When you’re a child of the 70s, you look back on many of the cultural artifacts of your youth — such as velour shirts, most hair styles and a good three-quarters of the Led Zeppelin catalog — and you say to yoursel, My God, what was I thinking?” (or, ” … drinking?” or ” … smoking?”) You look back on some and think they’ve held up damn well despite overexposure, such as young ladies’ low-rise pants and most of the songs on the “Dazed and Confused” soundtrack.
And then there are a few things you hated, absolutely despised, at the time, that now appear harmless at worst and in some cases even to have grown a bit of charm. One of those is the Village People song “YMCA,” even if it is about young homosexual men meeting for anonymous sex.
One of my all-time favorite newspaper writers, Hank Steuver, reflects on the song on the occasion of a gift: On Wednesday, Village People member Felipe Rose presented a gold record of “YMCA” to the National Museum of the American Indian. (The museum is part of the Smithsonian. Rose is part Lakota Sioux. These two facts are included within the same set of parentheses even though they have nothing to do with one another except the word “part.”)
In the article, Steuver speaks directly to the reader, much as the characters in the TV show “Moonlighting” used to speak directly to viewers, a technique called “breaking the fourth wall” because most sets have only three walls, with cameras where the fourth wall would be. He does so to head off the notion that Rose’s gift might somehow be inappropriate or unseemly:
Felipe Rose, the Indian dude from the singing group the Village People, presented the National Museum of the American Indian with a framed, gold 45-rpm single of the disco group’s 1978 megahit “Y.M.C.A.” on Wednesday afternoon.And the museum happily and ceremoniously accepted it (a Lakota prayer was sung first, then everyone danced to “Y.M.C.A.”), on the precept that sooner or later they might need such an artifact of a bygone era, perhaps to flesh out a future exhibit on the folkloric value of disco, and native cultural responses to it. (No, you shut up. It could happen. Why not? There are only so many ceramic pots, war bonnets and kachina dolls that people can stand to look at, and so when the day comes that someone asks, Hey, what about the Indian dude from the Village People? the Smithsonian, as ever, will be ready.)
I’ve directly addressed the reader in columns over the years, but I think the only time I ever tried to do it in a news article, I got overridden by the N&R’s then-editor, whom I’ll mercifully allow to go unnamed here. The article, which appeared in the spring of ’97 just after the then-fledgling Carolina Panthers football franchise had gotten within 17 points of the Super Bowl, made an unlikely comparison between its subject, a group of middle-school kids, and the Panthers. Implicitly acknowledging the reader’s likely reaction that the comparison seemed unlikely, I added, “Stay with me here. I’m going somewhere with this.” This was changed to, “Yes, the Panthers.” Blah.
Anyway, Steuver’s article recounted how “YMCA,” released in 1978, had achieved a kind of life-after-death status, being played at bar mitzvahs, pro-sports game (including Panthers and Greensboro Bats games, by the way) and other events, such that my daughter, born 20 years after the song was released, has heard it enough times in her life to know that when the chorus comes, she’s supposed to use her body to form the letters Y, M, C and A as she sings. And she is, so far as I know, completely innocent of the song’s tawdrier undertones.
OK, that’s all. No larger point here.
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