• • Regional scenes • • • • • • Other topics • • • • • Disco is a musical style originating in the early 1970s that remained urban and largely underground until the middle of the decade when it began to emerge from America's urban nightlife scene, where it had been curtailed to house parties and makeshift discotheques, and began making regular appearances mainstream, gaining popularity and increasing airplay on radio. It achieved popularity during the mid-1970s to the early 1980s. Its initial audiences in the U.S. Were club-goers from the,,,, and communities in,,, and during the late 1960s and early 1970s. Disco can be seen as a reaction against both the domination of and the stigmatization of dance music by the during this period. Disco was popular with both men and women from many different backgrounds, with dances including the and the.

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The disco sound often has several components, a beat, an (quaver) or 16th note (semi-quaver) pattern with an open hi-hat on the off-beat, and a prominent, line. In most disco tracks,, horns,, and electric create a lush background sound.

Orchestral instruments such as the flute are often used for solo melodies, and is less frequently used in disco than in rock. Many disco songs use electronic, particularly in the late 1970s.

Well-known 1970s and 1980s disco performers included:,,,,,,,,,, the,,,,,,,,,,,,,,,, and. While performers and singers garnered much public attention, working behind the scenes played an important role in developing the 'disco sound'. Many non-disco artists recorded disco songs at the height of disco's popularity, and films such as (1977) and (1978) contributed to disco's rise in mainstream popularity.

Disco was the last mass popular music movement that was driven by the. Disco was a worldwide phenomenon, but its popularity drastically declined in the United States in 1980, and by 1982 it had lost most of its mainstream popularity in the states., an anti-disco protest held in on July 12, 1979, remains the most well-known of several 'backlash' incidents across the country that symbolized disco's declining fortune. By the late 1970s, most major U.S. Cities had thriving disco club scenes, where would a seamless sequence of dance records., a venue popular among, is a well-known example of a disco club.

Popular dances included the, a sexually suggestive dance. Discotheque-goers often wore expensive, extravagant and sexy fashions. There was also a thriving in the disco scene, particularly for drugs that would enhance the experience of dancing to the loud music and the flashing lights, such as and, a drug that was so common in disco subculture that it was nicknamed 'disco biscuits'. Disco clubs were also sometimes associated with. Disco was a key influence in the later development of and. Disco has had several revivals, including in 2005 with 's highly successful album, and again in 2013 and 2014, as disco-styled songs by artists like (with and ),,, and —notably Mars' '—filled the pop charts in the UK and the US.

Major disco clubs had lighted dance floors, with the light flashing according to the beat. Early disco was dominated by record producers and labels such as (Ken, Stanley, and ), (), (Neil Bogart), and (Marvin Schlachter), to name a few.

The genre was also shaped by, who wanted to extend the enjoyment of dance songs — thus creating the extended mix or ', going from a three-minute 45 rpm single to the much longer 12' record. Other influential DJs and remixers who helped to establish what became known as the 'disco sound' included,,,,, and Chicago-based. Frankie Knuckles was not only an important disco DJ; he also helped to develop in the 1980s, a contribution which earned him the honourific title of '. 'The [disco] DJ was central to the ritual of 1970's dance culture, but the dancing crowd was no less important, and it was the combination of these two elements that created the conditions for the dance floor dynamic.'

In disco parties and clubs, a '.good DJ didn't only lead dancers.[to the dance floor,] but would also feel the mood of the dance floor and select records according to this energy (which could be communicated by the vigor of the dancing, or level of the crowd's screams, or sign language of dancers directed towards the booth).' Disco-era DJs would often remix (re-edit) existing songs using, and add in percussion breaks, new sections, and new sounds. DJs would select songs and grooves according to what the dancers wanted, transitioning from one song to another with a and using a to introduce songs and speak to the audiences. Other equipment was added to the basic DJ setup, providing unique sound manipulations, such as, equalization, and echo. Using this equipment, a DJ could do effects such as cutting out all but the throbbing bassline of a song, and then slowly mixing in the beginning of another song using the DJ mixer's crossfader.

Disco hit the television airwaves with the music/dance variety show in 1971 hosted by, then 's in 1975, Steve Marcus' Disco Magic/Disco 77, Eddie Rivera's Soap Factory, and 's, hosted by, who is credited with teaching actor to dance for his role in the hit movie,, as well as DANCE, based out of. 1974–77: Rise to the mainstream [ ]. Italian composer is known as the 'Father of Disco'. From 1974 to 1977, disco music continued to increase in popularity as many disco songs topped the charts. In 1974, ' by 's became the second disco song to reach number one on the, after 'Love Train'.

Also released ', featuring vocals by, and this was the third disco song to hit number one; 'TSOP' was written as the theme song for. 's 1974 ', a U.S.

Number 1 and million-seller, was one of the early disco songs to hit number 1. The same year saw the release of ', performed by and produced by, which reached number 1 in both the U.K. And U.S., and became the best-selling single of the year and one of the with eleven million records sold worldwide, helping to popularize disco music to a great extent. Another notable chart-topping disco hit that year was 's '. In the northwestern sections of the United Kingdom, the explosion, which started in the late 1960s and peaked in 1974, made the region receptive to Disco, which the region's Disc Jockeys were bringing back from New York City.

