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'''Disco''' Is a genre of [[dance music]] that originated in and was initially popular among [[African American]], [[gay]] and [[Hispanic and Latino Americans|Hispanic]] communities in the United States in the late [[1960s]].<ref>(1995) "Out in Culture: Gay, Lesbian and Queer Essays on Popular Culture", ISBN 030433488X, 9780304334889, p.439:(Disco 1990). "Although the disco pulse was born in the small gay black clubs of New York, disco music only began to gain commercial attention when it was exposed to the dance floor public of large, predominantly white gay discos."</ref><ref>(1998) "The Cambridge History of American Music", ISBN 0521454298, 9780521454292, p.372: "Initially, disco musicians and audiences alike belonged to marginalized communities: women, gay, black, and Latinos"</ref><ref name="alternative to rock'n'roll">(2007) "The 1970s", ISBN 0313339198, 9780313339196, p.203-204: "During the late 1960s various male counterculture groups, most notably gay, but also heterosexual black and Latino, created an alternative to rock'n'roll, which was dominated by white - and presumably heterosexual - men. This alternative was disco,..."</ref><ref>(2002) "Traces of the Spirit: The Religious Dimensions of Popular Music", ISBN 0814798098, 9780814798096, p.117: "New York City was the primary center of disco, and the original audience was primarily gay African Americans and Latinos."</ref><ref>(1976) "Stereo Review", University of Michigan, p.75: "[..] and the result - what has come to be called disco - was clearly the most compelling and influential form of black commercial pop music since the halcyon days of the "Motown Sound" of the middle Sixties."</ref> In what is considered a forerunner to disco style clubs, in February 1970 New York City DJ, [[David Mancuso]], opened [[The Loft]], a members-only private dance club set in his own home.<ref>[http://www.empsfm.org/exhibitions/index.asp?articleID=128 empsfm.org Past Exhibitions]</ref><ref>[http://www.discomusic.com/101-more/7124_0_7_0_C/ discomusic.com Timeline]</ref> Most agree that the first disco songs were released in 1973, though some claim [[Manu Dibango]]'s 1972 [[Soul Makossa]] to be the first disco record.<ref name=origins>[http://www.experiencefestival.com/a/Disco_-_Origins/id/1328269 Disco origins]</ref> The first article about disco was written in September 1973 by [[Vince Aletti]] for [[Rolling Stone Magazine]].<ref>[http://query.nytimes.com/gst/fullpage.html?res=9C04EFDF163AF933A25751C1A9649C8B63&sec=&spon=&pagewanted=1 ARTS IN AMERICA; Here's to Disco, It Never Could Say Goodbye], The New York Times, December 10, 2002]</ref><ref>[http://www.jahsonic.com/VinceAletti.html Excerpt from first article about disco]</ref> In 1974 New York City's [[WPIX-FM]] premiered the first disco radio show.<ref>[http://www.discomusic.com/101-more/7124_0_7_0_C/ discomusic.com Timeline first disco radio show]</ref>

Musical influences include [[funk]] and [[soul music]]. The disco sound has soaring, often reverberated vocals over a steady [[four-on-the-floor (music)|"four-on-the-floor"]] beat, an [[eighth note]] (quaver) or sixteenth note (semi-quaver) [[hi-hat]] pattern with an open hi-hat on the off-beat, and a prominent, [[syncopated]] [[bass guitar|electric bass]] line sometimes consisting of octaves. Strings, horns, electric pianos, and electric guitars create a lush background sound. Orchestral instruments such as the flute are often used for solo melodies, and unlike in rock, [[lead guitar]] is rarely used.

Well-known late 1970s disco performers included [[Bee Gees]], [[Amanda Lear]], [[Donna Summer]] and [[The Jacksons]]. Summer would become the first well-known and most popular female disco artist, and also played a part in pioneering the electronic sound that later became a part of disco (see below). While performers and singers garnered the lion's share of public attention, the behind-the-scenes producers played an equal, if not more important role in disco, since they often wrote the songs and created the innovative sounds and production techniques that were part of the "disco sound".<ref>[http://www.allmusic.com/cg/amg.dll?p=amg&sql=77:16. allmusic<!-- Bot generated title -->]</ref> Many non-disco artists recorded disco songs at the height of disco's popularity, and films such as ''[[Saturday Night Fever]]'' and ''[[Thank God It's Friday]]'' contributed to disco's rise in mainstream popularity and ironically the beginning of its commercial decline.{{Fact|date=December 2008}}

