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Disco

Disco

:"Discothèque" redirects here. For the U2 song, see Discothèque (song). Disco is an up-tempo style of dance music (generally between 110 and 136 beats per minute) that originated in the early-1970s, a derivative of funk and soul music, popular with audiences in larger cities all over the world. It derives its name from the French word discothèque (meaning a nightclub where the featured entertainment was recorded music rather than an on-stage band), a portmanteau coined around 1941 from disc and bibliothèque (library) by La Discothèque, then located on the Rue de la Huchette street in Paris (Jones + Kantonen, 1999).

Origins

Paris As with all such musical genres, defining a single point of disco's development is difficult, as many elements of disco music appear on earlier records (such as the 1971 theme from the film Shaft by Isaac Hayes) (Jones and Kantonen, 1999). In general it can be said that first true disco songs were released in 1973, however, many consider Manu Dibango's 1972 Soul Makossa the first disco record (Jones and Kantonen, 1999). Initially, most disco songs catered to a nightclub/dancing audience only, rather than general audiences such as radio listeners, but there are many aspects proving opposite tendencies as well; popular radio-hits were being played in discothèques, as long as they had an easy to follow rhythmic base-pattern close to 120 BPM (beats per minute). Musical influences include funk, soul music, and salsa and the Latin or Hispanic musics which influenced salsa. Social trends that contributed to disco music include the surpassing of white people by racial and ethnic minorities, black and Hispanic people in the purchasing of records and sound equipment, the increased independence of women in finance and leisure, gay liberation, and the sexual revolution. (Jones and Kantonen, 1999) Influential soul or funk records that influenced disco include:
- The Supremes - "You Keep Me Hangin' On" (1966)
- Sly and the Family Stone - "Dance to the Music" (1968), "Everyday People" (1968) (Jones and Kantonen, 1999), "Family Affair" (1971)
- Friends of Distinction - "Grazing in the Grass" (1969)
- Jackson 5 - "I Want You Back", "ABC", "The Love You Save", "Mama's Pearl" (1969-71)
- Stevie Wonder - "Yester-Me, Yester-You, Yesterday" (1969), "Superstition" (1972) (ibid)
- Isaac Hayes - "Shaft" (1971)
- Incredible Bongo Band - "Bongo Rock" (1973) (ibid)
- Eumir Deodato - "Also Sprach Zarathustra" (1973)
- Average White Band - "Pick Up the Pieces" (1974), "Cut the Cake" (1975) (ibid)
- James Brown - "(Get Up I Feel Like Being A) Sex Machine" (1970), "Get Up Off of That Thing" (1975) Philadelphia International Records defined Philly soul and helped define disco (ibid) with records such as:
- Three Degrees - "When Will I See You Again" (1973) (ibid)
- Intruders - "I'll Always Love My Mama" (1973) (ibid)
- O'Jays - "Love Train" (1972), "I Love Music" (1975) (ibid)
- MFSB - "TSOP (The Sound of Philadelphia)" (1973), "Love is the Message" (1973) (ibid) Pre-/Early-disco TK Records tracks:
- Betty Wright - "Clean Up Woman" (1972) (ibid)
- George McCrae- "Rock Your Baby" (1974) (ibid)
- KC and the Sunshine Band - "Get Down Tonight" (1975), "That's the Way (I Like It)" (1975) (ibid) Early-disco hits include:
- Harold Melvin & the Blue Notes - "The Love I Lost" (1973)
- Love Unlimited Orchestra - "Love's Theme" (1973) (ibid)
- The Jackson 5- "Dancing Machine" (1974) (ibid)
- Barry White - "Can't Get Enough of Your Love, Babe" (1974) (ibid)
- Shirley and Co. - "Shame, Shame, Shame" (1974) (ibid)
- Hues Corporation - "Rock the Boat" (1974) (ibid)
- Commodores - "Machine Gun" (1974)
- LaBelle - "Lady Marmalade" (containing the lyric: "Voulez-vous coucher avec moi?") (1975) (ibid)
- Van McCoy - "The Hustle" (1975) (ibid)
- Silver Convention - "Fly Robin Fly" (1975)
- Andrea True Connection- "More More More" (1976) (ibid)
- Dalida- "J'Attendrai" (the first french disco song and first hit in Europe) (1975) (ibid)

Popularity

1975 was the year when disco really took off, with hit songs like Van McCoy's "The Hustle" and Donna Summer's "Love To Love You Baby" reaching the mainstream. 1975 also marked the release of the first disco mix on album, the A side of Gloria Gaynor's Never Can Say Goodbye (Jones and Kantonen, 1999). Disco's popularity peaked in the so-called Disco era of 1977 - 1980, driven in part by the 1977 classic film Saturday Night Fever. Disco also gave rise to an increased popularity of line dancing and other partly pre-choreographed dances; many line dances can be seen in films such as Saturday Night Fever, which also features the Hustle. In 1975, the pop star Dalida was the first to make disco music in France with her song "J'attendrai" which was a big hit there as well as in Canada and Japan in 1976. She also released many other disco hits between 1975 and 1981, including "Monday, Tuesday... Laissez-moi danser" in 1979, translated the same year as "Let Me Dance Tonight" for the USA, where she was their "French diva" since her late-1978 performance at the Carnegie Hall). Soon after Dalida's pioneering French disco work, other French artists recorded disco: Claude François, in 1976 with his song "Cette année-là" (a cover of The Four Seasons' disco hit "December 1963 (Oh what a night)"), then the famous "yé-yé" French pop singer Sheila, with her group B. Devotion, who even had a hit in the USA (a rarity for French artists) with the song "Spacer" in 1979. Many other European artists also recorded disco music.

Popular disco artists

The most popular disco artists of the 1970s include ABBA, A Taste of Honey, Cerrone, The Bee Gees, Chic, Sister Sledge, The Jacksons, Claudja Barry, Linda Clifford, Teri DeSario, Donna Summer, Giorgio Moroder, Grace Jones, Stephanie Mills, Carol Williams, Sylvester, Gloria Gaynor, Boney M, Village People, K.C. and the Sunshine Band, Vicki Sue Robinson, MFSB, Loleatta Holloway, France Joli, Evelyn King, Yvonne Elliman, Tavares, Salsoul Orchestra, Phyllis Hyman, The Emotions, Thelma Houston, Cheryl Lynn, The Trammps, Love and Kisses, Barry White, Silver Convention, and Dalida. However, many disco fans would agree that, "for every chart hit pounded into the public's consciousness, fifty far superior tracks from all over the world were being played at some hard-to-find basement club" (Jones and Kantonen, 1999). There appeared many non-disco artists, which included Eagles, The Rolling Stones, KISS, The Grateful Dead, Dolly Parton, Cher, Aretha Franklin, Isaac Hayes, Leif Garrett, Toto, Chaka Khan, the Beach Boys, Billy Preston, Chicago, Electric Light Orchestra, The Pointer Sisters, Frankie Avalon, Elton John, James Brown, Barry Manilow, Bette Midler, Prince, Helen Reddy, Carly Simon, Diana Ross, Earth, Wind and Fire, Rod Stewart, Queen (with the bass guitar riffs emulating those of Chic in their hit Another One Bites The Dust), Blondie, Bryan Adams, as well as veteran entertainers such as Paul Anka, Ann-Margaret, Charo, Engelbert Humperdinck, Ethel Merman, Wayne Newton, Barbra Streisand, and Frank Sinatra. Many disco novelty songs sold well and were popular. Rick Dees, at the time a radio DJ in Memphis, Tennessee, recorded what is considered to be one of the most popular parodies of all time, Disco Duck.

