Disco’s Legacy: Culture, Identity, and the 1970s Antigay Backlash
How it works
Expanding the essay requires not only delving deeper into the existing arguments but also exploring new dimensions of the topic to provide a more comprehensive analysis. Here is an expanded version of the essay:
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Contents
Introduction
As we examine each decade, every one leaves a distinct imprint on the cultural landscape: the rise of second-wave feminism in the 70s, the birth of MTV in the 80s, the supermodels of the 90s, and the low-rise waistline of the early 2000s. These decades have their heroes and role models, figures whom society venerates.
Yet, some events, though not immediately recognized, define the time when viewed in hindsight.
The year was 1970, a time when liberation movements of all kinds were flourishing, and the nightlife was thriving. Following the tumultuous 1960s, marked by the sexual revolution, the Women's Movement, and the defense of Gay Rights, it was a moment for reflection on what had transpired and what still needed to be achieved. This period of rich cultural and social life impacted the creative sphere, giving rise to a new genre: disco music. Disco became a common ground for people of every nationality, race, and age group, serving as a unifying medium after a decade dominated by serious music that often protested political events. Disco sought to break boundaries, making itself accessible for everyone to enjoy. However, for some, it was seen as unauthentic, overly commercialized, and closely tied to the gay community (The Spinning Story, 2005). In this essay, I will explore the phenomenon of 'discophobia' in the 1970s. Through the works of scholars like Richard Dyer, Bradford Martin, and Gillian Frank, I will theorize how disco music and culture were intertwined with gay identity and how discophobia is linked to antigay prejudice. I will also examine the roles multiple media played in constructing and policing the expression of normative sexuality. By exploring the 'anti-disco discourses' of the time, I aim to understand cultural anxieties about gender and sexuality in the 1970s and how these patterns persist today.
Part I: Getting Defensive
Following the 1960s, rock music had emerged as a dominant cultural force, with authenticity as its ultimate criterion—its ability to convey the messages of liberation and rebellion. By 1970, however, the rock movement was fragmenting, dividing into subgenres and becoming more mainstream, with a decreasing focus on political ideologies. The audience remained overwhelmingly white, heterosexual, male, and suburban, and rock still carried the weight of being a serious political art form. Simultaneously, the gay liberation movement gained momentum alongside youth movements, rendering gender and sexuality as critical sites of struggle. Events like the Stonewall Riots, which brought together underground gay culture and the confrontational tactics of radical social movements, marked a turning point. Before the late 1960s, public gatherings of gay individuals were fraught with the fear of police harassment, and many gay clubs were controlled by the mafia. Post-Stonewall, the gay community began to claim public spaces to dance and associate, leading to increased political activism, cultural expression, and institution-building.
Disco music, primarily created by LatinX and African-American artists, many of whom were women, emerged as a tool for visibility in public spaces. These demographics gained esteem within the music scene at disco clubs, which became important venues for gay rights organizations to raise funds and awareness. This cultural shift significantly affected mainstream perceptions of disco. The concept of 'fragile masculinity' emerged as white, middle-class males of the 70s perceived disco culture as threatening their ability to interact with women and challenging their heterosexuality (Frank 287). Society has long sought to contextualize human behavior, delineating what is "right" and "wrong." Yet, values considered invincible at one point often change over time. Richard Dyer, in his essay "In Defense of Disco," confesses, "I have always been listening to the wrong music," challenging the notion of any music being inherently wrong to listen to. Dyer's work consistently offers deep social analysis, and his defense of disco is no exception. He dissects disco not just as music but as a concept closely tied to capitalism, questioning the very idea of "authenticity."
People often confuse authenticity with nostalgia for a "simple, harmonious community existence" of the past, where art was produced fairly. Dyer argues that such a past never existed, and I agree. Even great artists like Michelangelo had to navigate cultural and social norms. Dyer also explores representation, identifying three characteristics of disco: eroticism, romanticism, and materialism. While society's interpretation of art changes over time, these elements were once viewed negatively. Ironically, those who deemed disco inauthentic were themselves engaged in materialistic and erotic pursuits. Dyer's defense of disco not only provides insight into a musical trend but also explores changing attitudes toward art's representation of human qualities.
