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Critics<\/b>, anchored to the axioms of socially conscious = good<\/b> and lighthearted = bad<\/b>, which they had adhered to for at least two decades (though everything would change within a few years), could not accept music whose declared objectives were to entertain listeners and enrich artists and record labels.<\/p>\n
The “selfless” commitment of singer-songwriters, swept away by simple songs where imitating Donald Duck (Disco Duck) was enough to sell millions of records, could not be easily accepted by critics\u2014and indeed, it was not.<\/p>\n
Disco Music<\/b> marked the emergence of a particular focus on a rising genre where a few words formed a chorus that, set within a catchy context, created the hit of the moment. Disco Duck<\/b> is an example, capable of climbing to the top of the most important world charts in just a few weeks. <\/p>\n
The advent of Disco music<\/b> marked the end of the socially conscious music of various singer-songwriters, from Dylan<\/b> to Joan<\/b> Baez<\/b> (see photo).![\"pastedGraphic_1.png\"](\"webkit-fake-url:\/\/A45AD804-369A-4AB3-915F-05C026E727E7\/pastedGraphic_1.png\")
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On November 28, 1975<\/b>, at Madison Square Garden<\/b>, a “Disco Dance Party<\/b>” was organized with a cast of 14,000 dancers to showcase a long series of Disco Music<\/b> artists, effectively establishing this musical genre as a trend of absolute significance. Everyone began a sort of conversion; even the most skeptical critics relented, turning from detractors into supporters of this new music. Business demands were changing. <\/p>\n
Major record labels<\/b> began a massive production of disco artists: performers of the caliber of K.C. and the Sunshine Band<\/b>, Harold Melvin & the Blue Notes, Gloria Gaynor, Michael Jackson, Jimmy Bo Horne, Anita Ward<\/b>, and many others emerged, so much so that American President Jimmy Carter<\/b> requested Disco Music at his inaugural ball (January 20, 1977). It was no coincidence that many rock<\/b> groups of the decade disbanded, attempted solo careers, and\/or experienced a period of decline (Deep Purple and Emerson, Lake & Palmer, to name two). It was no coincidence that after 1977<\/b>, following the success of the Bee Gees (the legendary white pop group), even rock singers like Elton John, David Bowie, Kiss, and Paul McCartney produced decidedly danceable hits. <\/p>\n
The disco genre was reaching endemic proportions, influencing all sectors including cinema. At the end of 1977<\/b>, production began on a film that would become a cult<\/b> classic, \u201cSaturday Night Fever,\u201d featuring <\/b>the soundtrack by the Bee Gees<\/b> and a then-little-known John Travolta<\/b> as the lead. The success was so immense that it convinced even the last remaining critics. Disco music was officially accepted. <\/p>\n","protected":false},"excerpt":{"rendered":"
Critics, anchored to the axioms of socially conscious = good and lighthearted = bad, which they had adhered to for at least two decades […]<\/p>\n","protected":false},"author":1,"featured_media":4575,"template":"","project-category":[65],"class_list":["post-4574","projects","type-projects","status-publish","has-post-thumbnail","hentry","project-category-history"],"acf":[],"yoast_head":"\n