George McCrae's 'Rock Your Baby' became the United Kingdom's first number one disco single. Also in 1974, released the first side-long, which included a remake of 's ' and two other songs, 'Honey Bee' and his disco version of '. Gaynor's number one disco hit was ', released in 1978, which was seen as a symbol of female strength and a gay anthem. Formed by ('KC') and, Miami's had a string of disco-definitive top-five hits between 1975 and 1977, including ', ', ', ' and '. 's 1975 hit ', although described as Orchestral, featured a violin sound that became a staple of disco. In 1979, however, ELO did release two 'true' disco songs: ' and '. Donna Summer 1977 In 1975, American singer and songwriter recorded a song which she brought to her producer entitled ' which contained a series of simulated.

The song was never intended for release but when Moroder played it in the clubs it caused a sensation. Moroder released it and it went to number 2. It has been described as the arrival of the expression of raw female sexual desire in pop music. A 17-minute was released. The 12' single became and remains a standard in discos today. In 1977 Summer released ', which combined disco with its subgenre and, while in 1978, her multi-million selling vinyl single disco version of ' was number one on the chart for three weeks and was nominated for the for.

Summer's recording, which was included as part of the 'MacArthur Park Suite' on her double album, was eight minutes and forty seconds long on the album. The shorter seven-inch vinyl single version of the MacArthur Park was Summer's first single to reach number one on the Hot 100; it does not include the balladic second movement of the song, however. A 2013 remix of 'Mac Arthur Park' by Summer hit number 1 on the Billboard Dance Charts marking five consecutive decades with a number 1 hit on the charts. From 1978 to 1979, Summer continued to release hits such as ', ', ', ', ' and ', all very successful disco songs.

The used 's to garner hits such as ', ', ', ' and '., a younger brother to the Bee Gees, followed with similarly-styled solo hits such as ', ' and '. In 1975, hits such as 's ' and Summer's version of ' brought disco further into the mainstream. Other notable early disco hits include 's ' (1974), 's ' (1974), 's ' (1974) and 's ' (1975). 1977–79: Pop pre-eminence [ ].

's ',' written by the (1977) from, the best-selling of all time. Problems playing this file?

In December 1977, the film was released. It was a huge success and its became one of the of all time. The idea for the film was sparked by a 1976 magazine article titled 'Tribal Rites of the New Saturday Night' which supposedly chronicled the disco culture in mid-1970s New York City, but was later revealed to have been fabricated.

Some critics said the film 'mainstreamed' disco, making it more acceptable to heterosexual white males. Was formed mainly by guitarist — a self described 'street hippie' from late 1960s New York — and bassist. ' was a popular 1978 single of theirs that is regarded as an iconic song of the genre. Other hits by Chic include the often-sampled ' (1979) and ' (1979). The group regarded themselves as the disco movement's rock band that made good on the movement's ideals of peace, love, and freedom.

Every song they wrote was written with an eye toward giving it 'deep hidden meaning' or D.H.M. The had several disco hits on the soundtrack of in 1977, a flamboyant and openly gay singer famous for his soaring falsetto voice, scored his biggest disco hits in 1978 – ', and ', followed by ' in 1979. Known as the Queen of Disco, his singing style was said to have influenced the singer. At that time, disco was one of the forms of music most open to gay performers. Were a singing/dancing group created by and to target disco's gay audience. They were known for their onstage costumes of typically male-considered jobs and ethnic minorities and achieved mainstream success with their 1978 hit song, '; other hits included ' (1978) and ' (1979). (previously 'the Jackson 5') did many disco songs from 1975 to 1980, including ' (1978), ' (1978), ' (1980), and ' (1980)—all sung by, whose 1979 solo album,, included several disco hits, including, ', ', and his second chart-topping solo hit in the disco genre, '.

's ' (1978) combined disco with, utilizing a. Problems playing this file?

Disco's popularity led many non-disco pop and some rock artists to record disco songs at the height of its popularity. Many of their songs were not 'pure' disco, but were instead rock or pop songs with (sometimes inescapable) disco influence or overtones. Notable examples include 's ' (1978) and ' with (1979), 's ' (1978) and ' (1980), 's ' and ' (both 1979), 's ' (1978), 's ' (1979), 's ' (1979), 's ' (1975), 's ' (1980), and 's ' (1976), 's ' (1979), 's ' (1979), ' ' (1980) and 's ' (1979), ' (1980) and ' (1981). The biggest hit by, best known as a band, was ' (1978), featuring a strong disco sound.

's 1979 cover of ' had also popularity. Even hard-core mixed elements of disco with their typical style in songs. Group, when creating their, used disco-style components in their song, ' (1979) —which became the group's only number 1 hit single (in both the US and UK). The gave nods to disco with ' (1975) and ' (1979), did ' (1979), did ' (1980), did ' (1978) and ' (1980), 's ' and ' (both 1979), did ' (1979), did ' (1979), and the did ' (1980). Even group jumped in with ' (1979).

's album (1978) features a strong disco influence. [ ]The disco fad was also picked up even by 'non-pop' artists, including the 1979 U.S.

Number one hit ' by singer in a duet with Donna Summer. Artist covered Andy Gibb's ' in 1977, did ' in 1978, and recorded ' and covered 's ' in 1979. Also noteworthy are 's ' (1977), 's ' (1978), 's ' (1978), 's ' (1978), 's ' (1979), 's ' (1979), 's ' (1979), 's ' (1980), ' ' (1978) and 's various attempts to bring to the mainstream, most notably his disco hit ' (1976), which was inspired. The group had a disco hit with the 1979 'Twilight Zone/Twilight Tone' theme. Pre-existing non-disco songs and standards would frequently be 'disco-ized' in the 1970s.

