Send Email Cancel There have been many studies attempting to figure out just how music affects the human mind. For example, why do different people like different kinds of music, what parts of the brain are activated and if said parts are affected more or less by different kinds of music, and others. Some of these questions have remained unanswered, and might stay that way for a while.
Share via Email The Village People in Not that Naomi Campbell, Cameron Diaz and Donald "Disco" Trump wouldn't have enjoyed your company, I'm sure, but there are far less elitist, and far more accessible, ways of partying like it's virtually on your doorstep.
This summer NYC Downlow — the world's largest and the most outrageous, mobile homo-disco — will take up temporary home in an east London park as part of this year's annual Lovebox festival before packing up its glitterballs, wigs and turntables and making its way to spread joy and abandon to another unsuspecting part of the country.
Reconstructing a dilapidated New York tenement block, replete with leather daddies, disco freaks and acid-tongued trannies at the door — and all soundtracked by the most delicious disco cherries picked by the Horse Meat Disco boys — it's probably the easiest way to sense what it was actually like to attend one of the Lower East Side's hedonist hangouts of the nascent disco era.
It's also the perfect antidote to the kind of Woolworths disco that's sadly been embedded into much of our nation's consciousness. Now that is not what I call disco.
In its proud and glorious mids Manhattan heyday, disco was far more than that. It was a four-on-the-four bassline, euphoric strings, fierce cowbells and a soaring vocal straight out of the church and on to the dancefloor.
More importantly it created a place — or rather it soundtracked a space — outside the mainstream. A place where black, Hispanic, gay and any combination thereof could come together and dance, love and just be without fear. Early clubs such as David Mancuso's Loft and Nicky Siano's Gallery, now whispered about in reverential tones by true discophiles, were always so much more than the sum of their parts.
Detractors might have viewed its simplistic lyrics about love and togetherness as trite, but in truth they were acutely to the point — feel the love and let the music set you free. This wasn't a place where difference was just tolerated, it was actively celebrated.
And for the first time. Of course with music this warmly embracing and downright irresistible it's no surprise it didn't take long for the mainstream to want in. Once disco's doors were blown wide open, it soon became the broadest of all possible churches. Everyone wanted to join the party.
German synth-meister Giorgio Moroder's seminal recordings with Donna Summer rode on the back of the increasing sexual permissiveness of the decade. Their breakthrough hit "Love to Love You Baby" — 16 minutes-plus of a-moaning and groaning to a lushly pulsating backbeat that for the first time in pop history made sex sound, well, sexy — foregrounded disco's facility to put female sexual desire square centre of its open-house policy.
Disco's globe-conquering presence by the late 70s even meant the world's first openly, make that brazenly and fabulously, gay pop star — the late great Sylvester — could graduate out of San Francisco's drag ghettos and chart a private jet to the most exclusive stages of the world.
The message of love had spread out of New York's underground clubs and everyone from Abigail in Romford with a glass of Blue Nun in one hand and a Donna Summer inch in the other to a little gay boy growing up in Devon dancing to Diana Ross was bathing in the refracted glitterball glow.
Even as the songs sold in their millions, the original core message was always there: Inevitably as disco went to the masses, it felt it had to behave a little more respectably — or record moguls felt it did.
Take the Village People. When they sang about going in the bushes on their hit "Fire Island", they weren't suggesting a spot of late-night gardening. Just over a year later, grannies and children around the world were merrily contorting their limbs to "YMCA" while a heavily mustachioed biker man, a cop, half-naked Native American and cowboy, among others, were singing about hanging out with all the boys and no one batted an eyelid.
In retrospect there was a delicious Trojan horse element to it all, and even if the masses weren't completely clued-up — remember this was a time when people reckoned Freddie Mercury was heterosexual — it was pretty clear something a little queer was going on.
On one hand the Village People's cartoonish image sat seamlessly alongside other late disco mass-market mutations such as Disco Duck and Dolly Parton's "Baby I'm Burnin'". On the other, all this prancing about to throbbing beats, black people on the radio and women demanding sexual satisfaction was getting as much up some people's noses as cocaine on the Studio 54 dance floor.
Namely America's white male rock faithful who sat fuming on the sidelines as Led Zep and Black Sabbath were elbowed off the radio by the likes of Chic and the Bee Gees. The mass detonation of piles of vinyl on a baseball pitch may have been couched in anti-disco sentiment, but its infamous "Disco Sucks!
They called it the night that disco died but it wasn't. What it clearly did do was underline just how subversive disco's call for racial and sexual liberation truly was. What it didn't do was kill disco.
As anyone who's cocked half an ear to club music over the past three decades will tell you, disco didn't die — it simply changed its haircut, made a few new friends, occasionally popped the odd funny pill.What is the relevance of classical music in today's world? Answered by: Mychal, An Expert in the Classical Music - General Category In a world where rap, country, alternative and rock genres dominate the popular music charts, some may wonder if there is any room for classical music.
The most important music genres flourished in USA, mostly created through cultural mixes: hip-hop, blues, country, jazz, soul, rhythm and blues, pop, techno, rock American music weaves with social and cultural identity and issues of class, race, religion, language, geography, gender and sexuality.
May 15, · By incorporating hip-hop in academia, we can introduce young people in analyzing what they hear and allow them to become aware of the messages being transmitted through rap music. This could be a step toward changing the consciousness of young people passive listening toward rap music.
Sep 12, · Usually music appreciation classes involve some history lessons to explain why people of a certain era liked the music they did. University of Delaware: “This course is intended to expose you to a variety of music and musical experiences through . ABOUT THE AUTHOR(S) Daniel Yudkin is a doctoral candidate in social psychology at New York University and a jazz pianist.
He graduated from Williams College, was a Fellow at Harvard University. Here's a short history of the 11 most important songs in that long history — songs that show both the dark side of appropriation and the bright side of appreciation.
1. "Tutti Frutti" by Pat.