DJs and Producers

Disco music diverged from the rock of the 1960s, elevating music from the raw sound of 4-piece garage bands to refined music composed by producers who contracted local symphony and philharmonic orchestras and session musicians. For the first time in three decades, orchestral music became the preeminent sound in the popular-music scene. Top disco music producers included Patrick Adams, Biddu, Cerrone, Alec R. Costandinos, John Davis, Gregg Diamond, Kenneth Gamble, Norman Harris, Leon Huff, Sylvester Levay, Ian Levine, Mike Lewis, Van McCoy, Meco Monardo, Tom Moulton, Boris Midney, Vincent Montana Jr, Randy Muller, Laurin Rinder, Richie Rome, Warren Schatz, and Michael Zager, whose roles involved every aspect of production, from composing the arrangements to conducting the 50- to 100-member orchestras from Los Angeles to New York, from London to Berlin. With as many as 64 tracks of vocals and instruments to be compiled into a fluid composition of verses, bridges, and refrains, complete with orchestral builds and breaks, the mixing engineers became an important fixture in the production process, and, as a result, were most influential in developing the "sound" of the recording through the disco mix. Record sales were often dependent on, though not guaranteed by, floor play in clubs. Notable DJs include Jim Burgess, Walter Gibbons, John "Jellybean" Benitez, Rick Gianatos, Francis Grasso (Sanctuary), Larry Levan (Paradise Garage), Ian Levine (Heaven), John Luongo, David Mancuso (The Loft), and Tom Moulton.

Descendents, influence, and revival

The year 1980 was a transitional time for music, especially dance music, which lost its disco sound, as complex melodic structures and plush elements of the symphony orchestra gave way to a diminutive, street sound. In the early-1980s, George Benson, Patrice Rushen, Brothers Johnson, the Weather Girls, Miquel Brown, Taana Gardner, the Commodores, The S.O.S. Band, and other artists continued to create many hits. At the same time new styles emerged - Italo Disco and Euro Disco. Also in the early-1980s, House music was forged in the underground clubs of Chicago and New York, when the first Drum machines were introduced into the music. In the 1990s, a revival of the original disco style began and is exemplified by such songs as "Lemon" by U2 (1993), "Spend Some Time" by Brand New Heavies (1994), "Cosmic Girl" by Jamiroquai (1996), "Never Give Up on the Good Times" by The Spice Girls (1997), and "Strong Enough" by Cher (1998) who had also released disco songs in the seventies. During the first half of the 2000s, there were releases by a number of artists including "Spinning Around" and "Love at First Sight" by Kylie Minogue (2001), "I Don't Understand It" by Ultra Nate (2001), "Crying at the Discoteque" by Alcazar (2001), "Love Foolosophy" by Jamiroquai (2001), "Murder on the Dancefloor" by Sophie Ellis-Bextor (2001), and "Love Invincible" by Michael Franti and Spearhead (2003) that channeled classic disco music. Most recently, Madonna has appropriated disco themes in her latest album, Confessions on a Dance Floor (2005).

Instrumentation

Instruments commonly used by disco musicians included the rhythm guitar (most often played in "chicken-scratch" style, usually through a wah-wah or phaser), bass, piano and electroacoustic keyboards (most important: the Fender-Rhodes and Wurlitzer electric pianos and the Hohner Clavinet), harp, string synth, violin, viola, cello, trumpet, saxophone, trombone, clarinet, flugelhorn, french horn, tuba, english horn, oboe, flute, piccolo, and drums, timpani, as well a drum kit. Electronic drums were making a debut during this era, with Simmons and Roland drum modules appearing as pioneers in electronic percussion. Most disco songs have a steady four-on-the-floor beat (sometimes using a 16-beat pattern on the hi-hat cymbal, or an eight-beat pattern with an open hi-hat on the "off" beat) and a heavy, syncopated bassline. Disco also had a characteristic electric guitar sound, usually from the heavy use of the wah-wah pedal. In general, the difference between a disco, or any dance song, and a rock or popular song is that in dance music the bass hits "four to the floor", at least once a beat (which in 4/4 time is 4 beats per measure), whereas in rock the bass hits on one and three and lets the snare take the lead on two and four. (Michaels, 1990) Disco is further characterized by a sixteenth note division of the quarter notes established by the bass as shown in the second drum pattern below, after a typical rock drum pattern: four to the floor This sixteenth note pattern is often supported by other instruments such as the rhythm guitar (lead guitar parts are rare), and may be implied rather than explicitly present, often involving syncopation. As a simpler example, bass lines often use the following rhythm: syncopation The orchestral sound usually known as "disco sound" relies heavily on strings and horns playing linear phrases, in unison with the soaring, often reverberated vocals or playing instrumental fills, while electric pianos and chicken-scratch guitars create the background "pad" sound defining the harmony progression. Typically, a "wall of sound" results. There are however more minimalistic flavors of disco with reduced, transparent instrumentation, pioneered by Chic.

Format

Initially singles were released on 7-inch wow thats bigg...lol..45-rpm records, 45s, which were shorter in length and of poorer sound quality than 12-inch singles. Motown Records was the first to market these through their Eye Cue label, but these and other 12-inch singles were the length of the original 45s until Scepter/Wand released the first 12-inch extended version single in 1976: Jesse Green's "Nice and Slow" b/w Sweet Music's "I Get Lifted" (engineered by Tom Moulton). The single was packaged in collectable picture sleeves, a relatively new concept at the time. 12-inch singles became commercially available after the first crossover, Tavares' "Heaven Must Be Missing an Angel." 12-inch singles allowed longer dance time and formal possibilities. (Jones and Kantonen, 1999)

Discos

Studio 54 in New York is perhaps the best-known of the '70s disco venues internationally. "Le Freak" by Chic includes the lines "So come on down/ To the 54/ Find a spot/ Out on the floor..." Other notable discos:
- 12 West
- Emerald City
- Heaven
- The Loft
- Maxim's
- Odyssey (where Saturday Night Fever, a movie that helped popularize disco, was filmed)
- Paradise Garage
- Regine's

Backlash in US and U.K.

The popularity of the film Saturday Night Fever prompted the major record labels to mass-produce hits, however, as some perceived, turning the genre from something vital and edgy into a safe "product" homogenized for the mass audience. Though disco music had several years of popularity, an American anti-disco sentiment was festering, marked by an impatient return to rock (loudly encouraged by worried rock radio stations). Disco music and dancing fads were depicted as not only silly (witness Frank Zappa's satirical song "Dancin' Fool"), but effeminate. In Britain, however, during the same year as the first American anti-disco demonstration, see below, The Young Nationalist publication of the far-right British National Party reported that "disco and its melting pot pseudo-philosophy must be fought or Britain's streets will be full of black-worshipping soul boys," though this had been true for twenty years with many white male English teens considering themselves "soul freaks".

Rock vs Disco

Strong disapproval of disco among some rock fans existed throughout the disco era, growing as disco's influence grew, such that the expression "Disco Sucks" was common by the late-1970s among these fans. In 1979, Chicago rock deejay Steve Dahl and Michael Veeck (son of legendary sports markerter Bill Veeck) staged a promotional event with an anti-disco theme, Disco Demolition Night, between games at a White Sox doubleheader. The event involved exploding disco records with a bomb, and ended in a near-riot. The second game of the doubleheader had to be forfeited. The Disco vs. Rock dynamic was parodied in the 1999 film Detroit Rock City (set in 1978) when the main characters (all KISS fans) get into an altercation with some disco fans, who destroyed their KISS tapes. In retaliation, the KISS fans knock the disco fans unconscious and paint their faces to look like the members of KISS (at this point, Iron Man by Black Sabbath is playing, in a show of Rock's supremacy over Disco).