The rich orchestral accompaniment that became identified with the disco era conjured up the memories of the era—which brought out several artists that recorded and disco-ized some big band arrangements including, who re-recorded his 1929 and 1939 hit, 'Temptation', in 1975, as well as, who released an album of disco songs entitled in 1979., second-in-command on, released a recording of the ' entitled 'Disco Accordion.' Similarly, adapted 'The Pennsylvania Polka' into a song named 'Disco Polka'. Easy listening icon, in one of his last recordings, released an album entitled (1975) and recorded a disco version of his famous ' in 1976. Was even adapted for disco, notably 's ' (1976, based on the first movement of 's ) and 'Flight 76' (1976, based on 's '), and 's series of albums and singles. Notable disco hits based on movie and television themes included a medley from, ' (1977) by, and 'Twilight Zone/Twilight Tone' (1979). Even the theme was not spared from being disco-ized. Many original of the era also showed a strong disco influence, such as 'Keep Your Eye On the Sparrow' (theme from, performed by and later a hit single for ), ' (from, original and single versions by Rhythm Heritage), and 's '.

Parodies [ ] Several parodies of the disco style were created., at the time a radio DJ in, recorded ' (1976) and 'Dis-Gorilla' (1977); parodied the lifestyles of disco dancers in ' on his 1976 album, and in 'Dancin' Fool' on his 1979 album; 's includes a disco song called 'Gotta Boogie', an extended pun on the similarity of the disco move to the American slang word '. Comedian devoted his entire 1977 album to disco parodies. Reasons for popularity [ ]. The reflective light was a fixture on the ceilings of many discoteques By the mid-1970s, the economic prosperity of the previous decade had declined, and unemployment, inflation and crime rates had soared. Disco music and disco dancing provided an escape from these negative economic issues.

As well, in the 1970s, the key, the hippie movement, was fading away. The disco movement was far more than just music. It was also a subculture based around nightclubs, dance clubs, and DJs.

In Beautiful Things in Popular Culture, highlights the sociability of disco and its roots in 1960's counterculture. 'The driving force of the New York underground dance scene in which disco was forged was not simply that city's complex ethnic and sexual culture but also a 1960s notion of community, pleasure and generosity that can only be described as hippie,' he says. 'The best disco music contained within it a remarkably powerful sense of collective euphoria.' Film critic called the popular embrace of disco's exuberant dance moves an escape from 'the general depression and drabness of the political and musical atmosphere of the late seventies.' , writing about the disco-themed film, said the film and disco itself touched on 'something deeply romantic, the need to move, to dance, and the need to be who you'd like to be. Nirvana is the dance; when the music stops, you return to being ordinary.' 1979–81: Backlash and decline [ ].

Man wearing a Disco Sucks T-shirt. By the end of the 1970s, a strong anti-disco sentiment developed among rock fans and musicians, particularly in the United States. Disco was criticized as mindless, consumeristic, overproduced and escapist. The slogans 'disco sucks' and 'death to disco' became common.

Rock artists such as and who added disco elements to their music were accused of being. The in the United States and United Kingdom was often hostile to disco (although in the UK, many early fans such as the and quite liked disco, often congregating at nightclubs such as Louise's in Soho and the Sombrero in Kensington. The track ' by, the house anthem at the former, was cited as a particular favourite by many early UK Punks. Also, the film and contained a disco medley of Sex Pistols songs, entitled Black Arabs and credited to a group of the same name.) of the, in the song 'Saturday Night Holocaust', likened disco to the culture of -era for its apathy towards government policies and its escapism. Of said that disco was 'like a beautiful woman with a great body and no brains', and a product of political apathy of that era.

New Jersey rock critic wrote 'Put a Bullet Through the Jukebox', a vitriolic screed attacking disco that was considered a punk call to arms., shortly prior to his transformation from a musician into an artist at the end of the 1970s with the inspiration of disco, disappointed his fans by admitting his love for disco, with Hillage recalling 'it's like I'd killed their pet cat.' Anti-disco sentiment was expressed in some television shows and films. A recurring theme on the show was a hostile attitude towards disco music. In one scene of the 1980 comedy film, a city skyline features a radio tower with a -lighted station callsign. A voiceover says: 'WZAZ in Chicago, where disco lives forever!' Then a wayward airplane slices the radio tower with its wing, the voiceover goes silent, and the lighted callsign goes dark. July 12, 1979, became known as 'the day disco died' because of, an anti-disco demonstration in a double-header at in Chicago.

Rock-station DJs and, along with Michael Veeck, son of owner, staged the promotional event for disgruntled rock fans between the games of a White Sox doubleheader. The event, which involved exploding disco records, ended with a riot, during which the raucous crowd tore out seats and pieces of turf, and caused other damage. The made numerous arrests, and the extensive damage to the field forced the White Sox to forfeit the second game to the, who had won the first game. Six months prior to the chaotic event, popular progressive rock radio station WDAI () had suddenly switched to an all-disco format, disenfranchising thousands of Chicago rock fans and leaving Dahl unemployed.

On July 21, 1979, the top six records on the U.S. Music charts were disco songs. Softnyx Game Launcher Cannot Connect To Auto Download Server Samp.

