The 1970s tend to be allocated a slender role in American cultural and social history. The essays in Disco Divas reveal that the 1970s, far from being an era of cultural stasis, were a time of great social change, particularly for women.

The female vocalists who pioneered the disco genre in the '70s and early '80s were an extraordinarily talented group who dazzled the world with an exciting blend of elegance, soulful passion and gutsy fire. In this book of original interviews, 32 of these women tell their stories, explaining how they view their music, careers, connection to gay audiences, and their places in dance music history. Interviewed artists include: The Andrea True Connection; Claudja Barry; Pattie Brooks; Miquel Brown; Linda Clifford; Carol Douglas; Yvonne Elliman; Rochelle Fleming (First Choice); Gloria Gaynor; Debbie Jacobs-Rock; Madleen Kane; Evelyn "Champagne" King; Audrey Landers; Suzi Lane; Cynthia Manley (Boys Town Gang); Kelly Marie; Maxine Nightingale; Scherrie Payne; Wardell Piper; The Ritchie Family, 1975-1978: Gwendolyn Wesley, Cassandra Wooten and Cheryl Mason-Dorman; The Ritchie Family, 1978-1982: Theodosia "Dodie" Draher; Barbara Roy (Ecstasy Passion & Pain); Pamala Stanley; Evelyn Thomas; Jeanie Tracy; Anita Ward; Martha Wash; Carol Williams; Jessica Williams and Norma Jean Wright.

This book sheds light on the fascinating untold story behind what is collectively and disputably called "disco dancing," and the incredible effect that the phenomenon had on America—in New York City and beyond. Disco is a dance and musical style that still influences these art forms today. Many think that disco "died" completely after the 1970s drew to a close, but in actuality people continued dancing in the clubs after the very word "disco" became an anathema. Disco Dance explains why disco was more than just a dance form or a fad, describing many of the clubs—in New York City especially—where the disco subculture thrived. The author examines the origins of disco music, its evolution, and how young people adapted the dance styles of the day to the disco beat, charting how this dance of celebration and rebellion during troubling times became subject to ridicule by the end of the decade.

Rabaka explores funk as a distinct multiform of music, aesthetics, politics, social vision, and cultural rebellion that has been remixed and continues to influence contemporary Black popular music and Black popular culture, especially rap music and the Hip Hop Movement. The Funk Movement was a sub-movement within the larger Black Power Movement and its artistic arm, the Black Arts Movement. Moreover, the Funk Movement was also a sub-movement within the Black Women’s Liberation Movement between the late 1960s and late 1970s, where women’s funk, especially Chaka Khan and Betty Davis’s funk, was understood to be a form of “Black musical feminism” that was as integral to the movement as the Black political feminism of Angela Davis or the Combahee River Collective and the Black literary feminism of Toni Morrison or Alice Walker. This book also demonstrates that more than any other post-war Black popular music genre, the funk music of the 1960s and 1970s laid the foundation for the mercurial rise of rap music and the Hip Hop Movement in the 1980s and 1990s. This book is primarily aimed at scholars and students working in popular music studies, popular culture studies, American studies, African American studies, cultural studies, ethnic studies, critical race studies, women’s studies, gender studies, and sexuality studies.

An outpouring of memorial tributes and public expressions of grief followed the death of the Tejana recording artist Selena Quintanilla Pérez in 1995. The Latina superstar was remembered and mourned in documentaries, magazines, websites, monuments, biographies, murals, look-alike contests, musicals, drag shows, and more. Deborah Paredez explores the significance and broader meanings of this posthumous celebration of Selena, which she labels “Selenidad.” She considers the performer’s career and emergence as an icon within the political and cultural transformations in the United States during the 1990s, a decade that witnessed a “Latin explosion” in culture and commerce alongside a resurgence of anti-immigrant discourse and policy. Paredez argues that Selena’s death galvanized Latina/o efforts to publicly mourn collective tragedies (such as the murders of young women along the U.S.-Mexico border) and to envision a brighter future. At the same time, reactions to the star’s death catalyzed political jockeying for the Latino vote and corporate attempts to corner the Latino market. Foregrounding the role of performance in the politics of remembering, Paredez unravels the cultural, political, and economic dynamics at work in specific commemorations of Selena. She analyzes Selena’s final concert, the controversy surrounding the memorial erected in the star’s hometown of Corpus Christi, and the political climate that served as the backdrop to the touring musicals Selena Forever and Selena: A Musical Celebration of Life. Paredez considers what “becoming” Selena meant to the young Latinas who auditioned for the biopic Selena, released in 1997, and she surveys a range of Latina/o queer engagements with Selena, including Latina lesbian readings of the star’s death scene and queer Selena drag. Selenidad is a provocative exploration of how commemorations of Selena reflected and changed Latinidad.

