Category: Sport

Source: The Conversation – UK – By William Rees, University of Exeter

It was a bizarre sight watching a huge gay 1970s disco hit being performed at Donald Trump’s 2025 pre-inauguration rally. Many prominent artists from Beyoncé to Bruce Springsteen prohibit Trump from using their music. So why do Village People – a band synonymous with the 1970s gay liberation movement – allow their music to be associated with a political movement that has fixed and repressive ideas about sexual identity and morality?

Village People’s recent incarnation has had a complicated relationship with the “make America great again” movement (Maga). In 2020, their song YMCA began featuring at Maga anti-lockdown rallies and soon became a prominent song in Trump’s re-election campaign.

At the time, the band asked Trump not to use its music and later supported Kamala Harris for the presidency in 2024. Since then Village People have dramatically changed tack.

To be clear, of the group that performed at Trump’s pre-inauguration rally, only one of the original Village People remains. The band, put together by the gay producers Jacques Morali and Henri Belolo in 1978, was named after New York’s Greenwich Village gay scene.

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In the 1970s, the group was mostly gay-fronted except the first recruit, lead singer and co-songwriter Victor Willis (sometimes the policeman, sometimes the admiral figure). Willis took control of the name and the hits in 2017 after an out-of-court settlement with co-owner Henri Belolo.

Willis is now the only member of the original line up still performing under the official band name. Perhaps to ensure mainstream popularity, he has tried to move Village People away from its gay associations – the biography on the band’s website makes no mention of the act’s significance to queer audiences. He recently wrote on Facebook that he will sue every news organisation that suggests “YMCA is somehow a gay anthem”.

But it’s difficult to untangle Village People from queer history as it was the trendsetting gay community of underground disco culture that made them famous. Record companies selected the songs and artists to promote based on how DJs reported their popularity in the hottest clubs. Many of these clubs were gay dominated, and disco itself was tied up with the growing confidence of the gay liberation movement in America and the era of sexual liberalisation that followed the 1960s.

Jacques Morali put together Village People knowing the band could offer influential gay clubbers something they had always been denied: cultural representation, and with it, acknowledgement of their existence.

It worked. One self-proclaimed “disco doll” writing to LGBTQ+ newspaper The Advocate in 1978 recalled first hearing Village People: “The music was very hot … and the words were about us, about our scene. I couldn’t believe it.”

Village People’s innuendos and knowing references to gay culture often went over the heads of many straight listeners. Songs like Macho Man and the group’s hypermasculine image epitomised the “clone” movement in 1970s gay culture.

Queer men, long derided for being effeminate, would bulk up at the gym and dress in leathers like bikers, effectively becoming more of an embodiment of masculinity than straight men. Go West was a reference to San Francisco’s more liberal environment for gay men. The YMCA was a place to “hang out with all the boys”.

But skyrocketing into the mainstream made Village People an awkward fit for gay disco culture. This vibrant community wanted their own scene that was not part of the mainstream. They felt betrayed by a band publicly denying their gayness as they juggled the hardcore homosexual audience that had made them famous alongside a family-friendly audience.

The backlash was fierce. A 1978 letter to gay lib magazine The Body Politic declared: “The commercial exploiters are disguising it to gain the commercially lucrative straight audience”, describing Village People as “traitors of the worst kind”.

But even if they became momentarily unpopular in the hottest gay clubs, for many LGBTQ+ people, Village People’s hits have endured as anthems played at queer nights and Pride events. In their sound, appearance and sheer 1970-ness, they are undeniably camp icons.

Which of course leads many to question why people attending Trump’s rallies – hardly famous for their inclusivity – would embrace their music. One explanation is that Maga audiences simply do not care about past gay associations as the music is simple, catchy and positive.

Another is that just like the 1970s, the queer messaging of Village People’s music still goes over the heads of straight Maga audiences. Perhaps despite its past gay associations, they are consciously trying to culturally repurpose disco for their own movement. Or they’re trying to be ironic.

Most likely, though, the music might have a particular meaning to LGBTQ+ audiences, it has other meanings depending on the context in which it is played. To many, Village People are the epitome of a novelty, apolitical pop group. Their hits are associated with weddings, children’s parties and good-time disco. The prosaic truth may be that Trump fans just enjoy a really catchy tune.

But for Trump’s team, the use of these songs is politically calculated toward their core supporters who have changed the lyrics of YMCA to “MAGA”. And don’t forget Village People were joined at the pre-inauguration rally by WWE wrestling’s Hulk Hogan. Both are nostalgic late 20th-century acts that revel in blatant performances of muscled masculinity.

They seem to be the embodiment of that imagined past of American virility that Trump vaguely refers to when he promises to make the nation “great again”. It’s not difficult to work out what Trump’s message is, especially when he dances along to Macho Man at rallies.

Both these acts are carnivalesque, like Trump himself. They indicate an era of politics as spectacle, but beneath the surface messages, we must carefully pay attention to what is actually being said and done.