By September 22, there were no disco songs in the US Top 10 chart, with the exception of 's instrumental ',' a composition with some disco overtones. Some in the media, in celebratory tones, declared disco 'dead' and rock revived., the first female disco DJ, stated that people still pause every July 12 for a moment of silence in honor of Disco. Dahl stated in a 2004 interview that disco was 'probably on its way out. But I think it [Disco Demolition Night] hastened its demise'.

Impact on music industry [ ] The anti-disco backlash, combined with other societal and radio industry factors, changed the face of pop radio in the years following Disco Demolition Night. Starting in the 1980s, began a slow rise in American main pop charts. Emblematic of country music's rise to mainstream popularity was the commercially successful 1980 movie. Somewhat ironically, the star of the film was, who only three years before had starred in, a film that featured disco culture. During this period of decline in disco's popularity, several record companies folded, were reorganized, or were sold.

In 1979, purchased, absorbed some of its artists, and then shut the label down. Founder left the label in 1981 and closed in the same year.

Continues to exist in the 2000s, but primarily is used as a reissue brand. Had been releasing fewer records in the 1980s, and was shut down in 1986 by parent company. Many groups that were popular during the disco period subsequently struggled to maintain their success—even those that tried to adapt to evolving musical tastes. The, for instance, had only one top-10 hit (1989's ') and three more top-40 hits (despite recording and releasing far more than that and completely abandoning disco in their 1980s and 1990s songs) in the United States after the 1970s, even though numerous songs they wrote and had other artists perform were successful.

Of the handful of groups not taken down by disco's fall from favor,, —and in particular—stand out: In spite of having helped define the disco sound early on, they continued to make popular and danceable, if more refined, songs for yet another generation of music fans in the 1980s and beyond. Also survived the disco backlash and continued to produce hits at roughly the same pace for several more years, in addition to an even longer string of R&B chart hits that lasted into the 1990s. Factors contributing to disco's decline [ ]. The group were created to target disco's gay audience by featuring popular gay fantasy personae. For example, one of the performers is dressed as a. Factors that have been cited as leading to the decline of disco in the United States include economic and political changes at the end of the 1970s, as well as from the lifestyles led by participants. In the years since Disco Demolition Night, some social critics have described the backlash as implicitly macho and bigoted, and an attack on non-white and non-heterosexual cultures.

The backlash also made its way into US politics with the election of conservative in 1980 which also led to Republican control of the for the first time since 1954, plus the subsequent rise of the around the same time. In January 1979, rock critic argued that, and most likely, were reasons behind the backlash, a conclusion seconded. Craig Werner wrote: 'The Anti-disco movement represented an unholy alliance of funkateers and, progressives and, rockers and reactionaries. Nonetheless, the attacks on disco gave respectable voice to the ugliest kinds of unacknowledged racism, sexism and homophobia.' , founder of the, was quoted in an interview as saying, 'the always wanted to be. We were going, 'f**k the, f**k the '.'

He also said that disco was the result of an ' union between and blacks., who had spearheaded Disco Demolition Night, denied any racist or homophobic undertones to the promotion, saying, 'It's really easy to look at it historically, from this perspective, and attach all those things to it. But we weren't thinking like that.' It has been noted that British critics of disco were very supportive of the pro-black/anti-racist genre as well as the more pro-gay movement. Christgau and Jim Testa have said that there were legitimate artistic reasons for being critical of disco. In 1979, the music industry in the United States underwent its worst slump in decades, and disco, despite its mass popularity, was blamed. The producer-oriented sound was having difficulty mixing well with the industry's artist-oriented marketing system.

Harold Childs, senior vice president at, told the that 'radio is really desperate for rock product' and 'they're all looking for some white rock-n-roll'. Argued that the music industry supported the destruction of disco because rock music producers were losing money and rock musicians were losing the spotlight. However, disco music remained relatively successful in the early 1980s, with big hits like 's ', 's ', K.C. And the Sunshine Band's last major hit, ', and 's first album had strong disco influences. Record producer 's soundtracks to, and (which also had a heavy disco influence) proved that the style was still very much embraced.

's 1982 album, was inspired by the genre as well. In the 1990s, disco and its legacy became more accepted by music artists and listeners alike, as more songs and films were released that referenced disco. Examples of songs during this time that were influenced by disco included 's ' (1990), 's ' (1993), 's ' (1994) & 'Entertain Me' (1995), 's ' (1995), and 's ' (1999), while films such as (1997) and (1998) featured primarily disco soundtracks. 2000–present: Success of nu-disco and disco revival [ ]. Students from dancing to disco during a cultural event on campus In the early 2000s, an updated genre of disco called 'nu-disco' began breaking into the mainstream. A few examples like 's ' and 's ' became club favorites and commercial successes. Several nu-disco songs were crossovers with, such as 's ' and 's ', both songs sampling older disco songs and both reaching number 1 on the in 2000.

' disco hit ' was the UK's fourth best-selling single the same year. Rock band released a disco song, 'Miss Europa Disco Dancer', in 2001.

The song's disco influence, which appears on, was described as being 'much-discussed'. In 2005, Madonna immersed herself in the disco music of the 1970s, and released her album to rave reviews. In addition to that, her song ' became a major top ten hit and club staple, and sampled 's 1970s' hit '.

