Hello Class, This is your last blog posting. I attached a prompt along with a series of youtube.com links to songs. Please listen to the songs and answer the prompt. Due Monday Dec 16th. Ashe, omar
Music has been said to be a universal love language capable of bringing together a range of communities. This is certainly true of disco music in the queer community, especially before and during the rise of the AIDS crisis. This coupled with a universally shared common ground, such as the dance floor (no pun intended), breaded the perfect terrain for freedom of expression, love, and acceptance. Best of all, little to no verbal exchange was required; all communication was executed through the body. As made evident throughout the various music videos, films–including Joseph Lovett’s Gay Sex in the 70s and Robin Campillo’s Beats Per Minute–as well as the Pose episode that we watched in class, the dance floor was the central locus of counterculture and urban subculture. While the dance floor is a location where the LGBTQ communities has been historically targeted by hate and state-motivated repression and violence, such as the police raids of the 1980s and Pulse shooting of 2016, the dance floor is also one of the many ways in which the LGBTQ communities have resisted: “Only when we are dance, fuck, or resist are we truly alive.”
By the same token, at the height of the AIDS crisis, the dance floor symbolized a sense of hope and community. At an age where the disease was claiming the lives of friends, family, and loved ones at unprecedented rates, the dance floor was the only material possession that remained a constant. As illustrated in Lovett’s film, the discotheque was a trademark that was carried on long after the Sexual Revolution began to halt as a result of more nationally-held conservative views. According to the film, it was one of the many places where queer folk gathered without fear of judgement and where potential sexual partners surfaced by the dozens. Marked by its upbeat and untethered nature, the music of the discotheque set the mood for an entire generation, despite loss, grief, and government negligence that significantly contributed to the demise of thousands of individuals. Based on my own experiences with the genre, it was a wholesome and refreshing experience to have Profe Gonzalez open the class with some of the epochs’ most popular tunes. Whether is was the iconic sounds of Sylvester, Madonna, or Dead or Alive blasting through the classroom speakers, I never not felt myself releasing the stressors of the day.
After listening to all of the songs and watching films in lecture, like Gay Sex in the 70’s and 120 Beats Per Minute, it has become very evident why the dance floor had become such a vital part of life to the LGBT community during the peak of the AIDS crisis. I think it’s very important to first start off by noting that music is one of the most beautiful ways to connect with other human beings regardless of race, class, sexuality, religion, etc. Music has always served as the glue that brings individuals together and ultimately creates communities. Of course, music has the power to make us feel seen, make us feel united, and makes us feel hopeful. This powerful feeling is further explored when one is on the dance floor.
The first five songs that were provided to us that were released pre-epidemic era are so lively. The lyrics, the beat, the rhythm, it all allowed individuals to live their life freely; and to fuck freely without being scared of death being the consequence. Considering that the LGBT community was extremely marginalized during the 70’s, the pre-epidemic music literally opened up a dance floor for individuals to come together as one and live as themselves. Similarly, the music that was released during and after the epidemic created a dance floor where individuals could unite on the basis of fear and tragedy. Considering that HIV/AIDS had become an epidemic and had taken the lives of thousands, music had served as a way for people to build community, become distracted (even if for a night), feel hope, and heal. Hence, music and the dance floor became a vital part of creating community and healing the community during the peak of the AIDS crisis.
Even for myself, I felt the rush, the pain, and the beauty of life in listening to these songs that were released decades before I was even born. Certain songs made me feel sad, but most of them made me want to just… dance. And I think that was the point because “only when we dance, fuck or resist are we truly alive.”
Across cultures, the dance floor has served as a space for ultimate freedom and expression, this haven carries a heightened cultural significance for the LGBTQIA+ community. While everyone can understand the exhilarating feeling of letting loose on a dance floor, this euphoria is heightened for a group who’s identity has been criminalized and completely pushed to the margins. In the pilot episode of the groundbreaking series, Pose, Blanca is teaching her newly acquired protege Damon about the importance of ballroom culture, “Balls are a gathering of people who are not welcome to gather anywhere else, a celebration of a life that the rest of the world does not deem worthy of celebration” (Pose). While ball is a subculture of the LGBTQIA+ community, this sentiment perfectly sums up the liberation felt on the dancefloor as well as the critical need for such a space. Blanca’s statement is a testament to what meeting on the dancefloor meant, an affirmation in sacred community without having to explain yourself. It’s critical to note that due to the freedom these spaces brought to LGBTQIA+ communities, these dance floor havens were also under constant attack, typically by the state. In Gay Sex in the 1970s they talk about the police raids they were met with and we can reflect on how the few spaces we have for us continue to be under attack, considering the Pulse Nightclub massacre that took place in 2016. Reflecting on the community formed and cultivated on the dance floor by LGBTQIA+ folks in the ‘70s, ‘80s, and ‘90s, it’s without a doubt the comfort and flood of emotions the dance floor and disco played at the peak of the AIDS crisis. The dance floor became a place of release during a time of such grief. Folks were able to escape, even if for a few hours, and feel alive under the light of the disco ball.
The dance floor to the gay community is something that is very important to us and was especially important during the peak of the AIDS crisis. Gay Sex in the 70s talks about the period after Stonewall and before the AIDS epidemic. This was seen as a time of liberation and freedom for many gay people. Before 1969, folks were isolated and criminalized and there was no term to describe this sexuality. This time period is euphoric because people got to be unapologetically themselves; having sex in trucks, bars, clubs, etc. The AIDS epidemic put a hold to that because the countless of deaths that gay people went through. There was also a lot of stigma and nothing was being done until protestors and organizations like ACT UP protested. The dance floor, however, has always remained euphoric and a place for love and pleasure. Many of the songs during this time talk about love and pleasure throughout the 70s, 80s, and 90s. The upbeat tempo, dance music is a space for LGBTQ+ people to be unapologetically ourselves. AIDS is constantly stigmatized. Once a person says they’re a sexuality other than straight, they are reduced to their sexuality. Once a person says their status, they are reduced to their status. The dance floor, however, is a place where we are all people and don’t have to face these stigmas. The music is constantly euphoric even during the AIDS crisis because the dance floor understands that everyone deserves pleasure and the ability to enjoy themselves regardless of status. The music video that seemed to have the most reference to queerness is “My Heart Goes Bang” by Dead or Alive. The handkercief is representative of gay pleasure signifying what one’s sexual desires are. One of the lyrics “Doctor, doctor, give me the cure” could reference the AIDS epidemic and gay people wanting a cure. Another lyric that is significant is Rozalla’s “Everybody’s Free” “When everyone's sharing their hope / Then love will win through.” This made me think of the community and relationships that many gay people made during the AIDS epidemic. In the outside world, there is a stigma that surrounds queer people and especially those who are positive. In the dance floor, we have our humanity, are reminded of our right to love and seek pleasure, and are away from the forces that strip us down to our sexuality/status.
Sounds are all around us, from birds chirping and waves lapping against a coastline to cars honking in traffic. But sometimes sounds are put together in purposeful ways to create a specific atmosphere or to express ideas or emotions. Such organized sounds are called music. Almost every human culture has a tradition of making music. Music is made of sounds, vibrations, and silent moments, and it doesn't always have to be pleasant or pretty. It can be used to convey a whole range of experiences, environments, and emotions. When I heard a song, I can be transported back on time, a time where it makes me remember my grandmother making her favorite dish, a holiday or a pleasant time in my childhood. When I heard 70’s music, for me has a special meaning, it was a time of discovery, a time when I first discovered sex. After listening Lucky by the Queen of Disco Donna Summers, ONLY Miss Donna Summer could have interpreted this song. The lyrics are haunting about wanting to be loved, looking for love and taking a ride with a stranger for love even for one night. Whether it is Silvester, or Donna Summer, New Order, Black box Rozalla or Dee-Lite. it was all magical to get lost on the dance floor. As I listened to the 1980’s or 90’s music it takes me back to my go go dancing at Studio one. The drugs, the alcohol as I dance to High Energy by Evelyn Thomas makes me escape my struggles I was fighting. Reflecting, on the importance of the dance floor in the LGBTQ community, particularly during the peak of the AIDS crisis. I could get lost to the lyrics of Rozalla, ‘Everybody is Free’. Together like sisters, we’ll make it through. Right around when this song was playing on the radio, the dancefloor symbolized a sense of hope and community. At that time when this disease has claimed many boyfriends and friends, the dance floor was the only refugee, I had, the underground after-hours parties were the only place I had to escape the devastation of this epidemic. I don't understand for the life of me how this type of music just faded away after the '90s and all that's left is underground artists. The garbage they have in the clubs now is the reason why I have not to step foot into a nightclub for over 10 years now. Hell, the party atmosphere back in the ’80s and '90s was cool compared to now with heavy drugs and violence (rap clubs). I am glad I am old enough to have been on the scene when many of these artists were played in the clubs!!!