Radio

Currently, most radio stations that play dance music or '70s-era music will play this music and related forms such as funk and Philadelphia soul at some point in their playlists; both major satellite radio companies also have disco music stations in their lineup. However, dance music stations in general are not known for having high ratings; though their audiences are generally devoted, they are not always commercially sustainable.

Sources

- Michaels, Mark (1990). The Billboard Book of Rock Arranging. ISBN 0823075370.
- Jones, Alan and Kantonen, Jussi (1999). Saturday Night Forever: The Story of Disco. Chicago, Illinois: A Cappella Books. ISBN 1556524110.
- Brewster, Bill and Broughton, Frank (1999) Last Night a DJ Saved my Life: the History of the Disc Jockey Headline Book Publishing Ltd. ISBN 0747262306
- Lawrence, Tim (2004). Love Saves the Day: A History of American Dance Music Culture, 1970-1979 . Duke University Press. ISBN 0822331985. Category:Nightclubs Category:Dance music Category:Portmanteaus Category:1970s fads ja:ディスコ

Discothèque (song)

"Discothèque" is a single by the Irish rock band U2 released on the album Pop in 1997. It showcases an attempt at techno music. In the accompanying music video, the four rockers dressed up in Village People costumes. Bono has admitted that the song is mainly a rewrite of The Stone Roses' "Begging You". [http://www.pdmcauley.co.uk/SSS.htm] A 30-second sample of "Discothèque" was leaked on the internet on October 26, 1996. By December 27, the entire track had been leaked, forcing U2 to move up the release date. "Discothèque" debuted at #3 on the US Modern Rock Tracks chart and was certified Gold by the RIAA on April 7, 1997.

Track Listings

Version 1

#"Discothèque" (12" Version) (5:08) #"Holy Joe" (Garage Mix) (4:21) #"Holy Joe" (Guilty Mix) (5:08) This version was released on CD in the UK. 7" and cassette versions were available in the US and Australia, omitting "Holy Joe (Guilty Mix)".

Version 2

#"Discothèque" (DM Deep Club Mix) (7:00) #"Discothèque" (Howie B Hairy B Mix) (7:39) #"Discothèque" (Hexidecimal Mix) (7:21) #"Discothèque" (DM TEC Radio Mix) (3:45) This was the most common CD single, released in several countries.

Version 3

#"Discothèque" (DM Deep Extended Club Mix) (10:04) #"Discothèque" (Hexidecimal Mix) (7:21) #"Discothèque" (Album Version) (5:19) #"Holy Joe" (Guilty Mix) (5:08) #"Discothèque" (Howie B Hairy B Mix) (7:39) This was the American CD single.

Version 4

#"Discothèque" (DM Deep Club Mix) (7:00) #"Discothèque" (Hexidecimal Mix) (7:21) #"Discothèque" (DM Deep Instrumental Mix) (6:58) #"Discothèque" (Radio Edit) (4:34) This was the US-only 12" single.

Version 5

#"Discothèque" (DM Deep Extended Club Mix) (10:04) #"Discothèque" (DM Deep Beats Mix) (3:59) #"Discothèque" (DM TEC Radio Mix) (3:45) #"Discothèque" (DM Deep Instrumental Mix) (6:58) #"Discothèque" (12" Version) (5:08) #"Discothèque" (David Holmes Mix) (6:14) #"Discothèque" (Howie B Hairy B Mix) (7:39) #"Discothèque" (Hexidecimal Mix) (7:21) This version, featuring virtually all available remixes, was released as a triple 12" only in the UK.

Chart positions

Category:1997 singles Category:U2 songs Category:U2 singles Category:Billboard Hot Dance Music/Club Play number-one singles

Dance music

Dance music is music composed, played, or both, specifically to accompany social dancing. It can be either the whole musical piece or part of a larger musical arrangement. Dance music includes a huge variety of music, including traditional dance music such as Irish traditional music, waltzes, rock and roll, country music and tangos. An example of traditional dance music in the United States is the old-time music played at square dances and contra dances. In the Baroque period, the major dance styles were noble court dances, which were often derived from folk dances. Examples include the allemande, courante, sarabande, and gigue. In the Classical music era, the minuet gained dominance, usually as a third movement in four-movement non-vocal works such as sonatas, string quartets, and symphonies. The waltz also arose later in the Classical era, as the minuet evolved into the scherzo (literally, "joke"; a faster-paced minuet). Both remained part of the Romantic music period, which also saw the rise of various other dance forms like the barcarolle, mazurka, and polonaise. The 20th century saw the rise of more dance forms, often jazz-based or -related, such as the ragtime. As 20th century classical music headed toward more dissonant and non-traditional directions with tonality, popular genres began to take up the need for dance music, and produced numerous duple and quadruple dance forms. From the late 1970s, the term dance music has come to also refer (in the context of nightclubs) more specifically to electronic music offshoots of rock and roll, such as disco, house, techno and trance. Generally, the difference between a disco, or any dance song, and a rock or general popular song is that in dance music the bass hits "four to the floor" at least once a beat (which in 4/4 time is 4 beats per measure), while in rock the bass hits on one and three and lets the snare take the lead on two and four (Michaels, 1990). Dance music works usually bear the name of the corresponding dance, e.g. waltzes, the tango, the bolero, the can-can, minuets, salsa, various kinds of jigs and the breakdown. Other dance forms include contradance, the merengue, the cha-cha-cha. Often it is difficult to know whether the name of the music came first or the name of the dance.

Genres

- Allemande
- Baltimore Club
- Courante
- Eurodance
- House music
- Trance music
- Drum and bass
- Electronic music
- Flamenco
- Foxtrot
- Funk
- Gavotte
- Gigue, a.k.a. Jig
- Habanera
- Hardcore Techno
- Hip hop
- Ländler
- Loure
- Minuet
- Polka
- Polonaise
- Rapper sword
- Reel
- Reggae
- Reggaeton
- Sarabande
- Scottish Country Dance
- Tango
- Techno music
- Waltz

References

- Michaels, Mark (1990). The Billboard Book of Rock Arranging. ISBN 0823075370 Category:Dance music

1970s

The 1970s in its most obvious sense refers to the decade between 1970 and 1979. The decade is remembered by many as the 1960s rapidly running out of steam, and the gloom of recession replacing the optimism of the 1960s Flower Power era. The United States, which had become an influential global power, experienced much of the transition. While the sixties saw social activism, society became more self-absorbed in the seventies. Analyst and writer Tom Wolfe epitomized this feeling in 1976, calling the seventies the "Me Decade." Music became at once more introspective with the singer-songwriter movement and more carefree with the rise of disco music. As the decade continued on, the American world view became apprehensive, with continuing inner-city poverty and rising urban crime rates, the Watergate hearings broadcast on television, and the Vietnam War still fresh in the national memory. Network, arguably one of the decade's most representative films, dealt with narcissism and paranoia as violence escalated in the Middle East and America was crippled by the Oil Shock of 1973. As the economy slipped, the use of recreational drugs increased and many began to fear purported cults such as the Children of God. By the end of the decade the feminist movement had helped improve women's working conditions and environmentalism had become a major cause in the United States and Europe. While the United States experienced recession, the economy of Japan rose to claim the top spot on the world stage. The economies of many third world countries continued to bloom in the early 1970s through the green revolution. They might have thrived and become stable in the way that Europe recovered after the war through the Marshall Plan; however, the economic growth was stunted by the oil crisis. In 1973, foreign peacekeepers fled Vietnam, and the war that had lasted for nearly a decade ended with the Paris Peace Accords and communism continuing to spread. In neighboring Cambodia, several million citizens were executed by communist leader Pol Pot. Meanwhile, black South Africans still remained under apartheid following the death of activist Steve Biko.