In addition to her disco-influenced attire to award shows and interviews, her also incorporated various elements of the 1970s, such as disco balls, a mirrored stage design, and the. The success of the 'nu-disco' revival of the early 2000s was described by music critic Tom Ewing as more interpersonal than the pop music of the 1990s: 'The revival of disco within pop put a spotlight on something that had gone missing over the 90s: a sense of music not just for dancing, but for dancing with someone. Disco was a music of mutual attraction: cruising, flirtation, negotiation. Its dancefloor is a space for immediate pleasure, but also for promises kept and otherwise. It’s a place where things start, but their resolution, let alone their meaning, is never clear.

All of 2000s great disco number ones explore how to play this hand. Look to impose their will upon it, to set terms and roles. Spiller is less rigid. 'Groovejet' accepts the night’s changeability, happily sells out certainty for an amused smile and a few great one-liners.'

In 2013, several 1970s' style disco and songs charted, and the pop charts had more dance songs than at any other point since the late 1970s. The biggest disco hit of the year as of June was ' by, featuring on guitar. Also ended up winning Album of the Year at the 2014 Grammys. Other disco-styled songs that made it into the top 40 were 's ' (No.

1), 's ' (No. 29), ' ' (No. 5) and 's posthumous release ' (No.

In addition, 's featured strong disco elements. In 2014, disco music could be found in 's and 's '.

Other disco songs from 2014 include ' By and '. Other top ten hits from 2015 like 's disco groove-infused ', 's ', 's ' and 's ' also ascended the charts and have a strong disco influence. Disco mogul and producer Giorgio Moroder also re-appeared with his new album in 2015 which has proved to be a modest success. Other songs from 2015 like ' by, ' by, ' by and ' by feature disco elements as well. In 2016, disco songs or disco-styled pop songs are showing a strong presence on the music charts as a possible backlash to the '80s-styled Synthpop, Electro House and Dubstep that have been dominating the current charts.

Justin Timberlake's 2016 song ', which shows strong elements of disco, became the 26th song to debut at number-one on the in the history of the chart., a 2015 film, extensively uses disco music as a soundtrack, although for the main character, astronaut Mark Watney, there's only one thing worse than being stranded on Mars: it's being stranded on Mars with nothing but disco music. ', featured on an episode of the HBO television series ' (2016) and with ' guitar licks, hit no. 1 on the US Dance chart in July 2016.

Regional scenes [ ] Role of Motown [ ]. Diana Ross in 1976 was one of the first artists to embrace the disco sound with her successful 1976 outing ' from her self-titled album. Ross would continue to score disco hits for the rest of the disco era, including the 1980 dance classics ' and ' (the latter immediately becoming a favorite in the gay community)., the group that made Ross famous, scored a handful of hits in the disco clubs without Ross, most notably 1976's ' and, their last charted single before disbanding, 1977's 'You're My Driving Wheel'. At the request of Motown that he produce songs in the disco genre, released ' in 1978, despite his dislike of disco. He vowed not to record any songs in the genre, and actually wrote the song as a parody. Released the disco single ' in 1977 as a tribute to, the influential legend who had died in 1974.

Left the Motown group for a solo career in 1972 and released his third solo album in 1975, which spawned and lent its name to the 'Quiet Storm' musical programming format and subgenre of R&B. It contained the disco hit '. Other Motown artists who scored disco hits include: Robinson's former group, the Miracles, with (1975), with (1973), with ' (1976) and with her cover of the song ' (1976). The label continued to release successful disco songs into the 1980s with ' ' (1981), and the ' ' (1981). Several of Motown's solo artists who left the label went on to have successful disco hits., Motown's first female superstar with her signature song ' (written by Smokey Robinson), abruptly left the label in 1964. She briefly reappeared on the charts with the disco song in 1980., the elder brother of lead singer, was also signed to Motown, and released his most successful and well-known song ' as a single in 1966.

Ruffin eventually left the record label in the mid-1970s but had a 1980 hit with the disco song ', which was written and produced by of the, for his album., most famous for his Motown protest song (1970), reentered the charts in 1979 with a pair of disco songs, and 'H.A.P.P.Y. Became the first white British singer to sign with Motown in the US, and released one album, Great Expectations (1970), and two singles 'The Day Will Come Between Sunday and Monday' (1970) and 'Love Makes The World Go Round' (1971), the latter giving her first ever chart entry (number 87 on the ). She soon left the company and signed with 's, and in 1976 had her biggest and best-known hit, ', a disco duet with John. The song was intended as an affectionate disco-style pastiche of the Motown sound, in particular the various duets recorded by Marvin Gaye with and. Released many successful solo singles under the Motown label, like (1971), (1972) and a cover of 's (1972). He went on to score hits in the disco genre with ' (1979), ' (1979) and ' (1983) for.

Many Motown groups who had left the record label charted with disco songs. Michael Jackson was the lead singer of, one of Motown's premier acts in the early 1970s.

They left the record company in 1975 (, however, remained with the label) after hits like ' (1969) and ' (1970), and even the disco hit ' (1974). Renamed as 'the Jacksons' (as Motown owned the name 'the Jackson 5'), they went on to find success with disco songs like ' (1978), ' (1979) and (1981) on the Epic label., whose short tenure at the company had produced the hit ' in 1966, went on release successful disco songs like (1973) and ' (1979)., who recorded the most successful version of ' (1967) before Marvin Gaye, scored hits such as 'Baby, Don't Change Your Mind' (1977) and 'Bourgie, Bourgie' (1980) in the disco era.

