Anyway, I think you have two things that would go on with this. Anytime you have something going on, you have things that are made to be reflective of it, and things that are made to escape it. If something good happens, you have things that reflect the good, and then things that are made just to make people feel bad because they can afford to feel bad because they're pretty ok and things are ok, and they forget the feeling. It's a bit melodramatic. When you have bad things, you have things reflective of the bad things, talking about them, protesting them, capturing the moods they elicit and so on, but also things made to escape it because people just want to get away from it and feel good. This is why you had songs during the Depression like "Brother, Can You Spare A Dime", and an ungodly amount of Blues and Folk singing about the troubles going on, but you also had things that were jumpy and happy to lift people up.
I think you'd see something similar here too, and I do think that escapism already existed in the culture to run from the Vietnam. I think you'd have things that were reflective of the moods elicited by the war, reflective of it, protesting it, talking about all the other things going on related to it, and so on, but I think you'd also have things to run away from it, and to feel better. Again, Disco. Disco itself was in an era that was already dark; the later 70s were no picnick. Nixon had resigned in dishonor, Vietnam had already taken its toll on America, there was totally destroyed faith in government, the economy was a clusterf**k, crime was up, and things were just very messy. On the flip side, that was also the era Hard Rock and Metal arose, though I don't think that was related to Vietnam or disillusion or anything much topical; I think it was just a trend. But still, you have two very different things big at the same time.