Worldwide trends in the Seventies

The ethos of the 1970s emerged from a transition of the global social structure. It reflected the transition from the decline of colonial imperialism since the end of World War II to globalization and the rise of a new middle class in the developing world. Globally, the 1970s had several features that were similar and definitive across economic levels and regions. These aspects and essence that make up global essence of the 1970s are the defining points of the 1970s: the Bretton Woods system and its subsequent failure, the impact of the contraceptive pill on social-interactional dynamics, and the oil shock of 1973. The developing nations experienced economic growth that came in the wake of political independence. However, several African economies declined and political states became dictatorial regimes. Many Middle Eastern democracies crumbled into chaotic regimes with pseudo democratic governments. The 1970s ethos in much of the developing world was characterized by:
- the incessant need to redefine social norms to newer socioeconomic systems,
- the sheer pace at which they need to adapt to new social influences along with the need to integrate it to their native cultural context, and
- the constant aspiration for a more egalitarian society in cultures that were long colonised and have an even longer history of hierarchical social structure. The green revolution of the late 1960s brought about self sufficiency in many developing economies. At the same time an increasing number of people began to seek urban prosperity over agrarian life. This consequently saw the duality of transition of diverse interaction across social communities amid increasing information blockade across social class. Other common global ethos of the seventies world include: increasingly flexible and varied gender roles for women. Women could now enter the work force and not just be housewives. However the gender role of men remained as that of a bread-winner. The period also saw unprecedented socioeconomic impact of an ever-increasing number of women entering the non-agrarian economic workforce, and the sweeping cultural-religious impact of the Iranian revolution toward the end of the 1970s. The global experience of the cultural transition of the 1970s and an experience of a global zeitgeist revealed the interdependence of economies since World War II, and showed the huge impact of American economic policies on the world.

Economy of the Seventies

The developed economies of the world, the 1970s adversely distinguished itself from the prosperous postwar period between 1945 and 1969. Then, the world economy was buoyed by the Marshall Plan and the robust American economy. However, the high standing enjoyed by the American economy gradually became discomposed by loose domestic and war spending, particularly the Vietnam war. The oil shock of 1973 added to the existing ailments and conjured high inflation throughout much of the world for the rest of the decade. World leaders, such as James Callaghan of the United Kingdom, and Jimmy Carter of the United States, could not control it, causing their support to dwindle. Although there was no economic depression, the period is known for "stagflation", in which inflation and unemployment steadily increased, therefore leading to lower economic growth rates than previous decades. In Eastern Europe, Soviet-style command economies began showing signs of stagnation, in which successes were persistently dogged by setbacks. The oil shock increased East European, particularly Soviet, exports, but agriculture became a growing annoyance to such economies.

Oil crisis

Jimmy Carter, were common throughout the Western world. Also common were long lines to receive rationed petrol products.]] Economically, the seventies were marked by the energy crisis which peaked in 1973 and 1979 (see 1973 oil crisis and 1979 oil crisis). After the first oil shock in 1973, gasoline was rationed in many countries. Europe particularly depended on the Middle East for oil; the US was also affected even though it had its own oil reserves. Many European countries introduced car-free days. In the US, customers with a license plate ending in an odd number were only allowed to buy gasoline on odd-numbered days, while even-numbered plate-holders could only purchase gasoline on even-numbered days. The experience that oil reserves were not endless and technological development was not sustainable without harming the environment ended the age of modernism. As a result, ecological awareness rose.

Social movements

Environmentalism

The seventies touched off a mainstream affirmation of the environmental issues early activists from the '60s, such as Rachel Carson, warned about. The moon landing that had occurred at the end of the previous decade transmitted back concrete images of the earth as an integrated, life-supporting system and shaped a public willingness to preserve nature. On April 22, 1970, the United States celebrated its first Earth Day in which over two thousand colleges and universities and roughly ten thousand primary and secondary schools participated. Over the course of the decade, in the US a series of environmentally friendly legislation would be passed. Notable actions included the establishment of the Environmental Protection Agency in 1970, the passage of Clean Water Act in 1972, and the enactment of the Endangered Species Act the next year. The takeoff of environmental thought rose parallel to the increased usage of nuclear power over fossil fuels. However, with the increasing expenses of nuclear power the opposition likewise grew. [http://www.globalpublicmedia.com/articles/180] Opposition to nuclear power became widespread in reaction to the partial meltdown of the Three Mile Island nuclear plant on March 28, 1979.

Feminism

Feminism in the United States got its start in the 1960s, but began to take flight starting in 1970, with the fiftieth anniversary of the passage of the Nineteenth Amendment to the United States Constitution (which legalized female suffrage). With the anthology Sisterhood is Powerful and other works being published at the start of the decade, feminism started to reach a larger audience.

Gay rights

The Stonewall riots, which occurred in New York City in June 1969, are generally considered to have ignited the modern gay rights movement, especially in North America (the U.K. had already decriminalised homosexuality in 1967). In the 1970s, in western countries and especially so in major urban centers, gay and lesbian people came out of the closet as never before (even as many others remained closeted) and a vocal and visible gay-rights movement coalesced in an unprecedented way. Considering the profound stigma attached to homosexuality at the dawn of the 1970s, the movement, although still nascent, saw tremendous gains over the course of the decade. The American Psychiatric Association removed homosexuality from its list of psychiatric disorders in 1973. Gay-rights ordinances were passed by several cities (beginning with Ann Arbor, Michigan in 1972), and, for the first time, a few openly gay people were elected to political office in the United States. In 1977 Harvey Milk, a politically active gay man in the emerging gay neighborhood The Castro, was elected to the Board of Supervisors in San Francisco. Milk and liberal San Francisco mayor George Moscone were assassinated the following year; in 1979 their assassin, Dan White, received a sentence of voluntary manslaughter. The anger the gay community felt about the murders and about White's light sentence further galvanized the movement. The increasing visibility of gay people also generated a backlash during the seventies. In perhaps the most discussed anti-gay rights campaign of the decade, singer Anita Bryant led a successful drive in 1977 to repeal a gay-rights ordinance in Dade County, Florida. The new openness about homosexuality proved disconcerting to some heterosexuals who had been accustomed to gay and lesbian people remaining closeted and politically silent. "The love that dare not speak its name," Canadian author Robertson Davies wrote during the decade, referencing the famous Lord Alfred Douglas quote, "has become the love that won't shut up." On October 14, 1979, approximately 100,000 people marched in Washington, D.C., in the largest pro-gay rights demonstration up to that time.

Culture during the Seventies

Emerging social perspectives in the Seventies

In the wake of the 1960s many of the social dimenisions and perspectives towards issues were increasingly seen in liberal perspectives. Universities became more friendly and less authoritative towards students. This was reflected in the corporate culture of the 1970s, where the hierarchy between supervisor and subordinates became increasingly flat. This had influence in social interaction and family relationship as well. The nuclear family rose to prominence in the third world and the role of women in nuclear families took radical shift from those of earlier generations. With the rise of nuclear family and liberal attitudes towards social structure came new perspectives to child rearing and education. The 70s saw a decline in attendance to boarding schools and a rise of local day schools. The role of the nuclear family and the parent was increasingly noticed and given new impetus. Social norms and laws were increasingly framed in favour of women.