Were also signed to the Motown label and had a hit with the Stevie Wonder-produced song in 1970. They left soon after, on the advice of fellow native, to, and there had disco hits like ' (1976). In 1979, they released a successful cover of Elton John's ', as well as a medley of ' song ' and Michael Zager's 'Forgive Me, Girl'. The Four Seasons themselves were briefly signed to Motown's MoWest label, a short-lived subsidiary for R&B/soul artists based on the West Coast, and there the group produced one album, (1972) - to little commercial success in America. However, one single,, was released in Britain in 1975, and thanks to popularity from the circuit, reached number 7 on the.

The Four Seasons left Motown in 1974 and went on to have a disco hit with their song ' (1975) for. Was a producer at Motown, renowned for creating innovative ' songs. The genre later developed into, and from there into disco., a Motown recording act assembled by Whitfield to experiment with his psychedelic soul production techniques, found success with their 1971 song '. The disco single 'You + Me = Love' (number 43) in 1976, which also made number 2 on the.

In 1977, singer, songwriter and producer signed with Whitfield's new label. He had been signed to Motown since 1970, scored a disco hit with his song. The group produced the to the 1976 film, which contained the huge disco hit. Singer signed with Motown after achieving success in the disco genre. In 1980, she released her album, which produced the disco hits and ' on the label. Lattisaw continued to enjoy success as a contemporary R&B/pop artist throughout the 1980s. She signed with Motown in 1986, and achieved most success when teaming up with, releasing the 1989 song from her last ever album, What You Need, before retiring.

In addition, her first ever single, back in 1979, was a disco cover of ', which was most famously recorded by Motown female group in 1967. Additionally, the debut single of, the group originally created as a disco-driven vehicle by creator, was ' (1977), a medley of 10 classic Motown songs sung over a 1970s disco beat. Euro disco [ ]. 's ' (1977), produced by, was a seminal Euro disco song.

Problems playing this file? As disco's popularity sharply declined in the United States, abandoned by major U.S.

Record labels and producers, European disco continued evolving within the broad mainstream pop music scene. European acts,, Munich Machine, and American acts Donna Summer and the, were acts that defined the late 1970s Euro disco sound. Producers, whom described as 'one of the principal architects of the disco sound' with the Donna Summer hit ' (1977), and were involved with Euro disco. The German group also had an influence on Euro disco. By far the most successful Euro disco act was. This Swedish quartet, which sang in English, had hits such as ' (1974), ' (1976), ' (1978), ' (1979), and their signature smash ' (1976)—ranks as the. Other prominent European and disco groups were from the Netherlands and, a group of four West Indian singers and dancers masterminded by West German record producer.

Charted worldwide hits with such songs as ', ' and '. Another Euro disco act was the French, where Euro-disco sound is most heard in song (1978). In France, released ' ('I Will Wait'), the first major French disco hit, which also became a big hit in Canada and. Successfully adjusted herself to disco era and released at least a dozen of songs that charted among top number 10 in whole Europe and wider., who re-invented himself as the king of French disco, released 'La plus belle chose du monde', a French version of the hit record, ', which became a big hit in and and 'Alexandrie Alexandra' was posthumously released on the day of his burial and became a worldwide hit. 's early hit songs, 'Love in C Minor', 'Give Me Love' and ' became major hits in the U.S. Blue disco quad. By the late 1970s most major U.S.

Cities had thriving disco club scenes, but the largest scenes were in,, and most notably. The scene was centered on, nightclubs, and private loft parties where would play disco hits from discs and records through for the patrons who came to dance. Powerful, bass-heavy, were viewed as a key part of the disco club experience. 'Mancuso introduced the technologies of tweeter arrays (clusters of small loudspeakers, which emit high-end frequencies, positioned above the floor) and bass reinforcements (additional sets of positioned at ground level) at the start of the 1970s in order to boost the treble and bass at opportune moments, and by the end of the decade such as Richard Long had multiplied the effects of these innovations in venues such as the Garage.' The DJs played '. a smooth mix of long single records to keep people 'dancing all night long'. Some of the most prestigious clubs had elaborate lighting systems that throbbed to the beat of the music.

In the 1970s, notable discos included 'Artemis' in Philadelphia, 'Studio One' in Los Angeles, 'Leviticus' in New York, 'Dugan's Bistro' in Chicago, and 'The Library' in Atlanta. In the late 70s, in was arguably the most well known nightclub in the world. This club played a major formative role in the growth of disco music and culture in general. The, another New York nightclub dating to the 1940s, had a revival in the late 1970s when it embraced disco; it would become the setting of a hit. Disco dancing [ ]. While the psychedelic hallucinogen is mostly associated with 1960s counterculture, it was also used at discos.

In addition to the dance and fashion aspects of the disco club scene, there was also a thriving, particularly for drugs that would enhance the experience of dancing to the loud, bass-heavy music and the flashing coloured lights, such as (nicknamed 'blow'), amyl nitrite ', and the '. other quintessential 1970s, which suspended and gave the sensation that one's arms and legs had turned to '.' Quaaludes were so popular at disco clubs that the drug was nicknamed 'disco biscuits'. Paul Gootenberg states that '[t]he relationship of cocaine to 1970s disco culture cannot be stressed enough.' During the 1970s, the use of cocaine by well-to-do led to its 'glamorization' and to the widely held view that it was a 'soft drug'. Cocaine was also popular because its stimulating effect '.fueled all-night parties' at disco clubs.,, and (amphetamines) were also popular in disco clubs, and the use of these drugs '.contributed to the hedonistic quality of the dance floor experience.'

