As I've noted several times on "AirTalk," I think disco has been unfairly maligned.  Yes, there are terrible examples of the sound, particularly in its later years.  Nevertheless, the infectiousness of the beat and the inclusiveness of the music's transracial and pansexual messages had a big cultural impact.  I think some of that public backlash was over that cultural wave as much as the music.

My first memory of Donna Summer was in the summer of 1975, when I was 16.  "Love to Love You Baby," Summer's first hit, came on the radio and I was mesmerized.  Sure, there were a lot of sexually-themed songs on pop radio, but nothing this charged.  Hearing it today, the song is clearly of its time and doesn't connect in the same way as it did nearly 40 years ago.  However, then, it was a graphic symbol of unabashed sexual pleasure, right out on public airwaves.

Summer went on to record hit after hit in the disco genre, strongly interpreting songs about outsiders and the dancing lifestyle.  Even in recent years, she had been performing around the country.  I had the pleasure of seeing her about ten years ago in Las Vegas.  She was in great voice and presided over a party-hearty packed house of Vegas locals, from showroom dancers to sex workers.  These were her people, and it was clear they thought she sang their stories. 

Donna Summer, the preeminent woman of disco, made a great mark.

That’s what I experienced last week at the historic recording stage at Sony Pictures in Culver City.  The stage was where musical soundtracks for numerous classic MGM films were recorded, including “The Wizard of Oz.” 

I was there at the invitation of Academy Award-winning composer Michael Giacchino, who was recording the score for next year’s Disney action release, “John Carter.”  The film is adapted from a series written by “Tarzan” creator Edgar Rice Burroughs.  Giacchino had an orchestra of over 100 musicians, being recorded in-synch with scenes from the film.  Time-coded sections of the movie were projected onto a huge screen at the back of the room, facing the conductor. 

Given how rarely full orchestras are recorded with all the musicians together at the same time, it was particularly fun to see.  Standing in various parts of the room, with the orchestra playing around me, was an experience I won’t forget. 

A particular treat was seeing the number of instruments and miscellaneous toys and devices available to the six or so percussionists.  They had one case after another loaded with oddities that could create different sounds – toys, pieces of metal, wood, and plastic.  Percussionists clearly look at every object as having unique sound potential.

I was joined on the field trip by “AirTalk” producer Karen Fritsche and “Offramp” producer/reporter Kevin Ferguson.  We’re planning soon to add video from our visit and, hopefully, a fully-produced piece for “Offramp.”

If you’ve been listening to AirTalk for even a few months, you’ve probably heard me talk about my love of jazz and soul.  When you combine either with creative political commentary -- so much the better.

Wednesday morning, I spoke with music writer Denise Sullivan about her new book, Keep on Pushing:  Black Power Music from Blues to Hip-Hop.  It was so much fun to play excerpts from great songs of the 60s and 70s.  From Curtis Mayfield to Sam Cooke, Odetta to Nina Simone, we have no shortage of creative giants to consider.

My favorites such recordings would have to include Curtis Mayfield’s (Don’t Worry) If There’s a Hell Down Below (which begins its long version with a string of racial epithets), Choice of Colors, and  People Get Ready, along with Marvin Gaye’s What’s Going On, and Bobby Womack’s Across 110th Street. 

I’d like your input about what you consider the greatest social commentary, or explicitly political, songs on the late-20th and early-21st centuries.

Hamlisch joined me in studio Thursday morning on AirTalk, and was it a treat!  His love of music is infectious.

Sometimes musicians have a hard time talking about their work and the creative process involved.  Not so for Hamlisch.  He was very entertaining in talking about working with Barbra Streisand, writing the music for A Chorus Line, and winning three Oscars in 1973.  Not surprisingly, he’s done a lot during a career that began at age six at Julliard in his hometown of New York City.

Hamlisch, along with composing film scores and leading multiple regional orchestras, is principal conductor for the Pasadena Pops.  He’s put together a Broadway-themed program for this coming Saturday night, August 6th, followed two weeks later with one devoted to movie music.  The Pops’ concerts are on the lawn outside the Rose Bowl – a beautiful setting for live music.