The Seventies in music

The seventies were a time when a new generation of young people were exposed to new media and hence newer ideas in almost every field. Elvis was probably the biggest entertainer in the world in the 70´s and in 1973 he held the historic Hawaain concert which was televised worldwide to almost 1.5 billion people from over 40 countries. TV and motion picture brought to varied audiences images, lifestyles and music from diverse regions and peoples. This led to the emergence of a new vocabulary and experimentation in music. After the war the second generation of German musicians began experimenting with music, these included experimental classical music and the tradition of Krautrock or Kraut music, rooted in the experimental classical music. This later influenced both art rock and progressive rock. The main exponents of this genre include Genesis, Yes, Emerson, Lake & Palmer and space rock giants Pink Floyd. The experimental nature of progressive rock is exemplified in songs such as Pink Floyd's Echoes. The seventies is also when many legendary rock bands started, or hit their peak, including The Rolling Stones, Led Zeppelin, Aerosmith, AC/DC,Queen (Band),Black Sabbath]], KISS, The Who, and Van Halen. Another experimentation in European classical music was brought about by composer Philip Glass and Michael Nyman, with what was to be called Minimalist music. This was a break from the intellectual serial music of the tradition of Schoenberg which lasted from the early 1900s to 1960s. Minimalist music sought to appreciate simple music with systematic patterns repeated in complex variations. These experimentations were also used in several movies made in the early 1970s. In world music the musical collaboration of violinists Yehudi Menuhin and L. Subramaniam was appreciated by a large audience. The commercial cinemas around the world tended to imitate nuances of disco beats in their movies to present their movies as western and upbeat. These included the increasingly popular Kung-fu movies in far East Asia and Bollywood movies from India. One of the most successful European groups of the decade was the quartet ABBA. The Swedish group, who are still the most successful group from their country, first found fame when they won the 1974 Eurovision Song Contest. They became one of the most widely known European groups ever, and were the decade's biggest sellers. "Waterloo" and "Dancing Queen" are two of ABBA's most popular songs. To many people, the Seventies will be most remembered for the rise in disco music. First creeping into dance clubs in the mid-seventies (with such hits as "The Hustle" by Van McCoy), songstresses like Donna Summer, Gloria Gaynor, Dalida and Anita Ward popularized the genre and were described in subsequent decades as the "disco divas." The Village People scored a Top Ten hit with "Y.M.C.A." and the Bee Gees had a string of #1s following their collaboration on the Saturday Night Fever soundtrack. As quickly as disco's popularity came, however, it fell out of favor with the new decade, and effectively died in 1981, with the popularity of New Wave bands such as Blondie and Devo, who both formed their respective bands in the seventies. Many of the aforementioned singers who became popular during the disco era found themselves out of tune with the 1980s, and were out of work for many years, until a renewed interest in disco brought many of them back to the forefront. Many songs from the disco era are still very popular dance hits and receive continuous airplay in nightclubs throughout the world. The mid-seventies saw the rise of punk music from its protopunk/garage band roots in the 1960s and early 1970s. The Ramones, the Sex Pistols, and The Clash were some of the earliest acts to make it big in both the United Kingdom and the United States. Groups like the Clash were noted for the experimentation of style, especially that of having strong reggae influences in their music. Punk music has also been heavily associated with a certain punk fashion and absurdist humor which exemplified a genuine suspicion of mainstream culture and values.