Since disco dances were typically held in - and, were also consumed by dancers; some users intentionally combined alcohol with the consumption of other drugs, such as Quaaludes, for a stronger effect. According to, the 'massive quantities of drugs ingested in discotheques produced the next of the disco era: rampant and. While the dance floor was the central arena of, actual sex usually took place in the nether regions of the disco: bathroom stalls, exit, and so on. In other cases the disco became a kind of 'main course' in a hedonist's menu for a night out.' At nightclub, a high percentage of the dancers and patrons would have sex in the club; they typically had, because in 1980, had not yet been identified.

At The Saint, '.dancers would elope to an un[monitored] upstairs balcony to engage in sex.' The promiscuity and public sex at discos was part of a broader trend towards exploring a freer sexual expression in the 1970s, an era that is also associated with ',, [and].' Famous disco bars included the and as well as '. cocaine-filled hangouts such as 's,' which was operated by and.

Studio 54 was notorious for the that went on within; the balconies were known for, and drug use was rampant. Its dance floor was decorated with an image of the ' that included an animated. Influence on other music [ ] 1982–1990: Post-disco and dance [ ]. Main articles: and The transition from the late-1970s disco styles to the early-1980s dance styles was marked primarily by the change from complex arrangements performed by of studio (including a and an orchestral ), to a leaner sound, in which one or two singers would perform to the accompaniment of and.

In addition, during the 1981–83 period borrowed elements from and, creating a style different from the disco of the 1970s. This emerging music was still known as disco for a short time, as the word had become associated with any kind of dance music played in.

Examples of early-1980s' dance sound performers include,, and. These changes were influenced by some of the notable R&B and jazz musicians of the 1970s, such as Stevie Wonder, Kashif and, who had pioneered '-type keyboard techniques.

Some of these influences had already begun to emerge during the mid-1970s, at the height of disco's popularity. During the first years of the 1980s, the disco sound began to be phased out, and faster tempos and synthesized effects, accompanied by guitar and simplified backgrounds, moved dance music toward the and pop genres. This trend can be seen in singer 's recordings between 1979 and 1981. Whereas Ocean's 1979 song American Hearts was backed with an orchestral arrangement played by the Los Angeles Symphony Orchestra, his 1981 song 'One of Those Nights (Feel Like Gettin' Down)' had a more bare, stripped-down sound, with no orchestration or arrangements.

This drift from the original disco sound is called. In this music scene there are rooted subgenres, such as,,,,, and early. During the early 1980s, dance music dropped the complicated song structure and orchestration that typified the disco sound. TV themes [ ] During the 1970s, many TV theme songs were produced (or older themes updated) with disco influenced music. Examples include (1975), (1975), (1976), NBC Saturday Night At The Movies (1976), (1977), (1977), (1977), (1977), (1977), (1978), broadcasts (1978), (1977), (1979). The British science fiction program (1975) also featured a soundtrack strongly influenced by disco, especially in the show's second season.

DJ culture [ ]. The precise variable on the Technics SL-1200 MK2, first sold in 1978, helped DJs to develop better, a crucial skill for creating a seamless transition from one song to another. The rising popularity of disco came in tandem with developments in the role of the.

DJing developed from the use of multiple record turntables and to create a continuous, seamless mix of songs, with one song transitioning to another with no break in the music to interrupt the dancing. The resulting differed from previous forms of dance music in the 1960s, which were oriented towards live performances by musicians. This in turn affected the arrangement of dance music, since songs in the disco era typically contained beginnings and endings marked by a simple beat or riff that could be easily used to transition to a new song.

The development of DJing was also influenced by new techniques, such as, a process facilitated by the introduction of new turntable technologies such as the, first sold in 1978, which had a precise variable and a motor. DJs were often avid record collectors, who would hunt through used record stores for obscure records and vintage recordings. DJs helped to introduce rare records and new artists to club audiences. In the 1970s, individual DJs became more prominent, and some DJs, such as, the resident at,, and became famous in the disco scene.

Levan, for example, developed a amongst club-goers, who referred to his DJ sets as '. Some DJs would use to make and tape edits of songs. Some DJs who were making remixes made the transition from the DJ booth to becoming a, notably Burgess. Scott developed several innovations.

He was the first disco DJ to use three turntables as sound sources, the first to simultaneously play two beatmatched records, the first user of electronic in his mixes and an innovator in mixing dialogue in from well-known movies into his mixes, typically over a percussion break. These mixing techniques were also applied to radio DJs, such as Ted Currier of and. Grasso is particularly notable for taking the DJ “profession out of servitude and [making] the DJ the musical head chef”. Once he entered the scene, the DJ was no longer responsible for waiting on the crowd hand and foot, meeting their every song request.

Instead, with increased agency and visibility, the DJ was now able to use his own technical and creative skills to whip up a nightly special of innovative mixes, refining his personal sound and aesthetic, and building his own reputation. Known as the first DJ to create a take his audience on a narrative, musical journey, Grasso discovered that music could effectively shift the energy of the crowd, and even more, that he had all this power at his fingertips.