After watching Gay Sex in the 70s and watching the videos and films in class, reflect on the importance of the dance floor in the LGBTQ community, particularly during the peak of the AIDS crisis.
The dance floor means nothing if there is no music or people dancing on it. These two elements transform the dance floor into a safe space for individuals to get lost in the music and figure out the rhythm as they carelessly dance to the beat. Music brings people with similar tastes and preferences; once on the dancefloor, there’s this energy that unites these people and makes the space feel comfortable and liberating. Using the knowledge that the film Gay Sex in the 70’s taught me, I see that the 70’s was indeed a careless era for gay men in the sense that they cruised at all times and because the HIV/AIDS epidemic had not been heard of and/or had not been given much attention when mentioned. There was so much sex and such a lively environment amongst a conservative American society of its time. As I listened to the songs during the 1970’s, or the Pre-Epidemic, I noticed that there seemed to be a calm attitude in every song and even though they sang from the heart and their voices paired beautifully with the rhythm of the song, the contrast in the intensity of the voices from the 1970's and 1980’s is elevated. In other words, I feel that the music that I listened to that were from the 1980’s sang with more passion, almost screaming, but still with that angelic feel that makes our hairs stand up because of their talent. This intensity is felt by the people listening to the music and this power of music is expressed in the way the people danced to these songs, it almost feels like the higher the pitch and the more unique the voice, the more reasons the audience has to live- live carelessly. I think my favorite one from the 1980’s is Living on Video just because I feel like I enjoyed the voice more and the underlying theme about using technology as a metaphor for not living according to societal standards really struck me as a powerful message for its time. As I travel back in time through the power of the songs from the 1990’s, I admire the works of artists like Kristine W. whose lyrics from the song Feel What You Want go with what Omar described the era to be that they’re truly/only alive when they dance, fuck, or resist. To me, Kritine’s lyrics particularly, “Feel it, feel it/ Go ahead now go/ Well, you just feel what you want it to be”(1994) feels like she is encouraging the people who have had to bury their partners, their family, their friends, their neighbors, etc to not let their tragic deaths tear them down, to not get lost in the misery of this world; but rather to look at the beauty of life and cling on to the happiness that surrounds them.
After watching Gay Sex in the 70s and the additional videos and films in class, the importance of the dance floor is shown time and time again as a space of liberation from the world that looks to oppress those that are dancing on it. The Dance floor symbolism home for some people within the LGBTQ space. Giving off a sense of community and being connected to bigger picture. Everyone letting go of all the emotion they have built up and simply just moving to the beat freely. The Dance floor within any of the films we watched depicted this sense of freedom and liberation that came with the dance floor. Characters would transform out of their shells, and become their actual selves. It was always the moment of purity within these films because the dance floor allowed these characters to fully embrace themselves and those around them.
During the portion of listening to the 70's music, you can really hear through each music video and song this sense of an upbeat attitude. In a way expressing the freedom that was felt during the time. This intersection of time was liberated and expressive, you can really here it throught the melodies and beats. As we move onto the 80's songs, I really felt as if these songs were much darker in tone. I know this would be likely the case because of the AIDS epedemic that occured during the Reagan Adminstration in the 80's. While listening to the songs I really could feel the pain within the beats and the change of tone from the 70's. The music definetly wasnt as upbeat as it was in the 70's. Though what I did notice about the 80's music specifically is that it really encompassed what society and the political climate was during the time. How the artist were dressed really symbolized the time as well of course. Though the tone of voice used in each song also indicated what I believe to be the feeling during the time. A feeling of grasping the terrible things that were going on at the time. Now brininging it to the 90's, this was the one of I loved the most personally. It just seemed so happy and freeing compared to the 80's. It seems that songs became way more about uplifting energy and just having fun. I think the 90's was truly a time of liberation for the communities at large. I can only imagine what the dance floors looked liked at the time, I would imagine everyone on the dance floor having a good time smiling. This time is especially important because it occurs after the aids epedmic started in the 80's. You can really feel and hear the shift in mood.
All the films we watched in class made sure to allocate screen time for the dance floor. Gay Sex in the 70s does a good job presenting the dance floor during the party before the storm and when the dead are burying the living. When clubs were climbing to the top in New York, it gave the LGBTQ community a place to be themselves. Before 1969, it is described that gay men hid their sexual life from many people, including family members because they would disown them (14:30). The gay community did not have information to even possibly further explore their sexual interests because they were isolated. The available pornography, scientific literature, magazines and everything else revolved around heterosexuals. Luckily, the club scene was introduced and “it went from, truly, repression to celebration” (19:17). Ultimately, the dance floor provided an “enormous feeling of brotherhood when [they] were on the dance floor” (53:05). Dance floors brought different races together were they had the opportunity to dance all night, fuck all night, or do both (42:00). Once the uninvited guest arrives, BMP (Beats Per Minute) presents the role of the dance floor during the time the peak of the AIDS crisis. Near the end of the film, Nathan is on the dance floor after his boyfriend, Sean, died of AIDS. As Nathan continues to dance, the room gets darker and the music faints away. The dance floor was an escape for the LGBTQ community, it allowed them to forget about the crisis off the dance floor. Although deep inside, they are truly alone like the film depicts with Nathan. Finally, Gay Sex in the 70s illustrates the dead burying the living. Just how the dance floor brought many sex opportunities, it also, unfortunately, brought costs. Joe Lovett describes a moment when he was about to have an orgy with the men of his dreams, but his lover told him they were not going to participate, so, they left. Some five years later, most or all of those men from the orgy had died. Lovett’s experience shows how they were all in the same room with the uninvited guest and it had already planned to bury those in the room.
Watching Gay Sex in the 70’s and watching the videos and films in the class, I learned about the magnitude of significance that the dance floor holds for the LGBTQ community. The dance floor holds so much meaning because of the way it is liberating. After centuries of repression and hate directed towards them, the LGBTQ community found a safe space on the dance floor. A place where they can be fully themselves and express and enjoy love without the same repercussions found in the outside world. Sylvester, an iconic star for many gay men of color, expresses himself freely in his lyrics and music videos. His music is so upbeat and full of love and this kind of music filled the dance floors during these years. During a time when the pain infiltrating the community was so extreme, to have a space like the dance floor full of disco music was so freeing. Rozalla’s Everybody’s Free (To Feel Good) embodies this energy because as her lyrics emphasize how all should have the liberty to feel good and to enjoy. This song is joyful and I can imagine how during this time, the LGBT community would dance and feel a sence of liberation to feel and love without so much hatred being directed towards them. When she sings, “I know you’ve been hurting” she pulls on my heartstrings because it makes me think of how much pain and suffering so many felt when so many around them and they themselves were affected by HIV/AIDS. It is almost as if in this song she, acknowledges the pain they experience and offers them the freedom of comfort to enjoy her music and just dance and “feel good.” Similarly, in Gay Sex in the 70’s the cruising and sex happened so freely and it was a moment of liberation from a long history of repression, homophobia, and hatred.
