The political and social turmoil of the 1970s drove the University of Maryland students to seek an outlet from society’s harsh standards, and they found it in music. Specifically, they turned to artists whose lyrics or actions aligned with their turmoil and justified or ignited their passions and feelings. Artists like Mick Jagger, David Bowie, Bob Marley, and Jimi Hendrix not only revolutionized music but also played pivotal roles in reshaping societal norms; Jagger and Bowie challenged traditional gender roles through their androgynous stage persona and bold self-expression, while Marley and Hendrix became a global advocate for peace and unity, using their platforms to address political and social issues. Both Mick Jagger and David Bowie’s influence, both on and off stage, helped redefine gender expectations and promote messages of peace, inspiring cultural shifts that continue to resonate today.

Pushing Gender Boundaries

Popular music artists played a critical role in challenging traditional norms surrounding sexuality and gender throughout the 1970s. During a decade marked by rigid attitudes where sex was rarely discussed openly, the bold actions of artists like Mick Jagger and David Bowie became increasingly significant. Their courage to defy societal norms ignited conversations that resonate to this day.¹

Fashion

Both Jagger and Bowie used their performances and distinctive styles to draw attention to unconventional aspects of identity. They often appeared in feminine clothing—such as heeled boots, leather pants, and flowy shirts—both on stage and in their daily lives, challenging the strict gender norms of the time. This theatricality not only defied expectations but also served as a platform for broader conversations about gender fluidity.²

As a cultural product, music serves as a means of personal expression and a powerful tool for shaping collective identity, reinforcing societal norms, and addressing political or social issues. Bowie and Jagger’s music functioned as a way to facilitate cultural communication surrounding gender roles, initiating and normalizing values in 1970’s society by using their art to push the boundaries of conventional masculinity and femininity. ³ One of Bowie’s many alter egos, Ziggy Stardust, as well as Jagger’s androgynous fashion choices, prompted new discussions about self-expression and identity, reflecting cultural shifts and fostering communities that embraced diversity. Through their massive platforms, both artists influenced a generation, fostering communities that celebrated freedom of identity and self-expression. 

Bowie and Jagger’s contributions to an evolving cultural landscape through their fashion choices not only express personal artistry but also destabilize outdated norms, facilitating individual identity exploration and building supportive communities.⁴

Jagger Challenges 1970’s Sexuality

In the 1970s, while certain songs addressed sexual themes before this decade, broader culture still regarded sex as taboo. However, public discussions about sexuality expanded as artists began to break down these barriers. Jagger is most known for his flamboyant performances and provocative lyrics. His flamboyant dancing, through his fluid hip movement and large movements of his whole body, can be seen in the live performance of “All Down the Line” in 1972 in Texas:⁵

And his provocative lyrics in songs like “Angie” with lyrics like, “Let me whisper in your ear, Angie, Angie.”⁶

In the song  “Brown Sugar,” Jagger yells the lyrics to add to the emotional intensity of the song as well as adding a layer of rebellion to the words behind the song lyrics. Jagger yells,

“Brown sugar, how come you taste so good? Brown sugar, just like a young girl should, oh, whoo.”⁷

Both Jager’s flamboyant dancing and his provocative lyrics celebrated sexual freedom and exploration, encouraging listeners to confront their perceptions of sexuality.

Bowie’s Openness of His Sexuality

Bowie’s androgynous persona was a groundbreaking force that pushed the boundaries of fashion and gender identity. In a 1972 interview with Melody Maker, Bowie candidly discussed his sexuality, declaring, “I’m gay and always have been, even when I was David Jones.”⁸ This statement not only challenged conventional views of sexuality but also reflected his belief in the fluidity of identity, both personal and public. Through his bold statement, Bowie paved the way for future generations to embrace self-expression without fear of societal judgment. His striking costumes and songs like “Rebel Rebel” and “Lady Grinning Soul” celebrated his previous opening up to his bisexuality in 1972, resonating with audiences eager for more open discussions about desire and identity.⁹

By making androgyny central to his image, Bowie created a safe space for fans to explore their identities amid a shifting cultural backdrop.¹⁰ At the time it mattered to fans that Bowie was openly telling the world that he was bi-sexual and rejected the traditional conceptions of sex and gender. He set a new narrative that openness and sexuality go together. Bowie used his music and androgynous fashion, alongside his personal life, to advocate for LGBTQ+ rights.¹¹ Through his music and dress, he harnesses public curiosity about the unknown during the 1970s to illustrate the importance of embracing identities.¹²

Impact at the University of Maryland

The influence of Jagger and Bowie was felt at the University of Maryland, where the WMUC, radio station broadcast their music. This radio station would have reached not only the students at the University of Maryland, but also some of the surrounding areas, influencing those audiences and their beliefs through what they were playing that week. ¹³