The Seventies in cinema

World cinema

In cinema all over the world, the seventies brought about vigour in adventurous and realistic complex narratives with rich cinematography and elaborate scores. The cultural interaction between aided with TV and visual media and the rise in motion picture technology ushered in a new period of motion picture making. In European cinema, the failure of the Prague Spring brought about nostalgic motion pictures reminiscent of the ones that celebrate the 1970s itself. These movies expressed a yearning and as a premonition to the decade and its dreams. The Hungarian director István Szabó made the motion picture Szerelmesfilm (1970), which is a nostalgic portrayal and a premonition of the fading of the young 1970s ethos of change and a friendlier social structure. The Italian director Bernardo Bertolucci made the motion picture The Conformist (1970). German movies after the war aksed existential questions especially the works of Rainer Fassbinder. The movies of the Swedish director Ingmar Bergman reached a new level of expression in motion pictures like Cries and Whispers (1973). Young German directors made movies that came to be called as the German new wave. It was the voice of a new generation that had grown up after the second world war. These included directors like Wim Wenders, Hans-Jürgen Syberberg and Werner Herzog. Wim wenders made movies that explored psychological states of humans in situations intimate and significant to the characters. He made Die Angst des Tormanns beim Elfmeter (The Goalkeeper's Fear of the Penalty Kick) in 1972. It was based on a novella by Peter Handke. He further explored this realm in the motion picture Alice in den Städten (Alice in the Cities), 1974. Hans-Jürgen Syberberg created a sensation in 1977 with the motion picture Hitler: ein Film aus Deutschland (Hitler a film from Germany). It was a seven hour movie which attempted to investigate hitler under the shadows of wagner art and Nazi nationalism. This was followed by the expressionist movie Woyzeck (1979) by Werner Herzog. Asian cinema of the 1970s catered to the rising middle class fantasies and struggles. In the Bollywood cinema of India this was epitomised by the movies of Bollywood superhero Amitabh Bachchan. These movies portrayed adventurous plots with car chase trying to imitate hollywood movies like The French Connection, presented music with Disco beats and also presented the young middle class man as an "angry young man". The women on the other hand were shown as ones who have adopted western values and outfits especially by heroines like Parveen Babi (who was featured on the cover of TIME for a story on Bollywood's success) and Zeenat Aman. However towards the very end of the 1970s, especially after the steep rise in land prices in urban areas and the decline in employment security, the heroines were seen more often as saree-women striving to have a prosperous middle class family especially heroines like Jayaprada and Hema Malini. In this way the cinema of asian region becomes a sociological statement of the social-economic times of the region and its people. Other movie industry of the region produced fine masterpieces like in Malayalam cinema. Adoor Gopalakrishnan made Swayamvaram in 1972, which got wide critical acclaim. This was followed by the movie Nirmalyam by M.T. Vasudevan Nair in 1973.
Hollywood
The decade opened with Hollywood facing a financial slump, reflecting the monetary woes of the nation as a whole during the first half of the decade. Despite this, the seventies proved to be a benchmark decade in the development of cinema, both as an art form and a business. With young filmmakers taking greater risks and restrictions regarding language and sexuality lifting, Hollywood produced some its most critically acclaimed and financially successful films since its supposed "golden era." Hollywood for his role in the 1972 hit The Godfather. He boycotted the ceremony and sent Native American Sacheen Littlefeather to reject the award on his behalf. Also pictured are Roger Moore and Liv Ullmann.]] In the years previous to 1970, Hollywood had began to cater to the younger generation with films such as The Graduate and Topless Nurses. This proved a folly when anti-war films like R.P.M. and The Strawberry Statement became major box-office flops. Even solid films with bankable stars, like the Pearl Harbor epic Tora! Tora! Tora!, flopped, leaving studios in dire straights financially. Unable to repay financiers, studios began selling off land, furniture, clothing, and sets acquired over years of production. Nostalgic fans bid on merchandise and collectables ranging from Judy Garland's sparkling red shoes to MGM's own back lots. More of the successful films were those based in the harsh truths of war, rather than the excesses of the '60s. Films like Patton, about the World War II general, and M
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- H, about a Korean War field hospital, were major box-office draws in 1970. Honest, old-fashioned films like Five Easy Pieces, Summer of '42, and the Erich Segal adaptation, Love Story, were commercial and critical hits. (Love Story and "Summer" remain, as of 2005, two of the most successful films in Hollywood history. "Summer," costing $1,000,000 USD, brought in $25,000,000 at the box office, while "Love Story," with a budget of $2,200,000, earned $106,400,000). One of the most insightful films of the decade came from the mind of a Hollywood outsider, Czechoslovakian director Milos Forman, whose Taking Off became a bold reflection of life at the beginning of the seventies. The 1971 satirized the American middle class, following a young girl who runs away from home, leaving her parents free to explore life for the first time in years. While the film was never given a wide release in America, it became a major critical achievement both in America and around the world (garnering the film high honors at the Cannes Film Festival and several BAFTA Award nominations). An adaptation of an Arthur Hailey novel would prove to be one of the most notable films of 1970, and would set the stage for a major trend in seventies cinema. The film, Airport, featured a complex plot, characters, and an all-star cast of Hollywood A-listers and legends. Airport followed an airport manager trying to keep a fictional Chicago airport operational during a blizzard, as well as a bomb plot to blow up an airplane. The film was a major critical and financial success, helping pull Universal Studios into the black for the year. The film earned senior actress Helen Hayes an Oscar for Best Supporting Actress and garnered many other nominations in both technical and talent categories. The success of the film launched a slew of disaster-related films, many of which following the same blueprint of major stars, a melodramatic script, and great suspense. disaster Three Airport sequels followed in 1974, 1977, and 1979, each successor making less money than the last. 1972 brought The Poseidon Adventure, which starred a young Gene Hackman leading an all-star cast to safety in a capsized luxury liner. The film earned an Academy Award for visual effects (and Best Original Song for "The Morning After," as well as numerous nominations, including one for its notable supporting star, Shelley Winters. The Towering Inferno teamed Steve McQueen and Paul Newman against a fire in a New York skyscraper. The film cost a whopping $14 million to produce (expensive for its time), and won Academy Awards for Cinematography, Film Editing, and Best Original Song. The same year, the epic Earthquake featured questionable effects (camera shake and models) to achieve a destructive 9.9 earthquake in Los Angeles. Despite this, the film was one of the most successful of its time, earning $80 million at box office. By the late seventies, the novelty had worn off and the disasters had become less exciting. 1977 brought a terrorist targeting a Rollercoaster, a 1978 Swarm of bees, and a less-than-threatening Meteor in 1979. 1971 brought a rebirth of the action film, three years after the influential Bullitt. The French Connection, starring Gene Hackman, brought suspense to new heights with an adrenaline-broiling car chase through the streets of New York City, while Get Carter featured gratuitous nudity and A Clockwork Orange featured much blood and gore to complement its complex story. African American filmmakers also found success in the seventies with such hits as Shaft and Sweet Sweetback's Baadasssss Song, and more questionable films, such as Blacula and Blackenstein. Like other sequels in the seventies, Shaft went on to have two more adventures, each less successful than the last. An adaptation of a Mario Puzo novel, The Godfather, became one of the best-loved and most respected works of cinema upon its release in 1972. The three-hour epic followed a Mafia boss, played by Marlon Brando, through his life of crime. Beyond the violence and drama were themes of love, pride, and greed. The Godfather went on to earn $134 million at American box office, and $245 million throughout the world. It won Academy Awards for Best Picture, Best Actor, and Best Screenplay. Its director Francis Ford Coppola was passed over in favor of Bob Fosse and his musical, Cabaret, which also earned an Oscar for its star, Liza Minnelli. The Godfather: Part II followed in 1974, with roughly the same principal cast and crew, earning Oscars for star Robert De Niro, its director, composer, screenwriters and art directors. The film also earned the Best Picture Oscar for that year. The replacement of Sean Connery, first with George Lazenby and then with Roger Moore, in the James Bond series created a minor bump for the '60s hit in the seventies. While 1973's Live and Let Die was a moderate success, the following films in the series didn't live up to expectations. The highest grossing of the seventies Bond films, 1979's Moonraker, is viewed by many as the weakest of the franchise. Other massively successful films would soon take Bond's place in the seventies. It was at this time that the blockbuster was born. While the 1973 horror classic The Exorcist was among the top five grossing films of the seventies, the first film given the blockbuster distinction was 1975's Jaws. Released on June 20th, the film about a series of horrific deaths related to a massive great white shark was director Steven Spielberg's first big-budget Hollywood production, coming in at a cool $9 million in cost. The film slowly grew in ticket sales and became one of the most profitable films of its time, ending with a $260 million dollar gross in the United States alone. The film won Academy Awards for its skillful editing, chilling score, and sound recording. It was also nominated for Best Picture that year, though it lost to Milos Forman's One Flew Over the Cuckoo's Nest (which also won acting awards for Jack Nicholson and Louise Fletcher). Louise Fletcher The massive success of Jaws was eclipsed just two years later by another legendary blockbuster and film franchise. The George Lucas science-fiction epic, Star Wars Episode IV: A New Hope, hit theater screens in May of 1977, and became a major hit, growing in ticket sales throughout the summer, and the rest of the year. In time earning some $460 million, the good versus evil fantasy set in space was not soon surpassed. The film's breathtaking visual effects won an Academy Award. The film also won for John Williams's uplifting score, as well as art direction, costume design, film editing, and sound. A New Hope effectively removed any specter of studio bankruptcy that had haunted the studios since early in the decade. When a television film, The Star Wars Holiday Special, was released as a spin-off from A New Hope in 1978, it failed to receive the status of the original film, and was deemed a flop. It would be two years until the Star Wars series would be revived with The Empire Strikes Back. Another success in visual effects came the same year as A New Hope, with Spielberg's Close Encounters of the Third Kind, another blockbuster and alien contact set in the wilderness. For the picture, Spielberg received his first Oscar nomination for direction. Throughout the seventies, the horror film developed into a lucrative genre of film. It began in 1973 with the terrifying The Exorcist, directed by William Friedkin and starring the young Linda Blair. The film saw massive success, and the first of several sequels was released in 1977. 1976 brought the equally creepy suspense thriller, Marathon Man, about a man who becomes the target of a former Nazi dentist's torment after his brother dies. The same year, the Devil himself made an appearance in The Omen, about the spawn of Satan. 1978's Halloween was a precursor to the "slasher" films of the eighties and nineties with its psychopathic Michael Myers. Cult horror films were also popular in the seventies, such as Wes Craven's early gore films Last House on the Left and The Hills Have Eyes, as well as Tobe Hooper's The Texas Chainsaw Massacre. In the mid-seventies movies began to reflect the disenfranchisement brought by the excesses of the past twenty years. A deeply unsettling look at alienation and city life, Taxi Driver earned international praise, first at the Cannes Film Festival and then at the Academy Awards, where it was nominated for Best Leading Actor (Robert De Niro), Best Supporting Actress (Jodie Foster), Best Score (Bernard Herrmann), and Best Picture. All the President's Men dealt with the impeachment of Richard Nixon, while Network portrayed greed and narcissism in both American society and television media. The film won Oscars for Best Actor (Peter Finch), Best Actress (Faye Dunaway), Best Supporting Actres (Beatrice Straight), and Best Screenplay (Paddy Chayefsky). Thanks to a stellar cast, experienced director, and a poignant story, Network became one of the largest critical successes of 1976. Another film, Rocky, about an average man turned boxer (played by Sylvester Stallone) won the Best Picture Academy Award that year. The film also became a major commercial success and spawned four sequels through the rest of the seventies and eighties. 1978 brought the successful sequel, Jaws 2, which featured the same cast, but without Steven Spielberg. Another tailor-made blockbuster, Dino de Laurentiis' King Kong was released, but to less than stellar success. King Kong did mark the first time a film was booked to theaters before a release date, a common practice today. King Kong, introduced the "disco lifestyle" to the world.]] The success of Woody Allen's Annie Hall in 1977 stirred a new trend in moviemaking. Annie Hall, a love story about a depressed comedian and a free-spirited woman, was followed with more sentimental films, including Neil Simon's The Goodbye Girl, An Unmarried Woman staring Jill Clayburgh,the autobiographical Lillian Hellman story, Julia, starring Jane Fonda and Vanessa Redgrave, and 1978's Heaven Can Wait and International Velvet. Younger audiences were also beginning to be the focus of cinema, after the huge blockbusters that had attracted them back to the theater. John Travolta became popular in the pop-culture landmark films, Saturday Night Fever, which introduced Disco to middle America, and Grease, which recalled the world of the 1950s. Comedy was also given new life in the irreverent Animal House, set on a college campus during the 1960s. Up in Smoke, starring Cheech and Chong, was another irreverent comedy about marijuana use became popular among teenagers. The new television comedy program, "Saturday Night Live," launched the careers of several of its comedians, such as Chevy Chase, who starred in the 1978 hit Foul Play with rising star Goldie Hawn. Blockbusters like Superman, starring former Love of Life actor Christopher Reeve, were also still popular. The decade closed with two films chronicling the Vietnam War, Michael Cimino's The Deer Hunter and Francis Ford Coppola's Apocalypse Now. Both films focused on the horrors of war and the psychological damaged caused by such horrors. Christopher Walken and director Michael Cimino earned Oscars for their work on the film, which earned a Best Picture Academy Award. Robert De Niro and Meryl Streep were also nominated for their work in The Deer Hunter. Apocalypse Now won for cinematography and sound, and earned nominations for Robert Duvall and Coppola. 1979 saw the poignant Kramer vs. Kramer, the inspiring Norma Rae, and the nuclear thriller, The China Syndrome. Meanwhile, The Onion Field and And Justice for All focused on the failures of the American judicial system. The year ended with Hal Ashby's subtle black comedy Being There and The Muppet Movie, a family film based on the Jim Henson puppet characters.
The Seventies in television