The dance floor appears to be of high importance for the LGBTQ community, particularly during the peak of the AIDS crisis, as reflected in the documentary Gay Sex in the 70s (directed by Joseph Lovett) and the multiple songs provided from the 1970s-1990s. The dance floor appeared to provide relief to the LGBTQ community who was fighting a dual oppression because of their homosexuality and the AIDS epidemic. In other words, the dance floor appeared to be a safe place for homosexual individuals because they were able to freely express what it truly meant to possess a queer identity-that is, these individuals were able to freely express their gender and sexuality when united together on the dance floor. Sylvester was a remarkable and notable African American singer and songwriter who helped consolidate and reinforce the interconnection between the dance floor and the LGBTQ community. Sylvester’s well-know song “You Make Me Feel” helped to reconsolidate the importance of transcending and rising above all of the hate and prejudice that is unique to the LGBTQ community, as it helped to empower many homosexual individuals (especially during the AIDS epidemic). The legacy during Sylvester’s short life (41 years) is truly remarkable as he “personified uniqueness at a time when individuality was not always tolerated, let alone accepted or appreciated. Sylvester forged his own path, along which many of us continue to travel” (Pendarvis 2017). Sylvester was one of the many musical artists who helped empower the LGBTQ community to transcend problems unique to their identities and experiences, as people dealing with illness, discrimination, prejudice, etc. Many of the most influential musical artists during the 1970-1990’s were: Debbie Jacobs, Evelyn Thomas, Rozalla, and many more who truly helped to uplift the negative emotions experienced by the LGBTQ community by drawing them to the dance floor to restore their strength, freedom, and empowerment over themselves (that is far away from the prejudice towards them created by the predominantly heterosexual community). The dance floor created a safe space for everyone from the LGBTQ community, that is, it created “a space to be who you were, dress how you wanted to dress, fuck who you wanted to fuck, dance how you wanted to dance” (Shepard 2017). John Rechy’s The Coming of the Night, discussed the importance of music to homosexual individuals on the dance floor stating, “The stuff they played in gay bars said something, really told it, knew what it was all about” (Rechy 6). Additionally, Joseph Lovett’s Gay Sex in the 70s and Robin Campillo’s 120 Beats per Minute showed how the dance floor payed a central part in the lives of the LGBTQ community because it provided a sense of community and unification. The dance floor (and the music that accompanies it) allowed many homosexual individuals to break free from the compulsory heterosexuality that was imposed on them by society, and thus permitted these individuals to seek refuge in a place that was free from strict judgement by the predominately heterosexual community. Works Cited: Pendarvis, Rayceen. “The Legacy of Sylvester.” EFNIKS.com, EFNIKS.com, 5 July 2017, efniks.com/the-deep-dive-pages/2017/7/5/the-legacy-of-sylvester. Shepard, Sultan. “Dance Music Owes Everything to the LGBTQ Community of Color.” Medium, Cuepoint, 3 Oct. 2017, medium.com/cuepoint/dance-music- owes-everything-to-the-lgbtq-community-of-color-33e88dc58cde.
During the 1970s (Pre-Epidemic), the music was used as a form of expressing one’s passion and sexuality. For example, in the song, “Don’t You Want My Love” by Debbie Jacobs and “You Make Me Feel (Mighty Real)” by Sylvester, can both be interpreted as a declaration of one’s sexual attraction to others. In Sylvester’s lyrics he says, “And I feel like I need some more, and I feel your body close to mine…. You make me feel mighty real”. Sylvester is unapologetic about his feelings for men. Which can be seen throughout the song. On the other hand, France Joli song, “Come To Me”, demonstrates the urge for one’s love, when Joli says, “ I'm a lonely man…Living in a world of dreams…I've got everything…But the one thing that I really need…I’ll give you all the love you need”. The only think the lonely man is urging for is love. During this time is history gay men were unapologetic about being gay because they were free to have sexy and love whoever they wanted too. However, little did they know that their love for sex would have a painful consequence. During the 1980s, the music within the gay community had drastically change. This change was cause by aids, which hit the gay community during the 1980’s. However, since a few individual did know about the consequences, their sexual behavior slightly changed. For example, in the song, “My Heart Goes Bang(Get Me To The Doctor)”, when Dead Or Alive say, “ The other night a good friend told me…Never let my heart fall into carless hands….The doctor had me tested….Doctor doctor give me the cure”. This shows that some people did know about the aid’s epidemic, and that some did warn others, but most people weren’t ready to give up sex. This idea of people being dubious about sex is also seen in Madonna’s song, “Burning Up”, when she says, “You’re always closing your door…I’m not blind and I know…That you want to want me but you can’t let go”. The way I interpreted this song, was that she was insisting for the love of a man diagnosed with aids, who spared her by rejecting her even though he was also attracted to her. During this era people became more aware, and the music sure reflected it.
However, during the 1990s (Post-Epidemic/The burial) music took a dark turn. During this time many individuals had already died or cared for someone diagnosed with Aid’s. For example, in the song, “ Devotion” by Nomad, they say, “ Cause a frightnin’ nightmare can terrorizes… Open your eyes and realize I’m a true disguise ..like a hawk the slayer he came and quartered …Maggie came but now she’s slaughtered”. The lyrics of this song are extremely poetic and descriptive. The song is urging for aids awareness, because many have died, and many will continue to die. However, in the song, “Runaway” by Deee-Lite, she introduces the idea that many individuals have come to terms with death. In the song she says, “I’m finally ready to let go…Let’s go, let’s go, let’s go…..release me from the pain…and let me feel no shame …lets go free”, which I interpreted as people coming to terms with death.
As aids became more present in the gay community; the music within the community became more political and informative.
After watching Gay Sex in the 70s, Beats Per Minute, and listening to the songs, it is evident that the dance floor is a significant aspect of the LGBTQ+ community. For many queer people, the dance floor and clubs were a sanctuary where they could all get together and express themselves. Prior to the AIDs epidemic, in the 1970s men and women were walking and having casual sex. This is often reflected in the songs such as Debbie Jacobs’ “Don’t You Want My Love” and Sylvester’s “You Make Me Feel (Mighty Real)” where there is often a reference to desiring the person. Sylvester states “Still you're hot and you kiss me back and it/ Feels real good and I know you love me/ Like you should.” We see that there is a lot of passion and free love in this song and Gay Sex in the 70s also talks about how everyone was having sex with out thinking about the repercussions of their actions because at the time there was no AIDs epidemic in the United States. One can see how this music became popular in the dance club especially when there is little to no communication.
During the 1980s, we begin to see how AIDs was destroying the old way of life in the gay community as many members begin to get sick from this “unknown disease”. We see this demonstrated in Dead or Alive's “My Heart Goes Bang” as the lead singer sings “Doctor put me to the test/ I heard that your lovin’ is the best.” This could be a reference to the AIDs epidemic that began to take hold of the community during the 80s. Moreover, New Order’s “Blue Monday” has an eerie aura to the song especially because it keeps referring to the person not wanting to tell them something that they have, which can also be referring to AIDs. We see that there is a shift from loving everyone to almost being somewhat skeptical about the person before they fall in love. We see the dancing and cruising in BPM at the dance club. It was often after a protest and seemed as if it was a way for everyone to release their anger to the lack of action from the government and drug companies.
In the 1990s, we see that there have been thousands of LGBT members that have passed away from AIDs. While many members were left distraught and mourning from friends and lover who passed away, there were those who sought to spread knowledge about the AIDs epidemic. Not only was this information spread through ACT UP campaigns and protests, the Deee-Lite’s song “Runaway” explains that “Release me from the cage/ Free me from the Pain/ And let me feel no shame.” I believe this song is referring to the stigma surrounding AIDs and how many people thought that only people who are LGBT could get the disease. By this time, AIDs was well-known in the community and people within the community were trying to destigmatize their community and AIDs. The songs are still somewhat depressing because the first HIV treatments were not released until 1987 and the standard we have today was not released until 1997. This means that there was still a lot of people who were diagnosed but may not have been able to afford treatment and those who had succumbed to the disease right before the first treatments were released.