Few conventions were left unchallenged in the 1970s as Americans witnessed a decade of sweeping social, cultural, economic, and political upheavals. The fresh anguish of the Vietnam War, the disillusionment of Watergate, the recession, and the oil embargo all contributed to an era of social movements, political mistrust, and not surprisingly, rich cultural diversity. It was the Me Decade, a reaction against 60s radicalism reflected in fashion, film, the arts, and music. Songs of the Ramones, the Sex Pistols, and Patti Smith brought the aggressive punk-rock music into the mainstream, introducing teenagers to rebellious punk fashions. It was also the decade of disco: Who can forget the image of John Travolta as Tony Manero in Saturday Night Fever decked out in a three-piece white leisure suit with his shirt collar open, his hand points towards the heavens as the lighted disco floor glares defiantly below him? While the turbulent decade ushered in Ms. magazine, Mood rings, Studio 54, Stephen King horror novels, and granola, it was also the decade in which over 25 million video game systems made their way into our homes, allowing Asteroids and Pac-Man games to be played out on televisions in living rooms throughout the country. Whether it was the boom of environmentalism or the bust of the Nixon administration and public life as we knew it, the era represented a profound shift in American society and culture.

Explores the resounding musical performances of Mexican American women such as Chelo Silva, Eva Ybarra, Eva Garza, and Selena within Tejano/Chicano music

Amidst the recent flourishing of Sixties scholarship, Imagine Nation is the first collection to focus solely on the counterculture. Its fourteen provocative essays seek to unearth the complexity and rediscover the society-changing power of significant movements and figures.

An impassioned homage to the divas who shake up our world and transform it with their bold, dazzling artistry. What does it mean to be a “diva”? A shifting, increasingly loaded term, it has been used to both deride and celebrate charismatic and unapologetically fierce performers like Aretha Franklin, Divine, and the women of Labelle. In this brilliant, powerful blend of incisive criticism and electric memoir, Deborah Paredez—scholar, cultural critic, and lifelong diva devotee—unravels our enduring fascination with these icons and explores how divas have challenged American ideas about feminism, performance, and freedom. American Diva journeys into Tina Turner’s scintillating performances, Celia Cruz’s command of the male-dominated salsa world, the transcendent revival of Jomama Jones after a period of exile, and the unparalleled excellence of Venus and Serena Williams. Recounting how she and her mother endlessly watched Rita Moreno’s powerhouse portrayal of Anita in West Side Story and how she learned much about being bigger than life from her fabulous Tía Lucia, Paredez chronicles the celebrated and skilled performers who not only shaped her life but boldly expressed the aspiration for freedom among brown, Black, and gay communities. Paredez also traces the evolution of the diva through the decades, dismayed at the mid-aughts’ commodification and juvenilizing of its meaning but finding its lasting beauty and power. Filled with sharp insights and great heart, American Diva is a spirited tribute to the power of performance and the joys of fandom.

This book explores some of disco’s other lives which thrived between the 1970s and the 1980s, from oil-boom Nigeria to socialist Czechoslovakia, from post-colonial India to war-torn Lebanon. It charts the translation of disco as a cultural form into musical, geo-political, ideological and sociological landscapes that fall outside of its original conditions of production and reception, capturing the variety of scenes, contexts and reasons for which disco took on diverse dimensions in its global journey. With its deep repercussions in visual culture, gender politics, and successive forms of popular music, art, fashion and style, disco as a musical genre and dance culture is exemplary of how a subversive, marginal scene – that of queer and Black New York undergrounds in the early 1970s – turned into a mainstream cultural industry. As it exploded, atomised and travelled, disco served a number of different agendas; its aesthetic rootedness in ideas of pleasure, transgression and escapism and its formal malleability, constructed around a four-on-the-floor beat, allowed it to permeate a variety of local scenes for whom the meaning of disco shifted, sometimes in unexpected and radical ways.