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THE IMPACT OF DIS ON THE GAY SUBCULTURE THE 1970S

Durg the early to mid-70s, gay rights advanced more quickly than had durg the prr two s bed; many stat, sodomy laws were repealed, and * discotheque gay 71 *

“Straight people were clumsy and had no rhythm, whereas gay men were right on. Manco’s crowd, which clud many gay men of lor, bellowed out the chos, refigurg the song’s addrsee as a new kd of Shore Commissn, ‘Free Man’ (1975)D. -led dance spac that were exclive to gay men — ually whe, middle-class gay men — started to open Manhattan late 1972.

Valento, ‘I Was Born This Way’ (1975)The first rerd to feature lyrics about beg an out-and-proud gay man me om the mil performer Charl “Valento” Harris, who released “I Was Born This Way” as an apparently one-off release on Gaiee. “I’m happy, I’m reee and I’m gay, ” the sger hollers over soulful stmentatn.

” “The lyrics were perfect, ” she told me Summer, ‘I Feel Love’ (1977)Gay male dance crowds were drawn to rerdgs that featured Black female volists, often intifyg wh their emotnal exprsivens and strength the face of adversy, often to the surprise of the artists, who were ually gospel-traed. A pneerg reprentative, Gloria Gaynor was crowned the first queen of dis by gay D.

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Patrick Cowley, ‘Mutant Man’ (1982)Patrick Cowley fed his reputatn as one of the world’s most progrsive synthizer players durg rerdgs wh the dis pneer Sylvter, cludg “You Make Me Feel (Mighty Real), ” perhaps the ultimate gay male anthem.

”A versn of this article appears prt on, Sectn D, Page 5 of the New York edn wh the headle: Sp Some Gay Dis. Dis and Gay Culture the 1970s.

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Durg the early to mid-70s, gay rights advanced more quickly than had durg the prr two s bed; many stat, sodomy laws were repealed, and many ci the Uned Stat, civil rights protectns for gay people were adopted. In addn, for the first time lbians and gay men who were open about their sexual orientatn succeed beg elected to public offic. Durg the entire era, the drivg beat of dis mic was the soundtrack for a new era gay awarens (Rose.

1. Mart H. Leve, Gay Macho (New York: New York Universy Prs, 1998), 53.2. Edmund Whe, Stat of Dire: Travels Gay Ameri (New York: Plume, 1980) * discotheque gay 71 *

) As a rult, the subculture that rived om the disthequ of the 1970s mt be regnized as some of the greatt proponents of civil rights for the gay and lbian muny. Above all, the culture of dis reprented a gay fashn style that allowed the gay muny to rist nformg to the stereotyp that had exclud them for s.

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) In hdsight, is clear that although many of the clubs were characterized by people dancg together while high on dgs, their actual signifince remas as ccial a player as any gay liberatn rally or group of protters for gay rights.

Clearly, the emergence of dis the 1970s had a tremendo cultural fluence the Uned Stat, and was exemplified by artists om Donna Summer to the Village People, both of them were extremely popular the urban gay culture New York Cy (Falner, 1973.

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) The mic self me at the ial time for a wi variety of people who had been on the margs, young people om the workg-class, many disenanchised groups, and as scribed, the gay muny. ) Although dis was ultimately a reviled form of mic, when surged out of the gay unrground clubs New York the early 1970s, the mic reprented the sound of people who wanted to dance, dance, dance, and blot out everythg but their bodi the beat (Robson, 2010.

) The mic rerced the self acceptance and pri of the newly emergg gay rights movement, when micians helped to velop the settgs for new clubs that had strobe lights, were driven by eedom to exprs sexual gtur and uplgs, and driven by people high on amyl nrate.

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article__ntent-hear"><div data-ttid="ContentHearContaer" class="ContentHearContaer-cGKRbE knDxNq"><div class="ContentHearHedAccredatnWrapper-GFiQf cDNVlV"><div data-ttid="ContentHearTleBlockWrapper" class="ContentHearTleBlockWrapper-cjmSKp ikebRK"><div data-ttid="ContentHearRubric" class="ContentHearRubricBlock-LmpbT hjnEYM"><div data-ttid="ContentHearRubricDateBlock" class="ContentHearRubricDateBlock-kAQcZP fTFWxD"><div class="RubricWrapper-dKmCNX iJOI bric ContentHearRubricContaer-eTudtt edKnIL"><span class="RubricName-fVtemz cLxcNi">The Seventi</span></div></div><div class="RubricWrapper-dKmCNX iJOI bric ContentHearRubricIssueDate-CuIT fFtVss"><span class="RubricName-fVtemz cLxcNi">Febary 2010 Issue</span></div></div><h1 data-ttid="ContentHearHed" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ContentHearHed-NCyCC iUEiRd HXZX gydgrM">Boogie Nights</h1></div><div class="ContentHearAccredatn-lfctVB etVsnJ ntent-hear__accredatn" data-ttid="ContentHearAccredatn"><div class="ContentHearDek-bIqFFZ fYeNbg">It beme known, and ultimately reviled, as Dis. But the mic that surged out of gay unrground New York clubs such as the Loft and 12 Wt the early 70s was the sound of those who wanted to dance, dance, dance—blottg out everythg but their bodi and the beat. The thor hears om Donna Summer, Ian Schrager, Gloria Gaynor, and others who helped create the strobe-l, sex-driven, amyl-nre-fueled scene, the phenomena of Stud 54 and <em>Saturday Night Fever,</em> and the songs that reverberated to a new lennium.</div><div class="ContentHearByle-kmPyCa emiglw"><div class="ContentHearByleContent-dpPmNn DRFq"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl ContentHearByl-cZqgyJ bHLeKI"><p class="ByleWrapper-jWHrLH jqYyWD byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd bIbWCO gnILss byle__preamble">By </span><a class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM ByleLk-gEnFiw iUEiRd kIEUAJ lddgzd eErqIx byle__name-lk button" href="/ntributor/lisa-robson">Lisa Robson</a></span></span></p></div><time data-ttid="ContentHearPublishDate" dateTime="2010-01-06T00:00:00-05:00" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ContentHearPublishDate-eIBicG iUEiRd bSlZUC cmPkTr">January 6, 2010</time></div></div></div></div><div class="ContentHearLeadAsset-hGbumP dDDxdb lead-asset ContentHearLeadAssetWrapper-hfXHEc Grck" data-ttid="ContentHearLeadAsset"><figure class="ContentHearLeadAssetContent-kOfYSG dRGWbI"><div class="ContentHearLeadAssetContentMedia-bLEIpi jjhWdS lead-asset__ntent__photo"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset ContentHearRponsiveAsset-bREgIb hONbnm"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz gRuyOg"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa ContentHearRponsiveAsset-bREgIb hONbnm rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w, 960w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w, 1920w, 2240w" siz="100vw"/><img alt="Image may nta Human and Person" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></div></div></span></div></figure></div></div></hear></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN diFyUH article-body__ntent"><div class="ActnBarWrapperContent-lasBkU cAHp"><div class="ActnBarWrapperComponent-cjwxLS bEeSLb"><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh izlawS viewport-monor-anchor"><button id="bookmark" aria-label="Save" class="ActnBarButton-dyFOZU foKBbl bookmark large-screen"><span class="ActnBarSendaryButtonPrimaryIn-isbvyN cAwccV bookmark-button-in"><svg class="in in-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Save this story.

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