After watching Gay Sex in the 70s and watching the videos and films in class, reflect on the importance of the dance floor in the LGBTQ community, particularly during the peak of the AIDS crisis. 300-400 words. It was already hinted enough at the beginning of this class with the disco ball and music that one of the ways we would explore and become acquainted with the queer community from the 20th century was through the dance floor. Even after the AIDS crisis ravaged the queer community and stirred fear and tragedy it remained a constant, as a place where many thought their true selves lived on and they could remember those that had passed. But on the other hand, it also served as a constant reminder of the epidemic and the effects it had on the queer population. The film Gay Sex in the 70s shows just deeply engrained dance floors across the country were with the queer subculture grew, the same one that only a decade later would be subject to scrutiny and hatred. Songs from the 80s show this community that could not even live freely still remained bonded through music. Later on, as HIV became the epidemic that sparked fearmongering in cities nationwide and ushered in a new era for the queer community, the music that arose from that period found renowned importance as a common factor between gay communities to find hope and unite against the virus. Even if many still went to clubs to indulge in just small moment where queer men could feel free to be themselves, at the height of the AIDs crisis, the clubs were a place where they could at least be seen and reminded that there were others still willing to endure and live on. Objectively, it’s easy to see that at the very least clubs and dance floors were crucial for recruiting in order to garner support and awareness for the movement in search of AIDs treatment. Later on, those same men who frequented those clubs and even had the virus themselves would become crucial figures in the ACT UP movement.
It seems like the dance floor for the gay community acts as a space for community building. When there is no one to turn to at home, queer folks seek out each other to build families that they have never had. This kinship is forged through music and dancing. Additionally, this is the opportunity for people to explore their sexuality. The dance floor is a sexualized space that welcomes promiscuity. This open promiscuity gives dances the opportunity to test out a part of themselves that they have suppressed. The release of these suppressed desires is a defining feature of the disco dance floor. Members are able to take pride in who they are through the music that they dance to, and are also able to discover what it means to be who they are by exploring their sexuality with dance floor members. The music that is played for queer dance floors sing of passion of fulfillment. These songs resonant with the dancer who’ve been denied access to a part of themselves; with the passion of the music, the spirit of the dance floor, and the curiosity imbued in the dancers, the dance floor because a site of exploration, discovery, and community building. Unfortunately, the presence of the dance floor acted as a double-edged blade. While it was a site of exploration and discovery, it also facilitated the spread of AIDS/HIV because of the sexual activity that it encouraged. Sexually active sites, like the dance floor, became a site of danger rather than a site of discovery. However, community building on the dance floor still took place after the onset of HIV/AIDS. Like from our first class meeting, family members made on the dance floor slowly faded from your inner circle because of HIV/AIDS. The dance floor is a space where family is made, but also serves as a constant reminder of what is lost.
Music is transformative; it heightens feelings and changes moods, be it positive or negative. When thinking about the LGBTQ+ community and the importance of the dance floor, I think about BPM. At the end of the film when ACT UP scatter’s Sean’s ashes at the pharmacy’s conference, the film intertwines sex, activism, and the dance floor in a montage. The montage starts with Sean’s ashes being scattered and then switches to Nathan having sex with a new man and the confused feelings he has about that. Slowly the montage becomes darker, and there’s flashes that show everyone on the dance floor at the very end. This scene highlights the importance of the dance floor in the LGBTQ+ community, because even amidst all the death from the HIV/AIDS crisis, there had to some form of joy and comfort. When news of Sean’s death reaches other ACT UP members, they all come to comfort Nathan and Sean’s mother. Nathan and Sean met through ACT UP, and after the loss of Sean, Nathan’s support system is ACT UP, and it is also ACT UP that he ends up on the dance floor with. At the peak of the AIDS crisis, with so much death around everyone’s life, community was strengthened and despite everything, life continues, and there is some happiness, even if it is a temporary event on the dance floor. Pose also echoes this sentiment with Pray Tell. Despite his partner in hospice, Pray continues his work at the ballroom, because the place is community for so many others. Pray also plays the same song over and over, because it brings back good memories; it places him in a time where he didn’t know so much death and drugs. Furthermore, the event he puts on for his partner and the other patients, is also centered around music. Music brought joy to so many, when it was needed most.
When it came to music surrounding the time of the AIDS crisis, it is as if the queer community had music to fall back on when they did not have much else. Almost all of this music was upbeat, meant to be danced to, with lyrics that the queer community was able to relate to. Most of the music was also made by either queer artists, closeted at the time or not, or by divas who resonated with queer individuals. These individuals were able to inspire a generation to live their lives how they truly are, as well as inspire those to keep on living as much as possible even if they knew that they did not have much time left. When it came to the dance floor, its importance to the queer community was like it was some sort of reminder of their life, to live in the moment and enjoy themselves for the time being, while also being a reminder as if the dance floor is one of the few things that is keeping them alive. Like we saw in BPM, their dancing at the end after the death of the main character was as if they were dancing for the sake of knowing that they are alive. The dance seems somewhat rehearsed, somewhat forced, further reinforcing the idea that dancing meant life, and that once you can no longer dance that it has all come to an end, eerily similar to the ACT UP slogan of “Silence=Death, Action=Life.” While listening through the list of songs, one can hear the shift in tone as you move through the decades: the change in pace, the change in passion and intensity, all reflecting the times from the queer community living liberated, to the times were they were living afraid, living a life of struggles and fighting, to the point where once again they were able to once again feel some sort of liberation.
The dance floor is a space away from any conceptions of pain or loss, it is a metaphorical "safe space." Prior to the epidemic, the dance floors were very symbolic of sexual liberation as concerns for any potential diseases were unforeseen. During this time, liberation manifested in love-making and dancing without second thoughts or fear. The theme of liberation slowly transitioned into empowerment for the community as the "uninvited guest" began to greet friends and family members and a huge loss hit the community. As the disease continued to take bodies, people who became sick would no longer come to the dance floors and those who were not affected by the fatigue yet or at all danced for their lovers and friends. As Prey Tell says, people remained living in joy and love despite loss. Music from this era intensified with the 80s rhythm of techno but also in reflection of the need for activism and empowerment. In terms of what the dance floor looked like during the 80s, the video that struck me the most was actually the ending scene from BPM when despite all the loss faced, all of the activists join to dance together. While ACT UP activism was occurring and meds still were not being distributed, the dance floor became a space free of fear. After the 80s era songs like Strike It Up by Black Box came out that were even more empowering. The high energy of music during this time projected a message to the world that those previously affected by the disease through loss or personally still exist and are stronger. Rozalla's Everybody's Free is very reflective in this message of solidarity as she says "brother and sister together we will make it through." Crystal Waters brings back the pre-epidemic party theme with her song In De Gettho as she ushers in the care-free liberation of the dance floor.
Following years of repressed emotions and discrimination, the LGBT community found energy and solace on the dance floor where they freely express themselves however they wish. After finally being able to step out into society and reclaim their identities following the 60s, the 70s allowed for gay men to freely interact with one another with little to no consequences.The documentary, “Gay Sex in the 70s” depicts how freely and open gay men started to express themselves; no more hiding in the closet for them, it was time to bring out this repressed energy in the streets and on the dancefloor. The music at the time, often embraced sexuality and femininity, which often spoke out to LGBT community who no longer needed to repress their inner selves and break free of the masculinr facade. Thankfully, music and the dancefloor became a safe space for men to not only dance and express themselves, but to interact with other gay men and have sex. During the peak of the AIDs crisis, music became even more important to the gay community because it was either used to bring them energy and liveliness during those dark moments, or it was used to express their feelings of isolation and discrimination. The film, BPM (Beats Per Minute), beautifully depicted the latter throughout the movie as it showed how no matter how upset or drained the ACT UP activists felt, they always returned to the dance floors where they can express their sexuality or dance their frustrations away. Away from the all the death, the dancefloors gave gay men a whole new meaning and reason to live, as the high energy music brought people to life and continued the need for sexual desire that is relfected in the music of Madonna and Dead or Alive.
