Felipe Rose, an original member of the Village People and former Richmond resident, shared his perspective on the enduring debate over “Y.M.C.A.” and its place as a cultural anthem. Speaking candidly, Rose offered a nuanced take, embracing both the song’s origins in the 1970s gay culture and its broader appeal as a universal celebration of joy, inclusion, and community.
Dual Meanings and Origins
Rose acknowledges the ambiguity of whether “Y.M.C.A.” can be considered a “gay anthem,” answering both “yes and no.” He explained that the song wasn’t written with the explicit intention of being a gay anthem: “They were not that clever,” he remarked about the producers and songwriters. However, he credits the LGBTQ+ community for embracing the song early on, particularly during an era that celebrated sexual freedom and identity.
Jacques Morali, the group’s late producer, was instrumental in crafting the Village People’s aesthetic and musical themes, particularly with references to iconic gay-friendly locations like Fire Island, San Francisco, and Hollywood. Rose described Morali’s vision as intentional in celebrating the lifestyle that resonated so deeply within the community. “Y.M.C.A.” itself was born out of the *Cruisin’* album as a filler track, with lyrical contributions by Victor Willis, a straight Black co-writer, and performances by predominantly gay band members.
“To us, it was a gay song, not an anthem,” Rose explained. The song’s connection to the McBurney YMCA in New York City—a known meeting spot for gay men at the time—added layers to its cultural meaning, blending playful double entendres with danceable disco beats.
Music as Art: Open to Interpretation
Rose emphasized that music is art, and its meaning evolves depending on the listener. While acknowledging its roots in gay culture, he takes pride in how “Y.M.C.A.” has transcended boundaries to become a global party anthem. “The song is loved by people of all ages, by all kinds of people, straight and gay,” he said, pointing out its ubiquity at sports events, weddings, and even political rallies.
Despite his personal distaste for Donald Trump’s use of the song during rallies, Rose remains proud of its cultural resurgence. He noted the track’s recent success, topping Billboard’s Electric/Dance charts for two weeks, further solidifying its place as a timeless anthem that continues to unite audiences.
A Personal Reflection
For Rose, “Y.M.C.A.” symbolizes far more than its lyrics or initial intent. As an Indigenous/Latin gay man, he takes pride in the song’s embrace by the LGBTQ+ community, particularly during the late 1970s when disco was at its peak. The dance floors of iconic venues like Studio 54 offered a refuge—a judgment-free space where everyone could come together. “The dance floor was an equal playground for everyone,” he reflected, drawing parallels to today’s rave and circuit party culture.
While the song has faced its share of backlash—most notably during the “Disco Sucks” movement of the late 1970s—Rose remains proud of its longevity. He recounted the shift in public perception in the 1990s when the New York Yankees began playing “Y.M.C.A.” during seventh-inning stretches, signaling a new era of mainstream embrace.
Leaving the Debate to the Fans
Rather than engage in debates over the song’s true meaning, Rose leaves its interpretation to the listeners. “Whatever you feel when you listen to “Y.M.C.A.”, whatever it represents to you, just say in your heart, ‘That’s what you are to me,’” he said, referencing his latest single.
At its core, “Y.M.C.A.” is a testament to the universal power of music—a song that began as a nod to a specific cultural moment and grew into a timeless celebration of joy, love, and inclusiveness. For Rose, it’s a reminder of the connection between artist and audience, a bond that transcends decades and generations.
Felipe Rose’s latest single, “That’s What You Are to Me,” is available on all streaming platforms.
Felipe Rose Response in Full Here
Do I consider “Y.M.C.A” as a gay anthem? Yes and no. Also, I do not live in Richmond, Virginia (anymore)—I live in the gay-friendly city of Asbury Park on the New Jersey Shore.
First off, the ex-producer and lead singer did not sit down with the intention to write a gay anthem, they were not that clever. When it was released, our gay community supported our first studio album, Village People by Village People, and thus became loyal fans as representatives of sexual freedom and lifestyle.
