Professors Name Disco

Professors Name


Mixing musical genres meant bringing people together who were dividedfrom one other. Disco even went a further by drawing people whoearlier on hadn’t been interested in music (Middleton 9). Discoprovided a novel way of dodging everyday struggles of life by goingto clubs and dancing to a music genre that did not put a lot ofemphasis on the lyrics of its songs. Disco provided that for thefirst time in the history modern music there was a genre that was notlistened to exclusively by Latinos, white’s or Blacks. Disco wasthus only confronted by those individuals who had objections of thisnew development (Middleton 9). Disco, with its message of having funwas a representation of hedonism for many. They were not entirelyincorrect, supported by the fact that a lot of clubbers indulged indrugs and had a lot of sexual activities on a typical Saturday night.Disco was more than just party music it was a way of expression forminorities like Latinos, blacks, women and gay men alike. Disco hadthe aptitude to generate a whole new prospect where music was createdspecifically for clubbers and endorsed exclusively in clubs(Middleton 20). Putting disco within the shifting of sexual andgender norms experienced during the 1970s discloses culturalexpressions of sexual ambiguity that were crucial in redefining thetraditional order of gender. The genre of disco opened up a space inwhich a range of sexual and gender identities were made possible(Morgan 20). Disco became a space in which the social world ofheterosexual, masculine aggressiveness and the female sexual apathy.It could be though all over in order to include practices such asandrogyny, homosexuality, and female sexual agency inside music thatitself mixed diverse cultural stimuli such as black R&ampB,orchestral strings, and Latin rhythms (Morgan 24).

What developed into the disco obsession of the 1970s started early inthe decade as a subversive scene denoted by a series of exclusiveclubs and house parties. The bulk of its membership made up of thegay and minority communities within New York City. Disco was definedby the inventive ways in which Disc Jockeys or DJs as they arecommonly known mixed a variety of danceable and enjoyable music. Thisdisco scene celebrated nonconformity with its embrace of musicalstyles that originated from the black community and the undergroundclub grid that served as the meeting locations of black expressiveand gay liberation culture (Goldman 49). By the mid-1970s, andtowards the end of the decade, the genre of disco evolved into anout-and-out phenomenon. Disco became an extensively widespreadentertainment and musical form with an extremely noticeable stylethat penetrated numerous aspects of American culture—fromtelevision to Hollywood, radio to toys, fashion, and even literature.The disco fad incorporated such an assortment of iconic names like asthe Bee Gees, Barry White, Grace Jones, Studio 54, the Hustle, andSaturday Night Fever. Disco went ahead became global culture (Goldman60).

Because of its extensive regard and heavy links to sexual freedom,the disco genre can impart upon us something substantial about ideasof sexuality and gender. The influence comes just at the height ofsuch movements as sexual revolution and women’s liberation.


Middleton,Richard. Studying Popular Music. Buckingham: Open University Press1990.

Morgan, Johnny.Disco. New York: Sterling, 2011

Goldman, Albert.Disco. New York: Hawthorn Books, 1978.