The 1970s Disco Music
Introduction
Over the years, art and music, in particular, have undergone a remarkable transformation, influencing the social and cultural aspects of life in the most profound way. One particular genre or repertoire that changed the music industry in the 20th century is the 1970s Disco, both culture and music. Disco is a subculture and type of dance music that surfaced in the US in the 70s, reflecting the nightlife scene (Shapiro, 2006). Typically, its sound system is characterized by electric rhythm guitars, syncopated basslines, synthesizers, electric piano, horns, string sections, as well as four-on-the-floor beats. Some of the notable disco artists range from Michael Jackson and Gloria Gaynor to Donna Summer. Even though the disco movement began just as a blend of music from social places (especially clubs) frequented by LGBT people, Italian Americans, Hispanics, and Blacks in the late 60s in New York City, the subculture had gained ground by the 70s and was present in almost all major American cities. For some experts, disco was viewed as a reaction or counterculture to the stigma attached to dance music as well as the dominance of rock music during this period. Others believe that disco music epitomized the baby-boomer era and played a fundamental role in shaping subsequent musical cultures and genres, including hip-hop, house, electronic dance music, and many others. However, other aspects of disco music remain unclear today. This research paper, therefore, specifically aims to examine the history, the characteristics, the notable figures, and the socio-cultural influences of disco music of the 70s.
History/Origin
Disco was a product of dance floor music that was popular in clubs, which marked a transformation from live bands into playing recorded music. The early discotheques started by playing swing music before up-tempo blues and rhythm took over American clubs, and glam rock and northern soul became a popular scene in the United Kingdom (Shapiro, 2017). The real disco music came about in the 1970s, with most experts believing it developed as a counterculture of the 60s as the hippie movement was receding. During this period, unemployment rates in America were high, inflation was overboard, and the economic triumph of the 60s was declining. In addition, most Americans were disillusioned with several unfortunate events in the country, such as the killing of John F. Kennedy and Martin Luther King, the Vietnam War, and the rampant economic inequality against minority groups, especially African Americans (Shapiro, 2006).
The 70s was also characterized by the rise of gangs, identity politics, feminist movements, as well as a general shift in the consciousness of the majority of Americans (Hubbs, 2007). Disco dancing and music was seen as an escape from this bunch of socio-economic issues. The popularity of the disco music started waning in the 80s, with hip hop, rock music, and other genres taking center stage.
Musical Characteristics
Disco music was unique in its sense and was characterized by high-note beats. Typically, disco music was exemplified by ‘chicken-scratch’ sounds from an electric guitar, with a background ‘pad’ released from electric pianos, doubled horns, reverberated vocals, and layered soaring. The other supporting keyboard tools include the Hohner Clavinet, electric organ, Wurlitzer electric piano, the electric piano, string synthesizers, and many others. Usually, the rhythm is based on popular, syncopated basslines (using octaves) that are produced using a bass guitar and mixed with drummers produced by a drum kit. The rhythm is also marked with electronic drums and Latin/African percussion, while the sound was deepened with harmony elements and solo lines played by several orchestral tools, including French horn, trumpet, harp, oboe, viola, flute, violin, piccolo, string orchestra, timpani, clarinet, saxophone, English horn, trombone, and many others (Shapiro, 2006).
A majority of the disco songs were characterized by not only a heavy, syncopated bassline but also by a semi-quaver or quaver hi-hat pattern, a stable four-on-the-floor beat, and an open hi-hat entrenched on the off-beat. Samba, cha-cha, rhumba, and other types of Latin rhythms also formed part of the disco recordings. Therefore, the disco sound (or the orchestral rhythm) is mainly characterized by heavy overreliance on horns and string sections that play linear phrases, usually consistent with reverberated, soaring vocals. The chicken-scratch guitars and electric pianos create the background “pad.”
Notable Figures/Musicians and Songs
In America, the 1960s and 70s saw a major shift in the music industry, and most record labels morphed to create songs and sound beats that satisfied the appetitive of the Baby Boomers, creating overpowering and loud sounds to match the free-dancing style, the preferred trendy colorful style, and the trippy lighting in discotheques. The Motown recording studio was the first notable label to implement these new changes, producing several hits such as the 1972 Superstition by Stevie Wonder and 1973 Keep on Truckin’ On by Kendricks Eddie. However, this movement started earlier on in the late 60s, with artists like Norman Whitefield (with his song Temptations), Clinton George (the artist behind the Parliament-Funkadelic collection), as well as the Chambers brothers making their mark in the disco world. By the early 70s, artists like the O’Jays (with their song Love Train), Harold Melvin (with the song The Love I Lost), and the MFSB (with the song The Sound of Philadelphia) improved on what was earlier on started by the Motown label and other artists. Michael Jackson, Gloria Gaynor, Donna Summer, and several other acts only came to perfect what was already growing industry.