Music has been said to be a universal love language capable of bringing together a range of communities. This is certainly true of disco music in the queer community, especially before and during the rise of the AIDS crisis. This coupled with a universally shared common ground, such as the dance floor (no pun intended), breaded the perfect terrain for freedom of expression, love, and acceptance. Best of all, little to no verbal exchange was required; all communication was executed through the body. As made evident throughout the various music videos, films–including Joseph Lovett’s Gay Sex in the 70s and Robin Campillo’s Beats Per Minute–as well as the Pose episode that we watched in class, the dance floor was the central locus of counterculture and urban subculture. While the dance floor is a location where the LGBTQ communities has been historically targeted by hate and state-motivated repression and violence, such as the police raids of the 1980s and Pulse shooting of 2016, the dance floor is also one of the many ways in which the LGBTQ communities have resisted: “Only when we are dance, fuck, or resist are we truly alive.”
ReplyDeleteBy the same token, at the height of the AIDS crisis, the dance floor symbolized a sense of hope and community. At an age where the disease was claiming the lives of friends, family, and loved ones at unprecedented rates, the dance floor was the only material possession that remained a constant. As illustrated in Lovett’s film, the discotheque was a trademark that was carried on long after the Sexual Revolution began to halt as a result of more nationally-held conservative views. According to the film, it was one of the many places where queer folk gathered without fear of judgement and where potential sexual partners surfaced by the dozens. Marked by its upbeat and untethered nature, the music of the discotheque set the mood for an entire generation, despite loss, grief, and government negligence that significantly contributed to the demise of thousands of individuals. Based on my own experiences with the genre, it was a wholesome and refreshing experience to have Profe Gonzalez open the class with some of the epochs’ most popular tunes. Whether is was the iconic sounds of Sylvester, Madonna, or Dead or Alive blasting through the classroom speakers, I never not felt myself releasing the stressors of the day.
After listening to all of the songs and watching films in lecture, like Gay Sex in the 70’s and 120 Beats Per Minute, it has become very evident why the dance floor had become such a vital part of life to the LGBT community during the peak of the AIDS crisis. I think it’s very important to first start off by noting that music is one of the most beautiful ways to connect with other human beings regardless of race, class, sexuality, religion, etc. Music has always served as the glue that brings individuals together and ultimately creates communities. Of course, music has the power to make us feel seen, make us feel united, and makes us feel hopeful. This powerful feeling is further explored when one is on the dance floor.
ReplyDeleteThe first five songs that were provided to us that were released pre-epidemic era are so lively. The lyrics, the beat, the rhythm, it all allowed individuals to live their life freely; and to fuck freely without being scared of death being the consequence. Considering that the LGBT community was extremely marginalized during the 70’s, the pre-epidemic music literally opened up a dance floor for individuals to come together as one and live as themselves. Similarly, the music that was released during and after the epidemic created a dance floor where individuals could unite on the basis of fear and tragedy. Considering that HIV/AIDS had become an epidemic and had taken the lives of thousands, music had served as a way for people to build community, become distracted (even if for a night), feel hope, and heal. Hence, music and the dance floor became a vital part of creating community and healing the community during the peak of the AIDS crisis.
Even for myself, I felt the rush, the pain, and the beauty of life in listening to these songs that were released decades before I was even born. Certain songs made me feel sad, but most of them made me want to just… dance. And I think that was the point because “only when we dance, fuck or resist are we truly alive.”
Across cultures, the dance floor has served as a space for ultimate freedom and expression, this haven carries a heightened cultural significance for the LGBTQIA+ community. While everyone can understand the exhilarating feeling of letting loose on a dance floor, this euphoria is heightened for a group who’s identity has been criminalized and completely pushed to the margins. In the pilot episode of the groundbreaking series, Pose, Blanca is teaching her newly acquired protege Damon about the importance of ballroom culture, “Balls are a gathering of people who are not welcome to gather anywhere else, a celebration of a life that the rest of the world does not deem worthy of celebration” (Pose). While ball is a subculture of the LGBTQIA+ community, this sentiment perfectly sums up the liberation felt on the dancefloor as well as the critical need for such a space. Blanca’s statement is a testament to what meeting on the dancefloor meant, an affirmation in sacred community without having to explain yourself. It’s critical to note that due to the freedom these spaces brought to LGBTQIA+ communities, these dance floor havens were also under constant attack, typically by the state. In Gay Sex in the 1970s they talk about the police raids they were met with and we can reflect on how the few spaces we have for us continue to be under attack, considering the Pulse Nightclub massacre that took place in 2016. Reflecting on the community formed and cultivated on the dance floor by LGBTQIA+ folks in the ‘70s, ‘80s, and ‘90s, it’s without a doubt the comfort and flood of emotions the dance floor and disco played at the peak of the AIDS crisis. The dance floor became a place of release during a time of such grief. Folks were able to escape, even if for a few hours, and feel alive under the light of the disco ball.
ReplyDeleteThe dance floor to the gay community is something that is very important to us and was especially important during the peak of the AIDS crisis. Gay Sex in the 70s talks about the period after Stonewall and before the AIDS epidemic. This was seen as a time of liberation and freedom for many gay people. Before 1969, folks were isolated and criminalized and there was no term to describe this sexuality. This time period is euphoric because people got to be unapologetically themselves; having sex in trucks, bars, clubs, etc. The AIDS epidemic put a hold to that because the countless of deaths that gay people went through. There was also a lot of stigma and nothing was being done until protestors and organizations like ACT UP protested. The dance floor, however, has always remained euphoric and a place for love and pleasure. Many of the songs during this time talk about love and pleasure throughout the 70s, 80s, and 90s. The upbeat tempo, dance music is a space for LGBTQ+ people to be unapologetically ourselves. AIDS is constantly stigmatized. Once a person says they’re a sexuality other than straight, they are reduced to their sexuality. Once a person says their status, they are reduced to their status. The dance floor, however, is a place where we are all people and don’t have to face these stigmas.
ReplyDeleteThe music is constantly euphoric even during the AIDS crisis because the dance floor understands that everyone deserves pleasure and the ability to enjoy themselves regardless of status. The music video that seemed to have the most reference to queerness is “My Heart Goes Bang” by Dead or Alive. The handkercief is representative of gay pleasure signifying what one’s sexual desires are. One of the lyrics “Doctor, doctor, give me the cure” could reference the AIDS epidemic and gay people wanting a cure. Another lyric that is significant is Rozalla’s “Everybody’s Free” “When everyone's sharing their hope / Then love will win through.” This made me think of the community and relationships that many gay people made during the AIDS epidemic. In the outside world, there is a stigma that surrounds queer people and especially those who are positive. In the dance floor, we have our humanity, are reminded of our right to love and seek pleasure, and are away from the forces that strip us down to our sexuality/status.
Sounds are all around us, from birds chirping and waves lapping against a coastline to cars honking in traffic. But sometimes sounds are put together in purposeful ways to create a specific atmosphere or to express ideas or emotions. Such organized sounds are called music. Almost every human culture has a tradition of making music. Music is made of sounds, vibrations, and silent moments, and it doesn't always have to be pleasant or pretty. It can be used to convey a whole range of experiences, environments, and emotions. When I heard a song, I can be transported back on time, a time where it makes me remember my grandmother making her favorite dish, a holiday or a pleasant time in my childhood. When I heard 70’s music, for me has a special meaning, it was a time of discovery, a time when I first discovered sex. After listening Lucky by the Queen of Disco Donna Summers, ONLY Miss Donna Summer could have interpreted this song. The lyrics are haunting about wanting to be loved, looking for love and taking a ride with a stranger for love even for one night. Whether it is Silvester, or Donna Summer, New Order, Black box Rozalla or Dee-Lite. it was all magical to get lost on the dance floor. As I listened to the 1980’s or 90’s music it takes me back to my go go dancing at Studio one. The drugs, the alcohol as I dance to High Energy by Evelyn Thomas makes me escape my struggles I was fighting. Reflecting, on the importance of the dance floor in the LGBTQ community, particularly during the peak of the AIDS crisis. I could get lost to the lyrics of Rozalla, ‘Everybody is Free’. Together like sisters, we’ll make it through. Right around when this song was playing on the radio, the dancefloor symbolized a sense of hope and community. At that time when this disease has claimed many boyfriends and friends, the dance floor was the only refugee, I had, the underground after-hours parties were the only place I had to escape the devastation of this epidemic. I don't understand for the life of me how this type of music just faded away after the '90s and all that's left is underground artists. The garbage they have in the clubs now is the reason why I have not to step foot into a nightclub for over 10 years now. Hell, the party atmosphere back in the ’80s and '90s was cool compared to now with heavy drugs and violence (rap clubs). I am glad I am old enough to have been on the scene when many of these artists were played in the clubs!!!