In the United States
Jim Henson At the start of the decade, long-standing trends in American television were finally reaching the end of the road. The Red Skelton Show and The Ed Sullivan Show, long-revered American institutions, were finally canceled after multi-decade spans. The "family sitcom," popularized by the travails of Ozzie and Harriet Nelson in the fifties and sixties, saw its last breath at the start of the new decade with The Brady Bunch, which ran for five seasons. Although the show was never highly rated during its original run, it has been broadcast in syndication continuously since 1974, and many children have grown up with it, causing them to think of the Bradys as the quintessential family—not only in 1970s television, but quite possibly all of American television. In the United States, television in the seventies was transformed by what became termed as "social consciousness" programming, spearheaded by television producer Norman Lear. All in the Family, his adaptation of the British television series Til Death Us Do Part, broke down television barriers. When the series premiered in 1971, Americans heard the words "fag," "nigger," and "spic" on national television programming for the first time. All in the Family was the talk of countless dinner tables throughout the country; Americans hadn't seen anything like it on television before. The show became the highest-rated program on US television schedules in the fall of 1971 and stayed in the top slot until 1976—to date, only one other series has tied All in the Family for such a long stretch at the top of the ratings. All in the Family spawned numerous spin-offs, such as Maude, starring Bea Arthur. Maude was Edith Bunker's cousin and Archie's arch-enemy. She stood for everything liberal and was an outspoken advocate of civil rights and feminism. Maude felt most comfortable, however, hiring a black woman as her housekeeper. Maude's housekeeper, Florida Evans (played by Esther Rolle), became popular in her own right and was given her own television series in 1974, Good Times, which proved to be another hit for Lear's production company. Lear developed two shows in 1975: The Jeffersons, a spinoff of All in the Family in which Archie Bunker's black next-door neighbors moved to a luxury apartment on the Upper East Side of Manhattan, and One Day at a Time, about a single mother raising her two teenage daughters in Indianapolis. Indianapolis With the rise in socially responsible programming, the television western, a very popular genre in the 1960s, slowly died out. The first casualties were The High Chaparral and The Virginian, both NBC staples, in the spring of 1971. Bonanza suffered a blow when actor Dan Blocker died during surgery in 1972, and the show quietly ended its run the next year. CBS's Gunsmoke outlasted them all, and finally ended its run with a star-studded series finale in 1975. Bonanza actor Michael Landon helped popularize a television adaptation of the popular children's book series Little House on the Prairie. Debuting in 1974, the series ran for eight years. Little Houses competitor family drama was CBS's The Waltons, which revolved around family unity but during a different time and place—Virginia during the Great Depression. By the mid-to-late 1970s, viewers tired of socially responsible sitcoms. CBS had aired most of Lear's creations and had led the US television ratings since the mid-1950s; since then the network had received a reputation as being the "Tiffany Network," showcasing the best in television. Former CBS head of programming Fred Silverman defected to struggling ABC, which saw a glimmer of hope in the early 1970s with the #1 hit show Marcus Welby, M.D., but eventually retreated to its traditional third-place spot. Silverman was instrumental in starting a new movement in American television, centered around sexual gratification and bawdy humor and situations. Critics called the new era "jiggle television," exemplified by the crime-fighting television series Charlie's Angels, which starred up-and-coming sex symbols Farrah Fawcett, Jaclyn Smith, and Kate Jackson. Kate Jackson Silverman was responsible for green-lighting more risqué sitcoms such as Three's Company, modeled after the British series Man About the House, in which swinging single-man Jack Tripper pretended to be gay in order to live in an apartment with two single women. Mildly controversial at the time, the show quickly became a Top Ten hit in the ratings. ABC also aired Soap, a sitcom that parodied soap operas, and garnered controversy by writing in one of the first gay characters on U.S. television. Many stations refused to air the series (another storyline consisted of heroine Corinne Tate, played by Diana Canova, lusting after a priest who eventually left the priesthood to marry her). Silverman's legacy also included the "fantasy" genre, which started in 1977 with The Love Boat. The series involved popular movie and television stars in guest roles as passengers on a luxury cruise liner that sailed up and down the Pacific Coast. Silverman followed up in 1978 with Fantasy Island, starring Ricardo Montalban and Hervé Villechaize. Montalban and Villechaize were the owner and sidekick, respectively, of a luxury island resort where peoples' wishes came true. Hervé Villechaize Another popular medium in US television moving into the 1970s was the soap opera, which moved from being a genre watched exclusively by housewives to having a sizable audience of men (who largely watched The Edge of Night) and college students; the latter audience helped All My Children gain a devoted following, as it was on during many universities' traditional "lunch period." In a TIME article written about the g

