By the same authors

…And House Music Was Born: Constructing a Secular Christianity of Otherness

Research output: Contribution to journalArticlepeer-review

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…And House Music Was Born : Constructing a Secular Christianity of Otherness. / Maloney, Liam.

In: Popular Music and Society, Vol. 41, No. 3, 11.10.2018, p. 231-249.

Research output: Contribution to journalArticlepeer-review

Harvard

Maloney, L 2018, '…And House Music Was Born: Constructing a Secular Christianity of Otherness', Popular Music and Society, vol. 41, no. 3, pp. 231-249. https://doi.org/10.1080/03007766.2018.1519099

APA

Maloney, L. (2018). …And House Music Was Born: Constructing a Secular Christianity of Otherness. Popular Music and Society, 41(3), 231-249. https://doi.org/10.1080/03007766.2018.1519099

Vancouver

Maloney L. …And House Music Was Born: Constructing a Secular Christianity of Otherness. Popular Music and Society. 2018 Oct 11;41(3):231-249. https://doi.org/10.1080/03007766.2018.1519099

Author

Maloney, Liam. / …And House Music Was Born : Constructing a Secular Christianity of Otherness. In: Popular Music and Society. 2018 ; Vol. 41, No. 3. pp. 231-249.

Bibtex - Download

@article{27ecac0ee261420090d5f1ee1083515e,
title = "…And House Music Was Born: Constructing a Secular Christianity of Otherness",
abstract = "The stories of both disco and house music are often marginalized in the broader narrative of popular music, but house music{\textquoteright}s stylistic features are reflective of wider sociocultural developments. Taking its cue from disco, house is often seen as a purely evolutionary musical development, when in fact the seeds of house music were sown with the Civil Rights Movement, Stonewall, and gay liberation. This article asserts that disco{\textquoteright}s use of gospel elements created a quasi-religious proto-PLUR (Peace, Love, Unity, Respect) ideology on the dance floors of the 1970s, and that this was an expression of those made Other by aspects of either race or sexuality. This expression of Otherness became the founding principle underpinning house music{\textquoteright}s form. This article critically reappraises the narratives of both disco and house and interrogates inconsistencies in popular historical accounts using new qualitative interviews with authoritative individuals (DJs, producers, vocalists, authors). Furthermore, the article offers a thematic analysis of house music{\textquoteright}s stylistic tropes, drawing direct parallels to Christianity and disco{\textquoteright}s gospel influences to create a secularized religious ideology comparable to a PLUR ideology. Finally, the article explores the church{\textquoteright}s response to racially motivated economic sanctions as a potential trigger to the generation of house music.",
author = "Liam Maloney",
year = "2018",
month = oct,
day = "11",
doi = "10.1080/03007766.2018.1519099",
language = "English",
volume = "41",
pages = "231--249",
journal = "Popular Music and Society",
issn = "1740-1712",
publisher = "Taylor & Francis;",
number = "3",

}

RIS (suitable for import to EndNote) - Download

TY - JOUR

T1 - …And House Music Was Born

T2 - Constructing a Secular Christianity of Otherness

AU - Maloney, Liam

PY - 2018/10/11

Y1 - 2018/10/11

N2 - The stories of both disco and house music are often marginalized in the broader narrative of popular music, but house music’s stylistic features are reflective of wider sociocultural developments. Taking its cue from disco, house is often seen as a purely evolutionary musical development, when in fact the seeds of house music were sown with the Civil Rights Movement, Stonewall, and gay liberation. This article asserts that disco’s use of gospel elements created a quasi-religious proto-PLUR (Peace, Love, Unity, Respect) ideology on the dance floors of the 1970s, and that this was an expression of those made Other by aspects of either race or sexuality. This expression of Otherness became the founding principle underpinning house music’s form. This article critically reappraises the narratives of both disco and house and interrogates inconsistencies in popular historical accounts using new qualitative interviews with authoritative individuals (DJs, producers, vocalists, authors). Furthermore, the article offers a thematic analysis of house music’s stylistic tropes, drawing direct parallels to Christianity and disco’s gospel influences to create a secularized religious ideology comparable to a PLUR ideology. Finally, the article explores the church’s response to racially motivated economic sanctions as a potential trigger to the generation of house music.

AB - The stories of both disco and house music are often marginalized in the broader narrative of popular music, but house music’s stylistic features are reflective of wider sociocultural developments. Taking its cue from disco, house is often seen as a purely evolutionary musical development, when in fact the seeds of house music were sown with the Civil Rights Movement, Stonewall, and gay liberation. This article asserts that disco’s use of gospel elements created a quasi-religious proto-PLUR (Peace, Love, Unity, Respect) ideology on the dance floors of the 1970s, and that this was an expression of those made Other by aspects of either race or sexuality. This expression of Otherness became the founding principle underpinning house music’s form. This article critically reappraises the narratives of both disco and house and interrogates inconsistencies in popular historical accounts using new qualitative interviews with authoritative individuals (DJs, producers, vocalists, authors). Furthermore, the article offers a thematic analysis of house music’s stylistic tropes, drawing direct parallels to Christianity and disco’s gospel influences to create a secularized religious ideology comparable to a PLUR ideology. Finally, the article explores the church’s response to racially motivated economic sanctions as a potential trigger to the generation of house music.

U2 - 10.1080/03007766.2018.1519099

DO - 10.1080/03007766.2018.1519099

M3 - Article

VL - 41

SP - 231

EP - 249

JO - Popular Music and Society

JF - Popular Music and Society

SN - 1740-1712

IS - 3

ER -