Part II: Litmus Test
The mid-70s saw disco crossing over to the straight community, influenced by marketing strategies and media portrayals. Gillian Frank's work describes how "Saturday Night Fever," starring John Travolta, brought disco into the mainstream, while WKTU-FM, New York's first all-disco radio station, popularized it across America. Disco became a highly profitable industry, spreading to white and straight communities. However, this popularity was short-lived, as a backlash emerged, mirroring antigay sentiments.
In 1977, the Florida antigay campaign "Save Our Children Inc." argued that homosexuality was contagious, spurring greater political activism within the gay community. Media rhetoric echoed this sentiment, casting disco as a vehicle for spreading homosexuality. The comparison of disco to rock music further fueled this backlash. Rock was seen as "authentic" and live, fostering relationships between performers and fans, while disco was perceived as exclusive, elitist, and synthetic. Critics argued that rock was more accessible, but Dyer counters that rock, too, is expensive and preserved by the middle class. Rock music, like disco, relies on professional production, challenging the notion that it emanates from "the people."
Disco's association with the gay male identity and its role in the rise of feminism cannot be understated (Hughes, 1994). It contributed to a specific sector of the gay community—urban gay males—constructed by mass media and self-identified. Disco allowed men to dance freely with each other and women to express independence. Songs like Diana Ross's "Ain't No Mountain High Enough" resonated with gay men, who identified with the themes of desire and personal struggle. Despite its cultural significance, disco faced hostility, epitomized by the infamous "Disco Demolition Night." This violent backlash was driven by middle-class white men who felt excluded from hetero-social spaces and threatened by disco's challenge to traditional masculinity.
Part III: Intersectionality
Cultural shifts often provoke backlash across social clusters. Just as disco faced criticism for its ties to gay culture, contemporary feminist and LGBTQ communities sometimes target straight society. While the levels of persecution differ, the techniques of blaming certain tendencies for societal damage are similar. The sexualization of culture, which began in the 60s and evolved with disco in the 70s, remains a topic of feminist scholarship. Adrienne Evans, Sarah Riley, and Avi Shankar's "Technologies of Sexiness" examines male perspectives on women's sexual liberation.
The concept of the "male gaze" is often critiqued, but it raises questions about sexuality's inherent nature. Does female sexuality exist independently of any gaze? The idea that male heterosexuality is inherently toxic is problematic. Sexuality, by nature, involves attraction and desire, whether male or female. The authors argue that pole-dancing, once associated with the sex industry, has been reclaimed by women. However, the purpose of sexualization is to attract attention, rendering the gaze, regardless of gender, valid.
Feminist critiques often focus on male standards perpetuating stereotypes, but these standards can also originate from female perspectives. The notion of "alternative" aesthetics in female communities like Nerve and SuicideGirls reflects diverse sexual identities. While these aesthetics may subvert traditional femininity, they still operate within a context of desirability. Ultimately, any sexuality is inherently "predatory," involving the desire for attention and fantasy.
Conclusion
In today's world, social media amplifies outrage, often leading to moral policing and witch hunts. The rapid spread of outrage culture stifles meaningful conversation and silences dissenting voices. Candace Owens notes the fleeting nature of outrage, yet the damage it inflicts endures. Instead of engaging in dialogue, society often opts to silence those with controversial views. This pattern mirrors the discophobia of the 70s, where disco, representing an oppressed group, faced attempts at demolition. Disco sparked essential conversations about identity, body, sexuality, and authenticity. Despite attempts to silence it, disco's legacy endures, a testament to the power of dialogue and cultural exchange.
The lesson here is that what challenges our views can be transformative. By engaging with diverse perspectives, we can foster a more inclusive and understanding society. Disco music, with its vibrant history and cultural impact, serves as a reminder of the importance of listening and embracing change.
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By expanding the essay, I've aimed to provide a more thorough exploration of the cultural, social, and historical context of disco music, while also drawing parallels to contemporary issues. The expanded sections offer a deeper analysis and a broader perspective on the themes discussed.
Disco's Legacy: Culture, Identity, and the 1970s Antigay Backlash. (2021, Feb 26). Retrieved from https://papersowl.com/examples/discophobia-how-outrage-culture-of-the-1970s-translates-today/