handle the situation as the mob invaded the field, shouting “Disco is bad!” Later on that very night, as Lawrence (who was 15 then) was walking home from the event, a band of white men utilized this chant while harassing him. This incident exposed the hidden racist and homophobic sentiments driving the initial backlash against disco and its successor: house music. Notably, this event at Comiskey Park played a crucial role in the documentary The Bee Gees: How Can You Mend a Broken Heart.

In the film titled “Move Ya Body“, first shown at the Sundance Film Festival, Lawrence and key figures within house music’s scene trace back the beginnings of this popular genre. Bratton, who notably portrayed the story of a Black gay marine in his debut narrative feature “The Inspection“, blends interviews, historical footage, and re-enactments to produce a documentarian work that makes understanding this revitalized genre effortless. Given its recent surge in popularity, this project feels especially relevant today.

Though it follows a familiar path, Move Ya Body stands out in the documentary music scene that’s often filled with artist biographies. The movie hits its stride when Bratton delves into trickier aspects of the genre’s past, such as the demolition of disco by Dahl and the questionable business tactics of music executive Larry Sherman.

Bratton, who previously oversaw the reality series on Viceland called “My House” as an executive producer, takes the documentary genre to a higher level by incorporating additional storylines. He employs these subplots to express the paradoxes and lingering conflicts within this genre, delving into how music that originated from Black queer culture evolved into a profitable business venture, almost obliterating its rich history in the process.

Over time, the “Move Ya Body” event tends to focus on individuals who were initially overlooked during the early days of the genre. Bratton provides further insight about Chicago house in a manner similar to James Spooner’s work in Afro-Punk, which delved into Black people’s significant role in punk music.

The “Move Ya Body” event eventually centers on individuals who were previously underrepresented during the genre’s early period. Bratton offers additional information about Chicago house in a way reminiscent of James Spooner’s work in Afro-Punk, which highlighted Black people’s substantial impact on punk music.

Move Ya Body” starts off by delving into Lawrence’s background and a brief overview of Chicago during the ’60s and ’70s. This personal perspective serves as a foundation for the movie, allowing it to maintain focus even as Bratton expands his scope, interviewing figures like Lena Waithe about the genre’s influence on the city. Throughout, viewers remain connected to the main storyline.

For Lawrence, music served as both an educational tool and a soothing balm against the harsh loneliness of his childhood. Born into poverty and seemingly lacking many peers his age, he gained insights about the Civil Rights movement through anthems, protest songs, and other politically charged records. His understanding of disco came from his father, with whom he had a complex relationship, who attended record pool meetings – informal gatherings where DJs and producers would share new tracks. These casual encounters taught Lawrence how to analyze a song’s appeal and why it resonated, lessons he carried with him throughout his musical career.

Lawrence’s experience with the synthesizer significantly transformed his life further. To put it in his own terms, an idea or inspiration struck him, finally giving him a means to reach out to more individuals. Lawrence yearned for acceptance, and he discovered that music offered a pathway towards achieving this goal. Determined, he took up various odd jobs just to afford a synthesizer of his own.

Bratton reinforces Lawrence’s viewpoint by including interviews from other Chicago musicians such as DJs Celeste Alexander and Lori Branch. Their accounts – vivid stories about the underground parties, the atmosphere, and their purpose – combined with some compelling historical footage, provide a more comprehensive understanding of the scene during its initial phase.

Bratton reinforces Lawrence’s viewpoint using interviews from other Chicago musicians like DJs Celeste Alexander and Lori Branch. Their testimonies, which include vivid stories about underground parties, the atmosphere, and their purpose, along with some striking archival footage, give us a more complete picture of the scene during its early days.

Following an exploration of the casual and pioneering beginnings of Chicago house music, Bratton delves into how this genre transformed into a profitable venture. The subsequent chapter in “Move Ya Body” is particularly gripping due to the conflicts it highlights.

In this part of “Move Ya Body”, Lawrence discusses his interactions with Larry Sherman, a co-founder of Trax Records, and Rachael Cain, known as the “Queen of House Music”. Currently, there’s a legal dispute involving Cain and multiple artists, including Lawrence, who accuse Trax Records of fraud and copyright infringement. Bratton provides a platform for both sides by interviewing Cain too. However, what truly captivates in this chapter is the larger discussions it sparks about who deserves recognition and financial rewards for cultural contributions in America.

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2025-02-07 00:55