Over the years, masculinity has evolved in tandem with societal changes, fostering more equal access and opportunities for minorities, even as privilege persists for white cisgender straight males. On November 19th, Men's Day is celebrated, providing an opportunity to reflect on the progress and challenges faced by men in our changing world. On this occasion, I'd like to spotlight a male group that has defied norms and set trends ahead of its time. This year (2023) marks their 45th anniversary since their remarkable beginning with 'Y.M.C.A.'
In 1977, the genesis of this musical phenomenon unfolded when the dynamic duo of producer Jacques Morali and his business partner Henri Belolo, collectively known as Can’t Stop Productions, found themselves in need of background singers for the Ritchie Family’s new album, 'African Queen.' Horace Ott, the talented arranger/conductor collaborating with them, suggested Victor Willis—a singer he was currently recording, and who had also graced the Broadway musical stage in 'The Wiz.' After completing background vocals for the Ritchie Family’s album, Morali approached Willis with another musical venture in the works—the birth of Village People. Morali shared a vivid vision with Willis: 'I had a dream that you sang lead vocals on an album I produced, and it went very, very, very big. I have four tracks. I can’t pay you much right now, but if you agree, I’ll make you a star.' Without hesitation, Willis agreed, setting the stage for what would become an iconic chapter in musical history.
The initial four tracks—'San Francisco (You’ve Got Me),' 'In Hollywood (Everyone’s a Star),' 'Fire Island,' and 'Village People'—marked the beginning of their musical journey. Victor Willis, accompanied by professional background singers, recorded these tracks, culminating in the release of the debut album 'Village People' in 1977. Almost instantly, the album ascended to the pinnacle of the dance charts, captivating audiences globally. Their name is a reference to Manhattan’s Greenwich Village, known as the gay neighbourhood and the setting of the Stonewall Riots in 1969.
Stonewall refers to a series of violent confrontations between police and LGBT+ rights activists outside the Stonewall Inn, a New York gay bar in Greenwich Village. As the riots progressed, they gave rise to an international gay rights movement. This series of events became a symbol of resistance against socio-political discrimination and political activism, not only in the United States but worldwide. Consequently, June 28th was chosen as International LGBT+ Pride Day to commemorate and celebrate the ongoing fight for equality.
The burgeoning demand for the 'Village People' to grace concerts like American Bandstand and Merv Griffin presented a challenge—Victor Willis stood as the sole member of the group. A swift solution was imperative. Enter Felipe Rose, donned as a Native American, already known to Morali and Belolo. Willis brought in Alex Briley, a previous musical collaborator, to join the ranks.
The original lineup, hastily assembled on American Bandstand, featured Mark Mussler (Construction Worker), David Forrest (Cowboy), Lee Mouton (Leatherman), and Peter Whitehead (Nondescript). Following this debut, an ad seeking ‘permanent’ members surfaced: 'Macho Types Wanted for World-Famous Disco Group—Must Dance and Have a Moustache.' Randy Jones, Glenn Hughes, and David Hodo answered the call. In the end, they were Ray Simpson (Policeman), Randy Jones (Cowboy), David Hodo (Construction Worker), Felipe Rose (Native American), Glenn Hughes (Leatherman), and Alex Briley (Soldier).
Casablanca Records and Filmworks, the group’s label, fully endorsed their second album 'Macho Man,' unleashing comprehensive promotion and marketing. The Village People, now an international sensation, swiftly followed up with their third album, the double-platinum 'Cruisin’,' featuring the blockbuster hit 'Y.M.C.A.' A worldwide tour in 1979 coincided with the release of their fourth album 'Go West.'