Rave culture [ ]. Strobing lights flash at a dance event in, 2005 About five years after the disco era came to a close in the late 1970s, culture began to emerge from the scene. Rave culture incorporated disco culture's same love of dance music played by over powerful, and exploration, sexual promiscuity, and. Although disco culture started out underground, it eventually thrived in the mainstream by the late 1970s, and major labels commodified and packaged the music for. In contrast, the rave culture started out underground and stayed underground.

In part this was to avoid the animosity that was still surrounding disco and dance music. The rave scene also stayed underground to avoid attention that was directed at the rave culture due to its use of secret, unauthorized warehouses for some dance events and its association with illegal club drugs like. Hip hop and electro [ ].

Main articles: and The disco sound had a strong influence on early. Most of the early hip hop songs were created by isolating existing disco bass-guitar lines and dubbing over them with MC rhymes.

Used 's ' as the foundation for their 1979 hit ', generally considered to be the song that first popularized rap music in the United States and around the world. In 1982, released the single ', which incorporated elements from 's ' and 'Numbers' as well as 's 'Riot in Lagos'. The Planet Rock sound also spawned a trend,, which included songs such as 's 'Play at Your Own Risk' (1982), C Bank's 'One More Shot' (1982), 's 'Club Underworld' (1984), 's ' (1983), 's 'I.O.U.'

(1983), 's 'Freak-a-Zoid' (1983), 's ' (1984). House music [ ]. Like disco, house music was based around creating mixes for dancers in clubs.

Pictured is DJ Miguel Migs, mixing using DJ-CD players. Is a genre of that originated in in the early 1980s. It was initially popularized in Chicago, circa 1984. House music quickly spread to other American cities such as Detroit, New York City, and Newark – all of which developed their own regional scenes. In the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia. Early house music commercial success in Europe saw songs such as ' by (1987), 'House Nation' by House Master Boyz and the Rude Boy of House (1987), ' by (1988) and ' by (1988) in the pop charts. Since the early to mid-1990s, house music has been infused in mainstream and worldwide.

Early house music was generally dance-based music characterized by repetitive beats, rhythms mainly provided by, off-beat cymbals, and synthesized basslines. While house displayed several characteristics similar to disco music, it was more electronic and minimalistic, and the repetitive rhythm of house was more important than the song itself.

As well, house did not use the lush that were a key part of the disco sound. House music in the 2010s, while keeping several of these core elements, notably the prominent on every beat, varies widely in style and influence, ranging from the soulful and atmospheric to the more minimalistic. House music has also fused with several other genres creating fusion subgenres, such as,, and. Post-punk [ ]. Main article: The movement that originated in the late 1970s both supported 's rule breaking while rejecting its move back to raw.

Post-punk's mantra of constantly moving forward lent itself to both openness to and experimentation with elements of disco and other styles. Is considered the first post-punk group. The group's second album fully embraced the 'studio as instrument' methodology of disco. The group's founder, the former lead singer for the, told the press that disco was the only music he cared for at the time. Was a subgenre of post-punk centered in New York City. For shock value,, a notable member of the no wave scene, penned an article in the East Village Eye urging his readers to move uptown and get 'trancin' with some superadioactive disco voodoo '. His band wrote a disco album.

Their performances resembled those of disco performers (horn section, dancers and so on). In 1981 led the transition from no wave into the more subtle () genre. Mutant disco acts such as,, and influenced several British post-punk acts such as, and. Dance-punk [ ].

Main article: Nu-disco is a 21st-century dance music genre associated with the renewed interest in 1970s and early 1980s disco, mid-1980s Italo disco, and the synthesizer-heavy Euro disco aesthetics. The moniker appeared in print as early as 2002, and by mid-2008 was used by record shops such as the online retailers Juno and Beatport. These vendors often associate it with re-edits of original-era disco music, as well as with music from European producers who make dance music inspired by original-era American disco, electro and other genres popular in the late 1970s and early 1980s. It is also used to describe the music on several American labels that were previously associated with the genres and. See also [ ]. • Shapiro, Peter. 'Turn the Beat Around: The Rise and Fall of Disco', Macmillan, 2006.

P.204–206: ' 'Broadly speaking, the typical New York discotheque DJ is young (between 18 and 30), Italian, and gay,' journalist Vince Lettie declared in 1975.Remarkably, almost all of the important early DJs were of Italian extraction.Italian Americans have played a significant role in America's dance music culture.While Italian Americans mostly from Brooklyn largely created disco from scratch.' • Shapiro, Peter (October 27, 2017).. Faber & Faber. Retrieved October 27, 2017 – via Google Books. Oxford Dictionaries.

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Beatport is launching a new landing page, dedicated solely to the genres of 'nu disco' and 'indie dance'.. Nu Disco is everything that springs from the late '70s and early '80s (electronic) disco, boogie, cosmic, Balearic and Italo disco continuum. Further reading [ ] • Andrea Angeli Bufalini & Giovanni Savastano (2014). Storia illustrata della discomusic. Arcana, Italy. THE DISCO FILES 1973–78: New York's underground week by week.

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• Sclafani, Tony (July 10, 2009)... External links [ ] Wikiquote has quotations related to: Wikimedia Commons has media related to. • — 700-top-disco-songs • - Disco Music Radio Station.