Funk
Funk is a distinct style of music originated by African-Americans, e.g., James Brown and his band members (especially Maceo and Melvin Parker), and groups like The Meters. Funk best can be recognized by its syncopated rhythms; thick bass line (often based on an "on the one" beat); razor-sharp rhythm guitars; chanted or hollered vocals (as that of Marva Whitney or the Bar-Kays); strong, rhythm-oriented horn sections; prominent percussion; an upbeat attitude; African tones; danceability; and strong jazz influences (e.g., as in the music of Miles Davis, Herbie Hancock, George Duke, Eddie Harris, and others).
Characteristics
Compared to funk's predecessor, the soul music of 1960s, funk typically uses more complex rhythms, while song structures are usually simpler. Often, the structure of a funk song consists of just one or two riffs. Sometimes the point at which one riff changes to another becomes the highlight of a song. The soul dance music of its day, the basic idea of funk was to create as intense a groove as possible. One of the most distinctive features of funk music is the role played by bass guitar. Before soul music, bass was rarely prominent in popular music. Players like the legendary Motown bassist James Jamerson brought bass to the forefront, and funk built on that foundation, with melodic basslines often being the centerpiece of songs. Notable funk bassists include Bootsy Collins and Larry Graham of Sly & the Family Stone. Graham is often credited with inventing the percussive "slap bass technique," which was further developed by later bassists and became a distictive element of funk. Since funk is strongly rhythm-oriented, many funk songs contain no solos. Those that do often feature skillfully improvised horn solos. Some of the best known and most skillful soloists have jazz backgrounds. Trombonist Fred Wesley and saxophonist Maceo Parker are among the most notable musicians in the funk music genre, both having worked with James Brown and George Clinton. In funk bands, guitarists typically play in a percussive style. "Dead" notes often are used in riffs to strengthen percussive elements. When playing with a horn section, guitarists usually play no solos; but if a band's style is closer to a "funk rock" approach, then a guitarist may play solos with a distorted sound. Jimi Hendrix was the pioneer of funk rock and his improvised other-worldly solos influenced Eddie Hazel of Funkadelic. Eddie Hazel who later worked with George Clinton is one of the most notable guitar soloists in funk. Jimmy Nolen and Phelps Collins are famous funk rhythm guitarists who both worked with James Brown.
History

Origin of funk
Category:Slang The word "funk", once defined in dictionaries as body odor or the smell of sexual intercourse, commonly has been regarded as coarse or indecent. African-American musicians originally applied "funk" to music with a slow, mellow groove, then later with a hard-driving, insistent rhythm because of the word's association with sexual intercourse. This early form of the music set the pattern for later musicians. The music was slow, sexy, loose, riff-oriented and danceable. Funky typically described these qualities. In jam sessions, musicians would encourage one another to "get down" by telling one another, "Now, put some stank ('stink'/funk) on it!" At least as early as the 1930s, jazz songs carried titles such as Buddy Bolden's Funky Butt. As late as the 1950s and early 1960s, when "funk" and "funky" were used increasingly in the context of soul music, the terms still were considered indelicate and inappropriate for use in polite company. The distinctive characteristics of African-American musical expression are rooted in West African musical traditions, and find their earliest expression in spirituals, work chants/songs, praise shouts, gospel and blues. In more contemporary music, gospel, blues and blues extensions and jazz often flow together seamlessly. Funky music is an amalgam of soul music, soul jazz and R&B.
James Brown and funk as a genre
Only with the innovations of James Brown in the late 1960s was funk regarded as a distinct genre. In the R&B tradition, these tightly rehearsed bands created an instantly recognizable style, overlaid with catchy, anthemic vocals. Often cueing his band with the command, "On the one!" Brown changed the rhythmic emphasis from the two-four beat of traditional soul music to a one-three emphasis previously associated with white musical forms -- but with a hard-driving, brassy swing. This pumping, one-three beat became a signature of classic funk. While James Brown's 1965 Top 10 Mercury Records hit "Papa's Got a Brand New Bag" is widely presumed to be the song that paved way for the funk genre, much of Brown's work in 1965 and 1966, though remarkable, still maintained the rhythms and approach found in earlier records. It was the #1 R&B hits "Cold Sweat" in 1967, "I Got The Feelin'" and "Say It Loud, I'm Black And I'm Proud" in 1968 that further defined the feel of funk. R&B #1's "Give It Up Or Turn It Loose" and "Mother Popcorn" in 1969 continued to solidify the tight rhythms, riffs and grooves for which funk music is known, setting the standard for James Brown's future work and the rising wave of funk to come in the 1970s. Other musical groups picked up on the riffs, rhythms, and vocal style innovated by James Brown and his band, and the style began to grow. Dyke & the Blazers based in Phoenix, Arizona released "Funky Broadway" in 1967, perhaps the first record to have "funky" in the title. Meanwhile, on the West Coast, Charles Wright & the Watts 103rd Street Rhythm Band were releasing funk tracks beginning with their first album in 1967, culminating in their classic single "Express Yourself" in 1970. The Meters defined funk in New Orleans starting with their Top Ten R&B hits "Sophisticated Cissy" and "Cissy Strut" in 1969. Another group who would define funk in the decade to come were The Isley Brothers whose funky 1969 #1 R&B hit, "It's Your Thing", signaled a breakthrough in black music bridging the gaps of the rock of Jimi Hendrix and the upbeat soul of Sly & the Family Stone.
1970s and P-Funk
In the 1970s, a new group of musicians further developed the "funk rock" approach innovated by Jimi Hendrix. George Clinton, with his bands Parliament and, later, Funkadelic, produced a new kind of funk sound heavily influenced by jazz and psychedelic music. The two groups had members in common and often are referred to singly as "Parliament-Funkadelic." The breakout popularity of Parliament-Funkadelic gave rise to the term "P-Funk," which both referred to the music by George Clinton's bands and defined a new subgenre. P-Funk Fashion Awards.]]"P-funk" also came to mean something in its quintessence, of superior quality, or sui generis, as in the lyrics from "P-Funk," a hit single from Parliament's album "Mothership Connection": ::"I want the bomb. I want the P-Funk. I want my funk uncut." The 1970s was probably the era of highest mainstream visibility for funk music. Other prominent funk bands of the period included Earth, Wind & Fire, Bootsy's Rubber Band, The Meters, Ohio Players, The Commodores, War, Kool & the Gang, Confunkshun, Slave, Cameo, Midnight Star, the Bar-Kays, Betty Davis, Zapp, and many more. Already, in late 1960s, many jazz musicians — among them Horace Silver, Herbie Hancock (with his Headhunters band), Grover Washington, Jr., and Cannonball Adderly, Les McCann and Eddie Harris — had begun to combine jazz and funk. Sometimes this approach is called "jazz-funk". Additionally, in the late 1960s work of Miles Davis (with girlfriend/wife Betty Davis) and Tony Williams helped to create Jazz fusion and influnced funk. Funk music was exported to Africa in the late 1960s, and melded with African singing and rhythms to form Afrobeat. Fela Kuti was a Nigerian musician who is credited with creating the music and terming it "Afrobeat". Disco music owed a great deal to funk. Many early disco songs and performers came directly from funk-oriented backgrounds.
1980s and stripped-down funk
In the 1980s, many of the core elements that formed the foundation of the P-Funk formula began to be usurped by machines. Horns were replaced by synths, effectively phasing out horn sections, and the horns that remained were simplified from the patterns and hooks of the earlier funk sound. Horn solos were out. The classic keyboards of funk, like the Hammond B3 organ and the Fender Rhodes piano began to be replaced by the brash sound of new digital synthesizers like the Yamaha DX7. Drum machines began to replace the "funky drummers" of the past, and the slap and pop style of bass playing began to fall out of favor, often replaced by thinner sounding and rhythmically simpler keyboard bass. The lyrics and hooks of funk began to change from often suggestive and using double entendre to more graphic and sexually explicit. Rick James was the first funkateer of the 80s to assume the funk mantle dominated by P-Funk in the 70s. His 1981 album Street Songs with the singles "Give It To Me Baby" and "Super Freak" resulted in James becoming a bit of a rock star, and paved the way for the future direction of explicitness in funk. Prince, using a stripped-down instrumentation similar to Rick James, went on to have as much of an impact on the sound of funk as any one artist since James Brown.