During the week of October 25, 1974, the Rolling Stones’ “It’s Only Rock ’n’ Roll” highlighted the fluidity of sexual relationships, with lyrics that defied traditional ideas of monogamy.¹⁴ Jagger’s line, “And do ya think you’re the only girl around? I bet you think that you’re the only woman in town,” emphasized a liberated view of sexuality, reflecting the broader sexual liberation movement of the 1970s.¹⁵ The “Heavy” rotation of the Rolling Stones in the week of November 7, 1977 indicates that the on-campus radio station played Rolling Stones hits a lot during that week, once again highlighting its popularity. ¹⁶

In this video one can see the dancing and outfit in which Mick Jagger is wearing is once again filling the narrative he is pushing of sexual fluidity and provocative in nature: ¹⁷

Civil Unrest

During the 1970s, civil unrest was also fueled by a variety of social issues, including widespread opposition to the Vietnam War and the ongoing struggle against racial violence and inequality faced by African Americans. These events, though seemingly distinct, contributed to a climate of protest and resistance throughout the decade. Artists like Bob Marley and Jimi Hendrix used their music to express dissent and speak for those affected by oppression and conflict. Marley’s reggae became synonymous with calls for peace and resistance against war and systemic inequality, while Hendrix’s electrifying performances often carried undertones of anti-war sentiment, capturing the emotional turmoil of the time through his iconic guitar work and lyrics.

UMD Fights Back

Nixon’s announcement of the U.S. involvement in the war launched a series of riots at the University of Maryland throughout the whole month of May. Students from UMD, Catholic University, American University, and Georgetown University, all came together with shared anti-war prerogatives for one notable protest on the Mall at UMD.²² Inevitably, the May 1970 protests were not peaceful as chaos ensued throughout the University and Route 1. These protests continued for days on end as seen by the police reports with information spanning from May 1–4. Police tried to control the scene by throwing gas and beating students. Meanwhile, students retaliated in a similar violent fashion as they started fires and set out to cause as much damage as possible to campus.²³

Encouraging Advocacy

Bob Marley encouraged everyone to stand up for what they believed in all while maintaining their peaceful persona. Through his music, Marley advocated for believing in your cause whatever it may be, anti-war, civil rights, gay rights, and more. This is especially apparent in his song “Get Up, Stand Up” with the chorus stating, “Get up, stand up, stand up for your right.”²⁴

His personal focus was on supporting Jamaicans in their fight for their liberties, especially seen through his support of the Rastafarian movement–a spiritual movement that began in response to white colonialism. His music played a key role in this, with reggae serving as a platform to spread information and give the marginalized a chance to publicly express their views, often those that would otherwise be suppressed by the government.²⁵ Despite his primary attention being directed towards other causes, Marley’s music was heard around the world as a rallying call for those who resonated with his lyrics one way or another.

As UMD students continued their month-long demonstrations, Marley’s theme of love and peace are seen through personal journals and scrapbooks as students request peaceful protests from their fellow peers, knowing violence wouldn’t get them far.²⁶

His famous line “One Love! One Heart! Let’s get together and feel all right”²⁷from his hit, “One Love,” evokes feelings of peace and unity in those who hear it, as did many of his songs.

UMD students thus turned to Marley’s music all throughout the 70s, leading to a scheduled performance at the Cole Field House in September of 1980 that he, unfortunately, canceled due to a sickness that eventually took his life.²⁸

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For Hendrix, politics and music often went hand in hand:

“‘That’s the way I look at it anyway. [Politics] is the art of words, which means nothing, ya know. So therefore you have to rely on more of a earthier substance, like music or the arts, theatre, acting, painting, whatever.’”²⁹

His anti-war message did not stop with “The Star-Spangled Banner.” In his song, “Machine Gun” his lyrics, “Evil man make me kill you, evil man make you kill me…” reflect a cyclical nature of violence, where both sides of the conflict are driven by the same external force—an “evil man.”³⁰This creates a parallel between two soldiers who are forced into conflict, suggesting that they are not inherently enemies but are made so by external influences. During his performance at the Fillmore East in 1970 he introduced the song by saying, “This is for the soldiers fighting in Vietnam,” and proceeded to play a guitar solo at the end that left audiences in awe, both of his skill and of the feelings he evokes, anguish, defiance, chaos, and empowerment all at the same time.³¹

The solo alternates between piercing, machine-gun-like staccato bursts and long, wailing notes that resemble cries of pain, creating an almost cinematic battlefield. This performance is not just technical but deeply emotional, with Hendrix pushing the limits of his instrument to create a raw, expressive narrative. It’s as if the guitar itself becomes an extension of the conflict Hendrix is describing in his lyrics—a chaotic, intense meditation on the horrors of war and the yearning for peace.