William Rees does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

– ref. From YMCA to MAGA: why Trump plays Village People at his rallies – https://theconversation.com/from-ymca-to-maga-why-trump-plays-village-people-at-his-rallies-248457

Source: The Conversation – UK – By William Rees, PhD Candidate in Modern American History, University of Exeter

It was a bizarre sight watching a huge gay 1970s disco hit being performed at Donald Trump’s 2025 pre-inauguration rally. Many prominent artists from Beyoncé to Bruce Springsteen prohibit Trump from using their music. So why do Village People – a band synonymous with the 1970s gay liberation movement – allow their music to be associated with a political movement that has fixed and repressive ideas about sexual identity and morality?

Village People’s recent incarnation has had a complicated relationship with the “make America great again” movement (Maga). In 2020, their song YMCA began featuring at Maga anti-lockdown rallies and soon became a prominent song in Trump’s re-election campaign.

At the time, the band asked Trump not to use its music and later supported Kamala Harris for the presidency in 2024. Since then Village People have dramatically changed tack.

To be clear, of the group that performed at Trump’s pre-inauguration rally, only one of the original Village People remains. The band, put together by the gay producers Jacques Morali and Henri Belolo in 1978, was named after New York’s Greenwich Village gay scene.

Looking for something good? Cut through the noise with a carefully curated selection of the latest releases, live events and exhibitions, straight to your inbox every fortnight, on Fridays. Sign up here.

In the 1970s, the group was mostly gay-fronted except the first recruit, lead singer and co-songwriter Victor Willis (sometimes the policeman, sometimes the admiral figure). Willis took control of the name and the hits in 2017 after an out-of-court settlement with co-owner Henri Belolo.

Willis is now the only member of the original line up still performing under the official band name. Perhaps to ensure mainstream popularity, he has tried to move Village People away from its gay associations – the biography on the band’s website makes no mention of the act’s significance to queer audiences. He recently wrote on Facebook that he will sue every news organisation that suggests “YMCA is somehow a gay anthem”.

But it’s difficult to untangle Village People from queer history as it was the trendsetting gay community of underground disco culture that made them famous. Record companies selected the songs and artists to promote based on how DJs reported their popularity in the hottest clubs. Many of these clubs were gay dominated, and disco itself was tied up with the growing confidence of the gay liberation movement in America and the era of sexual liberalisation that followed the 1960s.

Jacques Morali put together Village People knowing the band could offer influential gay clubbers something they had always been denied: cultural representation, and with it, acknowledgement of their existence.

It worked. One self-proclaimed “disco doll” writing to LGBTQ+ newspaper The Advocate in 1978 recalled first hearing Village People: “The music was very hot … and the words were about us, about our scene. I couldn’t believe it.”

Village People’s innuendos and knowing references to gay culture often went over the heads of many straight listeners. Songs like Macho Man and the group’s hypermasculine image epitomised the “clone” movement in 1970s gay culture.

Queer men, long derided for being effeminate, would bulk up at the gym and dress in leathers like bikers, effectively becoming more of an embodiment of masculinity than straight men. Go West was a reference to San Francisco’s more liberal environment for gay men. The YMCA was a place to “hang out with all the boys”.

But skyrocketing into the mainstream made Village People an awkward fit for gay disco culture. This vibrant community wanted their own scene that was not part of the mainstream. They felt betrayed by a band publicly denying their gayness as they juggled the hardcore homosexual audience that had made them famous alongside a family-friendly audience.

The backlash was fierce. A 1978 letter to gay lib magazine The Body Politic declared: “The commercial exploiters are disguising it to gain the commercially lucrative straight audience”, describing Village People as “traitors of the worst kind”.

But even if they became momentarily unpopular in the hottest gay clubs, for many LGBTQ+ people, Village People’s hits have endured as anthems played at queer nights and Pride events. In their sound, appearance and sheer 1970-ness, they are undeniably camp icons.

Which of course leads many to question why people attending Trump’s rallies – hardly famous for their inclusivity – would embrace their music. One explanation is that Maga audiences simply do not care about past gay associations as the music is simple, catchy and positive.

Another is that just like the 1970s, the queer messaging of Village People’s music still goes over the heads of straight Maga audiences. Perhaps despite its past gay associations, they are consciously trying to culturally repurpose disco for their own movement. Or they’re trying to be ironic.

Most likely, though, the music might have a particular meaning to LGBTQ+ audiences, it has other meanings depending on the context in which it is played. To many, Village People are the epitome of a novelty, apolitical pop group. Their hits are associated with weddings, children’s parties and good-time disco. The prosaic truth may be that Trump fans just enjoy a really catchy tune.

But for Trump’s team, the use of these songs is politically calculated toward their core supporters who have changed the lyrics of YMCA to “MAGA”. And don’t forget Village People were joined at the pre-inauguration rally by WWE wrestling’s Hulk Hogan. Both are nostalgic late 20th-century acts that revel in blatant performances of muscled masculinity.

They seem to be the embodiment of that imagined past of American virility that Trump vaguely refers to when he promises to make the nation “great again”. It’s not difficult to work out what Trump’s message is, especially when he dances along to Macho Man at rallies.

Both these acts are carnivalesque, like Trump himself. They indicate an era of politics as spectacle, but beneath the surface messages, we must carefully pay attention to what is actually being said and done.

William Rees does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

– ref. Why Village People’s YMCA is actually a great fit for team Trump – https://theconversation.com/why-village-peoples-ymca-is-actually-a-great-fit-for-team-trump-248457