The group garnered numerous honors and awards, including the American Music Award for Favorite Musical Group, a star on the Hollywood Walk of Fame, and a feature on the cover of Rolling Stone. According to Belolo, the look of the Village People was inspired by an experience he and Morali had in a Greenwich gay bar, Les Mouches. In an interview for disco-disco.com, Belolo recalls, 'I remember clearly it was down in the Village, and we saw an Indian walking down the street and heard the bells on his feet. We followed him into a bar. He was a bartender — serving and also dancing on the bar. While we were watching him dancing and sipping our beer, we saw a cowboy watching him dance.' In another interview for Rolling Stone, Morali recounted, 'I say to myself, ‘You know, this is fantastic’—to see the cowboy, the Indian, the construction worker with other men around. And also, I think in myself that the gay people have no group, nobody to personalize the gay people, you know?'
The 1970s marked a transitional period for the LGBTQ+ rights movement. While the aftermath of the 1969 LGBTQ+ rights movement increased visibility through emerging publications and activism, discrimination persisted. Homosexuality faced widespread stigmatization, with societal perceptions often deeming it deviant or immoral. This stigma compelled many individuals to conceal their sexual orientation, fearing rejection across various social circles. The process of coming out was challenging, as individuals grappled with potential consequences.
The American Psychiatric Association classified homosexuality as a mental disorder until 1973 when it was declassified. Additionally, consensual same-sex relationships remained criminalized in many places, leaving gay individuals vulnerable to legal persecution and community backlash. Notably, figures like Anita Bryant emerged as prominent anti-gay activists during this period.
Towards the end of the 1970s, the HIV/AIDS epidemic emerged, disproportionately affecting gay communities and exacerbating discrimination. Concurrently, LGBTQ+ individuals became increasingly politically active. Harvey Milk, the first openly gay politician in San Francisco, stands as a significant figure representing this political activism.
Amidst these challenges, gay bars and clubs played a crucial role as safe spaces and social hubs for the LGBTQ+ community. These venues provided opportunities for socializing, organizing, and fostering a sense of community.
Looking back four decades later, Village People stands as Jacques Morali's visionary attempt to shape an identity for gay men in the 1970s, serving as a revolutionary form of advocacy. Morali drew inspiration from symbols of macho masculinity, incorporating iconic all-American figures like the policeman, soldier, and construction worker. He blended a beloved cultural icon from the previous decade, the cowboy, with a fashionable item of the 1970s, leather.
These representations were crucial, challenging the prevailing belief that gays were confined to specific roles or that being gay was synonymous with a particular form of masculinity or femininity. Morali's creative choices countered these stereotypes. Furthermore, the group's songs subtly referenced the gay subculture, a nuance often missed by the mainstream audience of the time, whether deliberately or with a layer of ambiguity.
However, it's essential to acknowledge certain aspects that haven't aged well. The Native American representation, for instance, is now recognized as redface—an offensive practice perpetuating stereotypes and lacking cultural sensitivity. Additionally, the macho culture embraced by the group has become outdated and viewed as toxic in the present day. Nevertheless, Village People's ability to offer a parodical view of this culture adds a layer of complexity to their historical significance.
Randy Jones (Cowboy), openly gay, emphasized, "We didn't start as a gay group, and not everyone in the group was gay—that's an incorrect notion. The Village People were a mixture of ethnicity, races, lifestyles, sexualities, and sexual orientations. It was a true village—a mixture of everything."
While 'Can't Stop the Music' attempted to narrate Village People's formation history in the 1980s, it turned out to be a flop. The band also underwent a visual reinvention, shedding their signature stage costumes for a sleeker, very '80s look featuring tight pants, vests, and heavy makeup. However, this noble attempt to evolve was thoroughly rejected by the public.
Fast forward to the group's 40th anniversary in 2017, and a pivotal moment unfolded as Victor Willis returned to lead the helm. With the backing of a live band, Village People continues to captivate concert-goers worldwide, delivering the same thrill as they did back in the day.
Throughout the years, they've been referenced in numerous films and games, solidifying their status as a cultural icon. Village People played a role in paving the way for the contemporary age, promoting diversity and acceptance, and defying norms while setting trends ahead of their time.
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