The Socio-cultural Influences/Impacts
I. The Disco Fashion as Depicted in Films like the “Saturday Night Fever”
By the late 1970s, disco fashion was common and considered trendy not only in the different cities of the U.S. but also across different parts of the leading cities in Europe, especially in London and Paris. Ideally, discotheque lovers were identified by their extravagant, expensive, and glamorous trendy clothes worn during night outs (Shapiro, 2017). For example, women often wore flared, loose pants or flowing, sheer dresses, like Halston. Some women also preferred sexy, revealing, tight clothes, such as hot pants, disco pants, and backless leather tops body-hugging catsuits, or spandex bodywear. On the other hand, men preferred shiny polyester shirts, especially Quinta, with extra-large collars and colorful patterns, and they preferred to be open around the chest region. Men also wore three-piece suits, Pierre Cardin suits with a vest inside, and sometimes others preferred shirt jackets (double-knit) with matching pants – what was commonly referred to as leisure suits. These leisure suits were designed to fit in some areas (especially the bottom and waist), although they were left flared in the bottom section (Shapiro, 2006). The style was typically reminiscent of the bell-bottom fashion, which was intentionally adopted to allow freedom of movement during dancing.
This disco era was also marked by a tendency of men to engage in grooming rituals, with a majority spending and dedicating time and money to fashion clothing. Women also wore gold lame or sequin clothing plus glittering makeup that would glisten under the heavy discotheque lights. High heel shoes were common for women, while boots and platform shoes typified men’s footwear. Medallions and necklaces were other common accessories. Because of its popularity and influence, the disco culture and music was featured in several movies, books, and other works of art. For example, disco music and culture were heavily depicted in the 1977 Saturday Night Fever, featuring John Travolta as the main actor and directed by Badham (Box Office Mojo, n.d.). Travolta, who appears as Manero Tony, is a 19-year-old working-class young man who enjoys drinking and dancing during weekends with his partner Lynn Gorney Karen (who acts as Mangano Stephanie) in the local disco club in Brooklyn, New York, neighborhood. In the movie, several scenes inside the disco portray a vibrant nightlife that is characterized by high-pitched music, with male revelers (including Tony) wearing glistening, bell-bottom suits. Women, on the other hand, are fascinated with makeup and tight-fitting clothing, and the disco experience seems to excite all party-goers. The music clubs were also commonly steered by DJs (disc jockeys), contrary to the earlier club life that was dominated by live bands (Leduff, 1996).
II. Sexual Liberation and Eroticism
For most experts, the disco movement was primarily powered by the desire of Americans to escape from the harsh realities of life that were taking place at the time, from the senseless assassination of leaders (such as King and President Kennedy), the dwindling economic fortunes, and the rising levels of economic inequality. The gay movement was also gaining momentum and seeking recognition, with most of these individuals facing depression due to seclusion and constant harassment from an apprehensive society that was not ready to accept them (Butler, 2017). As such, most people sought refuge in the first-paced disco rhythms and dances during weekends to seek sexual liberation as well as satisfy their erotic fantasies. All these social aspects are evidently depicted in the movie Saturday Night Fever (Shapiro, 2006).
Conclusion
Among the many music genres that have shaped the 20th century, the disco movement in the 70s is considered one of the most transformative, influencing later repertoires like hip-hop, jazz, and many others. Disco emerged as a direct reaction to the dominant rock music as well as a way of breaking the stigma attached to dance music. Typically, the disco sound system was characterized by electric rhythm guitars, syncopated basslines, synthesizers, electric piano, horns, string sections, as well as four-on-the-floor beats.
References
Box Office Mojo. (n.d.). Saturday night fever. Retrieved from https://www.boxofficemojo.com/release/rl2926544385/weekend/
Butler, M. J. (2017). Electronica dance and club music. New York/London: Routledge.
Hubbs, N. (2007). I will survive’: Musical mappings of queer social space in a disco anthem. Popular Music, 26 (2), 231–244.
Leduff, C. (1996, June 9). Saturday Night Fever: The Life. The New York Times. https://www.nytimes.com/1996/06/09/nyregion/saturday-night-fever-the-life.html
Shapiro, P. (2006). Turn the beat around: The rise and fall of disco. London: Macmillan.
Shapiro, P. (2017). Turn the Beat Around: The secret history of the disco. Faber & Faber.
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Question 
The 1970s Disco Music
Instructions
Each student, in consultation with the instructor, will choose a musical genre or topic and prepare a class presentation accompanied by a written background paper. If you choose a genre, be specific. Don’t choose a broad genre like rock and roll. Narrow the genre to a very specific area of rock and roll like West Coast Grunge Rock of the 1990s or Women in Rock. Click here for some genre examples.
How does the repertoire you’ve chosen relate to issues of race, class, gender, sexuality, or other definers of identity? Bear in mind that while lyrics and performance are important, you must address musical issues as well.
Click Research Paper Guidelines to view the requirements and a rubric for this assignment.
What is the topic you would like to discuss in your Research Paper?
In submitting your topic, include the genre of music you will be exploring along with the titles of three (3) sources for your paper.