Well before 'Mamma Mia!' a homemade remix of a second-tier ABBA song was the big bang of the LGBTQ community's love affair with the Swedish foursome.
Somewhere, right now, ABBA’s “Dancing Queen” is playing at an LGBTQ club, bar or house party. Gays are waving their arms, striking ingenue poses and shamelessly singing along to the sugary 45-year-old pop standard that’s become synonymous with queer nightlife. It’s our variation on what fans do at ballgames when their team is winning, but with a camp exuberance ignited by the song’s brassy harmonies and handy references to feminine royalty.
Thanks to multiple stage and screen incarnations of “Mamma Mia!,” fabulously garish costumes from gay designer Owe Sandström and consummately crafted songs more retroactively popular than in their ’70s and early ’80s heyday, ABBA has for decades been the bull’s-eye of the LGBTQ musical universe.
This wasn’t always the case. Back when Donna Summer reigned as indisputable dancing queen, ABBA didn’t get much gay club play, not even you-know-what: Disco’s top mixer, Tom Moulton, considered “Dancing Queen” perfect as is, so he turned down the chance to remix it. From the earliest subterranean clubs to Studio 54, the LGBTQ-friendly discos of the ’70s were powered by Black and Latin grooves.
Things changed in the early ’80s when the U.S. mainstream media and record companies alike declared disco dead. This challenged DJs who since 1977’s “Saturday Night Fever” had a rhythmic deluge from which to draw. Straight clubs shifted to eclectic funk and new wave, but the well of speedy gay dancefloor arias nearly ran dry.
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