Fighting Racial Discrimination

On August 16, 1968, just 21 miles away from UMD at the Merriweather Post Pavilion, Jimi Hendrix played his rendition of “The Star-Spangled Banner” for the first time. Given Hendrix’s popularity and the proximity of the venue to UMD, it is likely that members of the UMD community were in the audience. Nearly a year later, Hendrix made history at Woodstock in 1969, sharing his incredible rendition of “The Star-Spangled Banner” on guitar with the world, where he mimics cries, gunshots, and bombs, making a powerful statement on the realities of war intertwined with our nation’s song of freedom, making it one of the most memorable acts of political resistance seen through music. Hendrix performed this rendition all over the world for 2 years (August 1968-August 1970) his final time being a month before his death.³²

Individuals and communities targeted by racism employ various strategies to counteract negative stereotypes and navigate a society that often imposes rigid racial boundaries. These strategies include self-assertion, rebellion, and the performance of race, which serve not only to protect the individual from stigma but also to foster solidarity within marginalized groups.³³

Within Bob Marley’s performance contract, there is a clause (V, 4.) prohibiting discrimination based on race, therefore giving evidence of the persistent racial inequality still prevalent in the late 1970s and early 80s.

By stipulating this clause, Marley actively challenged the prevailing social norms that enabled or promoted racial discrimination in the music industry and society at large. This initiative not only challenged existing discriminatory practices but also inspired future generations of artists to assert their rights and promote solidarity within the music industry and beyond. Marley’s influence exemplifies the interplay between individual agency and collective resistance, reinforcing the importance of standing against systemic injustice. Marley not only encouraged peace, love, and freedom but also paved the way for musicians of color to perform in safe and welcoming environments.³⁴

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Like Marley, Jimi Hendrix paved the way as a successful African American rockstar in a predominantly white-centered genre. The press frequently labeled Hendrix with derogatory names, such as “The Crazy Black Man,” and dismissed his music as useless and loud.³⁵Instead of letting this harsh judgment bring him down, Hendrix encouraged and embraced the labels and ultimately used the attention to increase his popularity.³⁶ Moreover, Hendrix’s music was groundbreaking in rock and roll, characterized by its psychedelic undertones and the sheer intensity with which he played it. Hendrix intended his music to be heard at high volumes, using the power of sound to convey his message. His passionate performances, like those of “The Star-Spangled Banner”, reflect his desire to spread important messages through song. Hendrix made it clear that he was not against the American people, but rather against the establishments that placed them in harm’s way.

Influence on UMD

Like Hendrix, UMD students aimed to protest against the corrupt systems on campus, not against the campus itself. From 1972–1974, Jimi Hendrix was on a constant rotation on the UMD student radio stations according to WMCU records.³⁷ In the following years, the campus became more radicalized, with an increased role in student governance and a drive to make changes and establish new anti-establishment principles.³⁸ These actions can be seen as efforts to address dysfunctions within the campus system, aiming to restore balance and improve the overall functioning of the university community.

Our Conclusion

The music of the 1970s played a crucial role in shaping the political and social climate at the University of Maryland, providing students with an outlet for their frustrations and passions. Artists like Mick Jagger, David Bowie, Bob Marley, and Jimi Hendrix not only revolutionized music but also became powerful voices for cultural change. Their defiance of gender norms and advocacy for peace and unity resonated with a generation navigating civil unrest, the Vietnam War, and movements for racial and sexual liberation. As these artists pushed boundaries in fashion, music, and self-expression, they inspired students to challenge societal expectations, creating lasting cultural shifts that echoed on campus and beyond. Music became more than a form of entertainment—it became a catalyst for social transformation, fostering an environment of rebellion, self-expression, and activism that continues to influence cultural dialogues today. 

Bibliography

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Contract for Bob Marley to Perform at the University of Maryland on September 25, 1980. Box 2, Folder 5. Series 1: Administrative Records 1969–2010. Student Entertainment Events Records. Special Collections and University Archives, Hornbake Library, University of Maryland Libraries. 

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Hamerman, Don. Picture of Mick Jagger on June 15, 1978. Box 1, Folder 16. Series 1: Administrative Records 1969–2010. Student Entertainment Events. Special Collections and Personal Archives, Library of the Performing Arts, University of Maryland Libraries.

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Pictures of WMUC Playlists 1974–1978. Box 3, Folder 5, Series 1: Administrative Records, 1948–2011. WMUC Records. Special Collections and University Archives, Hornbake Library, University of Maryland Libraries. 

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