ReplyDeleteAfter watching Gay Sex in the 70s and watching the videos and films in class, reflect on the importance of the dance floor in the LGBTQ community, particularly during the peak of the AIDS crisis.
ReplyDeleteThe dance floor means nothing if there is no music or people dancing on it. These two elements transform the dance floor into a safe space for individuals to get lost in the music and figure out the rhythm as they carelessly dance to the beat. Music brings people with similar tastes and preferences; once on the dancefloor, there’s this energy that unites these people and makes the space feel comfortable and liberating. Using the knowledge that the film Gay Sex in the 70’s taught me, I see that the 70’s was indeed a careless era for gay men in the sense that they cruised at all times and because the HIV/AIDS epidemic had not been heard of and/or had not been given much attention when mentioned. There was so much sex and such a lively environment amongst a conservative American society of its time. As I listened to the songs during the 1970’s, or the Pre-Epidemic, I noticed that there seemed to be a calm attitude in every song and even though they sang from the heart and their voices paired beautifully with the rhythm of the song, the contrast in the intensity of the voices from the 1970's and 1980’s is elevated. In other words, I feel that the music that I listened to that were from the 1980’s sang with more passion, almost screaming, but still with that angelic feel that makes our hairs stand up because of their talent. This intensity is felt by the people listening to the music and this power of music is expressed in the way the people danced to these songs, it almost feels like the higher the pitch and the more unique the voice, the more reasons the audience has to live- live carelessly. I think my favorite one from the 1980’s is Living on Video just because I feel like I enjoyed the voice more and the underlying theme about using technology as a metaphor for not living according to societal standards really struck me as a powerful message for its time. As I travel back in time through the power of the songs from the 1990’s, I admire the works of artists like Kristine W. whose lyrics from the song Feel What You Want go with what Omar described the era to be that they’re truly/only alive when they dance, fuck, or resist. To me, Kritine’s lyrics particularly, “Feel it, feel it/ Go ahead now go/ Well, you just feel what you want it to be”(1994) feels like she is encouraging the people who have had to bury their partners, their family, their friends, their neighbors, etc to not let their tragic deaths tear them down, to not get lost in the misery of this world; but rather to look at the beauty of life and cling on to the happiness that surrounds them.
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ReplyDeleteAfter watching Gay Sex in the 70s and the additional videos and films in class, the importance of the dance floor is shown time and time again as a space of liberation from the world that looks to oppress those that are dancing on it. The Dance floor symbolism home for some people within the LGBTQ space. Giving off a sense of community and being connected to bigger picture. Everyone letting go of all the emotion they have built up and simply just moving to the beat freely. The Dance floor within any of the films we watched depicted this sense of freedom and liberation that came with the dance floor. Characters would transform out of their shells, and become their actual selves. It was always the moment of purity within these films because the dance floor allowed these characters to fully embrace themselves and those around them.
ReplyDeleteDuring the portion of listening to the 70's music, you can really hear through each music video and song this sense of an upbeat attitude. In a way expressing the freedom that was felt during the time. This intersection of time was liberated and expressive, you can really here it throught the melodies and beats. As we move onto the 80's songs, I really felt as if these songs were much darker in tone. I know this would be likely the case because of the AIDS epedemic that occured during the Reagan Adminstration in the 80's. While listening to the songs I really could feel the pain within the beats and the change of tone from the 70's. The music definetly wasnt as upbeat as it was in the 70's. Though what I did notice about the 80's music specifically is that it really encompassed what society and the political climate was during the time. How the artist were dressed really symbolized the time as well of course. Though the tone of voice used in each song also indicated what I believe to be the feeling during the time. A feeling of grasping the terrible things that were going on at the time. Now brininging it to the 90's, this was the one of I loved the most personally. It just seemed so happy and freeing compared to the 80's. It seems that songs became way more about uplifting energy and just having fun. I think the 90's was truly a time of liberation for the communities at large. I can only imagine what the dance floors looked liked at the time, I would imagine everyone on the dance floor having a good time smiling. This time is especially important because it occurs after the aids epedmic started in the 80's. You can really feel and hear the shift in mood.
All the films we watched in class made sure to allocate screen time for the dance floor. Gay Sex in the 70s does a good job presenting the dance floor during the party before the storm and when the dead are burying the living. When clubs were climbing to the top in New York, it gave the LGBTQ community a place to be themselves. Before 1969, it is described that gay men hid their sexual life from many people, including family members because they would disown them (14:30). The gay community did not have information to even possibly further explore their sexual interests because they were isolated. The available pornography, scientific literature, magazines and everything else revolved around heterosexuals. Luckily, the club scene was introduced and “it went from, truly, repression to celebration” (19:17). Ultimately, the dance floor provided an “enormous feeling of brotherhood when [they] were on the dance floor” (53:05). Dance floors brought different races together were they had the opportunity to dance all night, fuck all night, or do both (42:00). Once the uninvited guest arrives, BMP (Beats Per Minute) presents the role of the dance floor during the time the peak of the AIDS crisis. Near the end of the film, Nathan is on the dance floor after his boyfriend, Sean, died of AIDS. As Nathan continues to dance, the room gets darker and the music faints away. The dance floor was an escape for the LGBTQ community, it allowed them to forget about the crisis off the dance floor. Although deep inside, they are truly alone like the film depicts with Nathan. Finally, Gay Sex in the 70s illustrates the dead burying the living. Just how the dance floor brought many sex opportunities, it also, unfortunately, brought costs. Joe Lovett describes a moment when he was about to have an orgy with the men of his dreams, but his lover told him they were not going to participate, so, they left. Some five years later, most or all of those men from the orgy had died. Lovett’s experience shows how they were all in the same room with the uninvited guest and it had already planned to bury those in the room.
ReplyDeleteWatching Gay Sex in the 70’s and watching the videos and films in the class, I learned about the magnitude of significance that the dance floor holds for the LGBTQ community. The dance floor holds so much meaning because of the way it is liberating. After centuries of repression and hate directed towards them, the LGBTQ community found a safe space on the dance floor. A place where they can be fully themselves and express and enjoy love without the same repercussions found in the outside world. Sylvester, an iconic star for many gay men of color, expresses himself freely in his lyrics and music videos. His music is so upbeat and full of love and this kind of music filled the dance floors during these years. During a time when the pain infiltrating the community was so extreme, to have a space like the dance floor full of disco music was so freeing. Rozalla’s Everybody’s Free (To Feel Good) embodies this energy because as her lyrics emphasize how all should have the liberty to feel good and to enjoy. This song is joyful and I can imagine how during this time, the LGBT community would dance and feel a sence of liberation to feel and love without so much hatred being directed towards them. When she sings, “I know you’ve been hurting” she pulls on my heartstrings because it makes me think of how much pain and suffering so many felt when so many around them and they themselves were affected by HIV/AIDS. It is almost as if in this song she, acknowledges the pain they experience and offers them the freedom of comfort to enjoy her music and just dance and “feel good.” Similarly, in Gay Sex in the 70’s the cruising and sex happened so freely and it was a moment of liberation from a long history of repression, homophobia, and hatred.
