Jon Savage's the Secret Public: How the Lgbtq+ - Jon Savage's The Secret Public: How The Lgbtq+ Aesthetic Shaped Pop Culture 1955-1979 / Various
Homosexuality has been a part of post-war popular music since it's very inception. Until the early 70s, however, it wasn't talked about openly in that world: it was coded, hidden, secret. This of course mirrored society - during the 50s and 60s, the gay community felt like outcasts: harassed by the police, demonised by the media and politicians, imprisoned simply for being who they were. This compilation spans the time before and after Bowie, reflecting both the coded nature about the topic in the 50s and 60s and the greater openness that occurred in the early 70s. It begins in late 1955, with the extraordinary success of Little Richard; continues through early-60s pop and pop art; Tamla and soul, glam rock, the early 70s funk and disco that was played in the underground New York clubs, and then moves on to the omnipresence of disco, in the late 70s. This double CD compilation is about freedom - and freedom for all. Whilst some of the artists identify as LGBTQ+, then or now, some are included simply because they were played in gay or lesbian clubs - where their lyric or sound proved useful and enjoyable to the patrons - or because they were shaped in some way by the gay aesthetic or gay managers. It's a love letter to the entwined world of music and sexuality in all it's many guises and we hope you enjoy the ride.
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Jon Savage's the Secret Public: How the Lgbtq+ - Jon Savage's The Secret Public: How The Lgbtq+ Aesthetic Shaped Pop Culture 1955-1979 / Various
Jon Savage's the Secret Public: How the Lgbtq+ - Jon Savage's The Secret Public: How The Lgbtq+ Aesthetic Shaped Pop Culture 1955-1979 / Various
Homosexuality has been a part of post-war popular music since it's very inception. Until the early 70s, however, it wasn't talked about openly in that world: it was coded, hidden, secret. This of course mirrored society - during the 50s and 60s, the gay community felt like outcasts: harassed by the police, demonised by the media and politicians, imprisoned simply for being who they were. This compilation spans the time before and after Bowie, reflecting both the coded nature about the topic in the 50s and 60s and the greater openness that occurred in the early 70s. It begins in late 1955, with the extraordinary success of Little Richard; continues through early-60s pop and pop art; Tamla and soul, glam rock, the early 70s funk and disco that was played in the underground New York clubs, and then moves on to the omnipresence of disco, in the late 70s. This double CD compilation is about freedom - and freedom for all. Whilst some of the artists identify as LGBTQ+, then or now, some are included simply because they were played in gay or lesbian clubs - where their lyric or sound proved useful and enjoyable to the patrons - or because they were shaped in some way by the gay aesthetic or gay managers. It's a love letter to the entwined world of music and sexuality in all it's many guises and we hope you enjoy the ride.
Product Information
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Shipping & Returns
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Description
Homosexuality has been a part of post-war popular music since it's very inception. Until the early 70s, however, it wasn't talked about openly in that world: it was coded, hidden, secret. This of course mirrored society - during the 50s and 60s, the gay community felt like outcasts: harassed by the police, demonised by the media and politicians, imprisoned simply for being who they were. This compilation spans the time before and after Bowie, reflecting both the coded nature about the topic in the 50s and 60s and the greater openness that occurred in the early 70s. It begins in late 1955, with the extraordinary success of Little Richard; continues through early-60s pop and pop art; Tamla and soul, glam rock, the early 70s funk and disco that was played in the underground New York clubs, and then moves on to the omnipresence of disco, in the late 70s. This double CD compilation is about freedom - and freedom for all. Whilst some of the artists identify as LGBTQ+, then or now, some are included simply because they were played in gay or lesbian clubs - where their lyric or sound proved useful and enjoyable to the patrons - or because they were shaped in some way by the gay aesthetic or gay managers. It's a love letter to the entwined world of music and sexuality in all it's many guises and we hope you enjoy the ride.