The locations—Fire Island, San Francisco, and Hollywood—celebrated our lifestyle through the first album, which was intentional by the late Jacques Morali. Our gay fanbase also embraced the Macho Man album. The third album continued to celebrate our gay lifestyle with more middle-of-the-road pop songs.
Music is art. Art moves people in different ways. The most important person to me is the listener. Personally, as a singer and songwriter, I want the listeners to have a place to escape their problems. If you listen to the opening verse on my latest single, “That’s What You Are to Me”, it’s about how much I miss my fans, how much I love their support, and how their love fuels me. That connection is pure magic to me.
So, to see the President-elect using “Y.M.C.A” as his go-to song leaves me baffled. I’m not a fan of the incoming President but love the attention the song has received, making it #1 for two weeks on the Billboard Electric/Dance charts last month. I’m into love, unity, and inclusiveness. It feels amazing to see people dancing and singing at political gatherings, sports events, weddings, and Bar Mitzvahs. The song is loved by people of all ages—by all kinds of people, straight and gay.
As musicians and singers, when we create songs, we are blessed when the public connects with them. A songwriter, vocalist, and producer’s greatest honor is when individuals allow that particular song to become part of the soundtrack to their lives.
Victor Willis is a straight Black male and co-wrote the lyrics with the late producer Jacques Morali, who was a gay French man, along with five original backup singers who were gay. To us, it was a gay song, not an anthem. It was also a filler song to complete the Cruisin album, which was intended to be a party anthem celebrating the McBurney Y.M.C.A on 23rd Street in Chelsea, New York.
In reality, both sides of this story exist and are true. It all depends on the listener and urban myth—and the people who were there. Our producer wanted to know: *What did the letters on the side of the building mean?* One of the guys in the band explained what they meant.
The urban myth surrounding that particular Y.M.C.A was that the McBurney building was home to gay men who worked out at the gym, which was also a hangout for gay men in NYC. Working out and having sex was the thing there.
This is a testament to the genius of Victor Willis, who fleshed out the verses in a binary universal manner, and Jacques Morali, who presented the chorus and musical notes. Their work created the birth of “Y.M.C.A”. With each decade, new fans reimagined the song, rediscovering it over and over. Like Smokey Robinson’s pen was to “My Girl” and Motown, the classic Village People songs and lineup became disco’s equivalent to The Temptations, as David Ruffin Jr. once told me.
For the gay generation of the late 1970s, this record symbolized an era of sexual freedom. I personally was so proud of how this record was received. At the time, it was a song that got people’s hearts pumping and feet moving to dance floors like Studio 54—and all over the world.
The dance floor was an equal playground for everyone, where there was no judgment, much like today at raves and circuit parties.
In the end, it’s for the public to decide what it means to them. It can symbolize different things to different people and groups. Every detail in all these productions—down to my ankle bells—was precise and intentional. Victor Willis wrote songs with a double entendre, and the backup singers performed with a wink wink!
For the record, I’m a proud Indigenous/Latin gay man. I’m honored to have been in a position to be a role model and inspiration to others. It means so much to me personally that our gay community cherished our music then and now.
We went from angry crowds setting fire to disco records—including our own—in the center of Comiskey Park’s White Sox game, which turned into a riot during the Disco Sucks moment. Then, in the mid-1990s, “Y.M.C.A” was embraced by the New York Yankees, playing during seventh-inning stretches all over the country.
So rather than get into a public debate about whether the song was gay or not, I believe that two things can simultaneously exist.
Music is art. Art is subject to interpretation. The music business is a consumer-based business. I can’t speak for anyone but myself. So I will tell you this: we didn’t make records for us. As for me, I make records for you, the fans.
So whatever you feel when you listen to “Y.M.C.A”—whatever it represents to you—just say in your heart, That’s What You Are to Me.
Love Always,
Felipe Rose (of the Classic Village People)
“That’s What You Are” is available on all streaming platforms.