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DeleteThe dance floor appears to be of high importance for the LGBTQ community, particularly during the peak of the AIDS crisis, as reflected in the documentary Gay Sex in the 70s (directed by Joseph Lovett) and the multiple songs provided from the 1970s-1990s. The dance floor appeared to provide relief to the LGBTQ community who was fighting a dual oppression because of their homosexuality and the AIDS epidemic. In other words, the dance floor appeared to be a safe place for homosexual individuals because they were able to freely express what it truly meant to possess a queer identity-that is, these individuals were able to freely express their gender and sexuality when united together on the dance floor. Sylvester was a remarkable and notable African American singer and songwriter who helped consolidate and reinforce the interconnection between the dance floor and the LGBTQ community. Sylvester’s well-know song “You Make Me Feel” helped to reconsolidate the importance of transcending and rising above all of the hate and prejudice that is unique to the LGBTQ community, as it helped to empower many homosexual individuals (especially during the AIDS epidemic). The legacy during Sylvester’s short life (41 years) is truly remarkable as he “personified uniqueness at a time when individuality was not always tolerated, let alone accepted or appreciated. Sylvester forged his own path, along which many of us continue to travel” (Pendarvis 2017). Sylvester was one of the many musical artists who helped empower the LGBTQ community to transcend problems unique to their identities and experiences, as people dealing with illness, discrimination, prejudice, etc. Many of the most influential musical artists during the 1970-1990’s were: Debbie Jacobs, Evelyn Thomas, Rozalla, and many more who truly helped to uplift the negative emotions experienced by the LGBTQ community by drawing them to the dance floor to restore their strength, freedom, and empowerment over themselves (that is far away from the prejudice towards them created by the predominantly heterosexual community). The dance floor created a safe space for everyone from the LGBTQ community, that is, it created “a space to be who you were, dress how you wanted to dress, fuck who you wanted to fuck, dance how you wanted to dance” (Shepard 2017). John Rechy’s The Coming of the Night, discussed the importance of music to homosexual individuals on the dance floor stating, “The stuff they played in gay bars said something, really told it, knew what it was all about” (Rechy 6). Additionally, Joseph Lovett’s Gay Sex in the 70s and Robin Campillo’s 120 Beats per Minute showed how the dance floor payed a central part in the lives of the LGBTQ community because it provided a sense of community and unification. The dance floor (and the music that accompanies it) allowed many homosexual individuals to break free from the compulsory heterosexuality that was imposed on them by society, and thus permitted these individuals to seek refuge in a place that was free from strict judgement by the predominately heterosexual community.
ReplyDeleteWorks Cited:
Pendarvis, Rayceen. “The Legacy of Sylvester.” EFNIKS.com, EFNIKS.com, 5 July
2017, efniks.com/the-deep-dive-pages/2017/7/5/the-legacy-of-sylvester.
Shepard, Sultan. “Dance Music Owes Everything to the LGBTQ Community of
Color.” Medium, Cuepoint, 3 Oct. 2017, medium.com/cuepoint/dance-music-
owes-everything-to-the-lgbtq-community-of-color-33e88dc58cde.
-Leora Lavian
During the 1970s (Pre-Epidemic), the music was used as a form of expressing one’s passion and sexuality. For example, in the song, “Don’t You Want My Love” by Debbie Jacobs and “You Make Me Feel (Mighty Real)” by Sylvester, can both be interpreted as a declaration of one’s sexual attraction to others. In Sylvester’s lyrics he says, “And I feel like I need some more, and I feel your body close to mine…. You make me feel mighty real”. Sylvester is unapologetic about his feelings for men. Which can be seen throughout the song. On the other hand, France Joli song, “Come To Me”, demonstrates the urge for one’s love, when Joli says, “ I'm a lonely man…Living in a world of dreams…I've got everything…But the one thing that I really need…I’ll give you all the love you need”. The only think the lonely man is urging for is love. During this time is history gay men were unapologetic about being gay because they were free to have sexy and love whoever they wanted too. However, little did they know that their love for sex would have a painful consequence.
ReplyDeleteDuring the 1980s, the music within the gay community had drastically change. This change was cause by aids, which hit the gay community during the 1980’s. However, since a few individual did know about the consequences, their sexual behavior slightly changed. For example, in the song, “My Heart Goes Bang(Get Me To The Doctor)”, when Dead Or Alive say, “ The other night a good friend told me…Never let my heart fall into carless hands….The doctor had me tested….Doctor doctor give me the cure”. This shows that some people did know about the aid’s epidemic, and that some did warn others, but most people weren’t ready to give up sex. This idea of people being dubious about sex is also seen in Madonna’s song, “Burning Up”, when she says, “You’re always closing your door…I’m not blind and I know…That you want to want me but you can’t let go”. The way I interpreted this song, was that she was insisting for the love of a man diagnosed with aids, who spared her by rejecting her even though he was also attracted to her. During this era people became more aware, and the music sure reflected it.
However, during the 1990s (Post-Epidemic/The burial) music took a dark turn. During this time many individuals had already died or cared for someone diagnosed with Aid’s. For example, in the song, “ Devotion” by Nomad, they say, “ Cause a frightnin’ nightmare can terrorizes… Open your eyes and realize I’m a true disguise ..like a hawk the slayer he came and quartered …Maggie came but now she’s slaughtered”. The lyrics of this song are extremely poetic and descriptive. The song is urging for aids awareness, because many have died, and many will continue to die. However, in the song, “Runaway” by Deee-Lite, she introduces the idea that many individuals have come to terms with death. In the song she says, “I’m finally ready to let go…Let’s go, let’s go, let’s go…..release me from the pain…and let me feel no shame …lets go free”, which I interpreted as people coming to terms with death.
As aids became more present in the gay community; the music within the community became more political and informative.
-This was written by Jennifer Garcia Lopez
DeleteAfter watching Gay Sex in the 70s, Beats Per Minute, and listening to the songs, it is evident that the dance floor is a significant aspect of the LGBTQ+ community. For many queer people, the dance floor and clubs were a sanctuary where they could all get together and express themselves. Prior to the AIDs epidemic, in the 1970s men and women were walking and having casual sex. This is often reflected in the songs such as Debbie Jacobs’ “Don’t You Want My Love” and Sylvester’s “You Make Me Feel (Mighty Real)” where there is often a reference to desiring the person. Sylvester states “Still you're hot and you kiss me back and it/ Feels real good and I know you love me/ Like you should.” We see that there is a lot of passion and free love in this song and Gay Sex in the 70s also talks about how everyone was having sex with out thinking about the repercussions of their actions because at the time there was no AIDs epidemic in the United States. One can see how this music became popular in the dance club especially when there is little to no communication.
ReplyDeleteDuring the 1980s, we begin to see how AIDs was destroying the old way of life in the gay community as many members begin to get sick from this “unknown disease”. We see this demonstrated in Dead or Alive's “My Heart Goes Bang” as the lead singer sings “Doctor put me to the test/ I heard that your lovin’ is the best.” This could be a reference to the AIDs epidemic that began to take hold of the community during the 80s. Moreover, New Order’s “Blue Monday” has an eerie aura to the song especially because it keeps referring to the person not wanting to tell them something that they have, which can also be referring to AIDs. We see that there is a shift from loving everyone to almost being somewhat skeptical about the person before they fall in love. We see the dancing and cruising in BPM at the dance club. It was often after a protest and seemed as if it was a way for everyone to release their anger to the lack of action from the government and drug companies.
In the 1990s, we see that there have been thousands of LGBT members that have passed away from AIDs. While many members were left distraught and mourning from friends and lover who passed away, there were those who sought to spread knowledge about the AIDs epidemic. Not only was this information spread through ACT UP campaigns and protests, the Deee-Lite’s song “Runaway” explains that “Release me from the cage/ Free me from the Pain/ And let me feel no shame.” I believe this song is referring to the stigma surrounding AIDs and how many people thought that only people who are LGBT could get the disease. By this time, AIDs was well-known in the community and people within the community were trying to destigmatize their community and AIDs. The songs are still somewhat depressing because the first HIV treatments were not released until 1987 and the standard we have today was not released until 1997. This means that there was still a lot of people who were diagnosed but may not have been able to afford treatment and those who had succumbed to the disease right before the first treatments were released.
After watching Gay Sex in the 70s and watching the videos and films in class, reflect on the importance of the dance floor in the LGBTQ community, particularly during the peak of the AIDS crisis. 300-400 words.
ReplyDeleteIt was already hinted enough at the beginning of this class with the disco ball and music that one of the ways we would explore and become acquainted with the queer community from the 20th century was through the dance floor. Even after the AIDS crisis ravaged the queer community and stirred fear and tragedy it remained a constant, as a place where many thought their true selves lived on and they could remember those that had passed. But on the other hand, it also served as a constant reminder of the epidemic and the effects it had on the queer population. The film Gay Sex in the 70s shows just deeply engrained dance floors across the country were with the queer subculture grew, the same one that only a decade later would be subject to scrutiny and hatred. Songs from the 80s show this community that could not even live freely still remained bonded through music. Later on, as HIV became the epidemic that sparked fearmongering in cities nationwide and ushered in a new era for the queer community, the music that arose from that period found renowned importance as a common factor between gay communities to find hope and unite against the virus. Even if many still went to clubs to indulge in just small moment where queer men could feel free to be themselves, at the height of the AIDs crisis, the clubs were a place where they could at least be seen and reminded that there were others still willing to endure and live on. Objectively, it’s easy to see that at the very least clubs and dance floors were crucial for recruiting in order to garner support and awareness for the movement in search of AIDs treatment. Later on, those same men who frequented those clubs and even had the virus themselves would become crucial figures in the ACT UP movement.
It seems like the dance floor for the gay community acts as a space for community building. When there is no one to turn to at home, queer folks seek out each other to build families that they have never had. This kinship is forged through music and dancing. Additionally, this is the opportunity for people to explore their sexuality. The dance floor is a sexualized space that welcomes promiscuity. This open promiscuity gives dances the opportunity to test out a part of themselves that they have suppressed. The release of these suppressed desires is a defining feature of the disco dance floor. Members are able to take pride in who they are through the music that they dance to, and are also able to discover what it means to be who they are by exploring their sexuality with dance floor members. The music that is played for queer dance floors sing of passion of fulfillment. These songs resonant with the dancer who’ve been denied access to a part of themselves; with the passion of the music, the spirit of the dance floor, and the curiosity imbued in the dancers, the dance floor because a site of exploration, discovery, and community building. Unfortunately, the presence of the dance floor acted as a double-edged blade. While it was a site of exploration and discovery, it also facilitated the spread of AIDS/HIV because of the sexual activity that it encouraged. Sexually active sites, like the dance floor, became a site of danger rather than a site of discovery. However, community building on the dance floor still took place after the onset of HIV/AIDS. Like from our first class meeting, family members made on the dance floor slowly faded from your inner circle because of HIV/AIDS. The dance floor is a space where family is made, but also serves as a constant reminder of what is lost.
ReplyDeleteMichael Gomez
DeleteMusic is transformative; it heightens feelings and changes moods, be it positive or negative. When thinking about the LGBTQ+ community and the importance of the dance floor, I think about BPM. At the end of the film when ACT UP scatter’s Sean’s ashes at the pharmacy’s conference, the film intertwines sex, activism, and the dance floor in a montage. The montage starts with Sean’s ashes being scattered and then switches to Nathan having sex with a new man and the confused feelings he has about that. Slowly the montage becomes darker, and there’s flashes that show everyone on the dance floor at the very end. This scene highlights the importance of the dance floor in the LGBTQ+ community, because even amidst all the death from the HIV/AIDS crisis, there had to some form of joy and comfort. When news of Sean’s death reaches other ACT UP members, they all come to comfort Nathan and Sean’s mother. Nathan and Sean met through ACT UP, and after the loss of Sean, Nathan’s support system is ACT UP, and it is also ACT UP that he ends up on the dance floor with. At the peak of the AIDS crisis, with so much death around everyone’s life, community was strengthened and despite everything, life continues, and there is some happiness, even if it is a temporary event on the dance floor.
ReplyDeletePose also echoes this sentiment with Pray Tell. Despite his partner in hospice, Pray continues his work at the ballroom, because the place is community for so many others. Pray also plays the same song over and over, because it brings back good memories; it places him in a time where he didn’t know so much death and drugs. Furthermore, the event he puts on for his partner and the other patients, is also centered around music. Music brought joy to so many, when it was needed most.
When it came to music surrounding the time of the AIDS crisis, it is as if the queer community had music to fall back on when they did not have much else. Almost all of this music was upbeat, meant to be danced to, with lyrics that the queer community was able to relate to. Most of the music was also made by either queer artists, closeted at the time or not, or by divas who resonated with queer individuals. These individuals were able to inspire a generation to live their lives how they truly are, as well as inspire those to keep on living as much as possible even if they knew that they did not have much time left. When it came to the dance floor, its importance to the queer community was like it was some sort of reminder of their life, to live in the moment and enjoy themselves for the time being, while also being a reminder as if the dance floor is one of the few things that is keeping them alive. Like we saw in BPM, their dancing at the end after the death of the main character was as if they were dancing for the sake of knowing that they are alive. The dance seems somewhat rehearsed, somewhat forced, further reinforcing the idea that dancing meant life, and that once you can no longer dance that it has all come to an end, eerily similar to the ACT UP slogan of “Silence=Death, Action=Life.” While listening through the list of songs, one can hear the shift in tone as you move through the decades: the change in pace, the change in passion and intensity, all reflecting the times from the queer community living liberated, to the times were they were living afraid, living a life of struggles and fighting, to the point where once again they were able to once again feel some sort of liberation.
ReplyDeleteThe dance floor is a space away from any conceptions of pain or loss, it is a metaphorical "safe space." Prior to the epidemic, the dance floors were very symbolic of sexual liberation as concerns for any potential diseases were unforeseen. During this time, liberation manifested in love-making and dancing without second thoughts or fear. The theme of liberation slowly transitioned into empowerment for the community as the "uninvited guest" began to greet friends and family members and a huge loss hit the community. As the disease continued to take bodies, people who became sick would no longer come to the dance floors and those who were not affected by the fatigue yet or at all danced for their lovers and friends. As Prey Tell says, people remained living in joy and love despite loss. Music from this era intensified with the 80s rhythm of techno but also in reflection of the need for activism and empowerment. In terms of what the dance floor looked like during the 80s, the video that struck me the most was actually the ending scene from BPM when despite all the loss faced, all of the activists join to dance together. While ACT UP activism was occurring and meds still were not being distributed, the dance floor became a space free of fear. After the 80s era songs like Strike It Up by Black Box came out that were even more empowering. The high energy of music during this time projected a message to the world that those previously affected by the disease through loss or personally still exist and are stronger. Rozalla's Everybody's Free is very reflective in this message of solidarity as she says "brother and sister together we will make it through." Crystal Waters brings back the pre-epidemic party theme with her song In De Gettho as she ushers in the care-free liberation of the dance floor.
ReplyDeleteFollowing years of repressed emotions and discrimination, the LGBT community found energy and solace on the dance floor where they freely express themselves however they wish. After finally being able to step out into society and reclaim their identities following the 60s, the 70s allowed for gay men to freely interact with one another with little to no consequences.The documentary, “Gay Sex in the 70s” depicts how freely and open gay men started to express themselves; no more hiding in the closet for them, it was time to bring out this repressed energy in the streets and on the dancefloor. The music at the time, often embraced sexuality and femininity, which often spoke out to LGBT community who no longer needed to repress their inner selves and break free of the masculinr facade. Thankfully, music and the dancefloor became a safe space for men to not only dance and express themselves, but to interact with other gay men and have sex.
ReplyDeleteDuring the peak of the AIDs crisis, music became even more important to the gay community because it was either used to bring them energy and liveliness during those dark moments, or it was used to express their feelings of isolation and discrimination. The film, BPM (Beats Per Minute), beautifully depicted the latter throughout the movie as it showed how no matter how upset or drained the ACT UP activists felt, they always returned to the dance floors where they can express their sexuality or dance their frustrations away. Away from the all the death, the dancefloors gave gay men a whole new meaning and reason to live, as the high energy music brought people to life and continued the need for sexual desire that is relfected in the music of Madonna and Dead or Alive.