== History ==
===Early history===
{{Listen
|filename = Keep-me-hangin-supremes-1966.ogg
|title = The Supremes - You Keep Me Hangin' On
|description = [[The Supremes]] - [[You Keep Me Hangin' On]] ([[1966]]). A proto-disco composition.
}}
Disco has its musical roots in the late 1960s. [[Philadelphia soul|Philly]] and New York soul were evolutions of the [[Motown sound]]. The Philly Sound is typified by lavish [[percussion instrument|percussion]], which became a prominent part of mid-1970s disco songs. Music with proto-"disco" elements appeared in the late 1960s, with "[[Tighten Up (Archie Bell & the Drells song)|Tighten Up]]" and "[[Mony, Mony]]", "[[Dance to the Music (song)|Dance to the Music]]" and "[[Love Child]]" . Two early songs with disco elements include [[Jerry Butler (singer)|Jerry Butler]]’s 1969 "[[Only the Strong Survive (Jerry Butler song)|Only the Strong Survive]]"<ref>[http://www.discomusic.com/101-more/7124_0_7_0_C/ "Only the Strong Survive"]</ref> and [[Manu Dibango]]'s 1972 "[[Soul Makossa]]" .

The early "disco" sound was largely an urban American phenomenon with such legendary producers and labels such as SalSoul Records (Ken, Joe and Stanley Cayre), Westend Records (Mel Cheren), Casablanca (Neil Bogart), and Prelude (Marvin Schlachter) to name a few. They inspired and influenced such prolific European dance-track producers as [[Giorgio Moroder]] and [[Jean-Marc Cerrone]]. Moroder was the Italian producer, keyboardist, and composer who produced many songs of the singer [[Donna Summer]]. These included the 1975 hit "Love to Love You Baby", a 17-minute-long song with "shimmering sound and sensual attitude". Allmusic.com calls Moroder "one of the principal architects of the disco sound".<ref>[http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:jpfqxqw5ldte~T1 Giorgio Moroder] Allmusic.com</ref>

The disco sound was also shaped by the legendary [[Tom Moulton]] who wanted to extend the enjoyment of the music — thus single-handedly creating the "[[Remix]]" which has influenced many other latter genres such as [[Hip-Hop]], [[Techno]], and [[Pop music|Pop]]. DJs and remixers would often remix (i.e., re-edit) existing songs using reel-to-reel tape machines. Their remixed versions would add in percussion breaks, new sections, and new sounds. Influential DJs and remixers who helped to establish what became known as the "disco sound" included [[David Mancuso]], [[Tom Moulton]], [[Nicky Siano]], [[Shep Pettibone]], the legendary and much-sought-after [[Larry Levan]], [[Walter Gibbons]], and later, New York–born Chicago "Godfather of House" [[Frankie Knuckles]]. Disco was also shaped by nightclub DJs such as Francis Grasso, who used multiple record players to seamlessly mix tracks from genres such as soul, funk and pop music at discoteques, and was the forerunner to later styles such as hip-hop and house. '''Karen Cook''' was the first female disco DJ on record. She spun the vinyl hits from 1975 – 1978. Trained by '''Sam Meyer''', discjockey at Barbary Coast in Houston, her first job was at Mean Green Inn on her college campus of University of North Texas in Denton, TX. She went on to work at the most popular Houston Club at the time, Todds, owned by McFaddin Kendrick. She created such buzz that they hired her not only for their premiere exclusive member-only club, 'Elan, but also enlisted her to program the music for other dj's at their many properties throughout the US. She was famous for the ability to match the tone, beat AND style of a song in a segue and had a technique she used to create the sale of more drinks.

===Chart-topping songs ===
[[Image:Disco Inferno album small.jpg|The Trammps - Disco Inferno album cover|thumb|left|150px]]
The [[Hues Corporation]]'s 1974 "[[Rock The Boat]]", a U.S. #1 [[single (music)|single]] and million-seller, was one of the early disco songs to hit [[#1]]. Other chart-topping songs included "[[Walking in Rhythm]]" by [[The Blackbyrds]], "[[Rock Your Baby]]" by [[George McCrae]] and "[[Love's Theme]]" by [[Barry White]]'s [[Love Unlimited Orchestra]]. Also in 1975, [[Gloria Gaynor]] released the first side-long [[disco mix]] [[vinyl]] [[album]], which included a remake of [[The Jackson 5]]'s "[[Never Can Say Goodbye]]" and two other songs, "[[Honey Bee]]" and "[[Reach Out (I'll Be There)]]". Also significant during this early disco period was [[Miami]]'s [[KC and the Sunshine Band]]. Formed by [[Harry Wayne Casey]] ("KC") and Richard Finch, KC and the Sunshine Band had a string of disco-definitive top-five hits between 1975 and 1977, including "[[Get Down Tonight]]", "[[That's the Way (I Like It)]]", "[[(Shake, Shake, Shake) Shake Your Booty]]", "[[I'm Your Boogie Man]]" and "[[Keep It Comin' Love]]".

[[The Bee Gees]] used [[Barry Gibb]]'s [[falsetto]] to garner hits such as "You Should Be Dancing". In 1975, hits such as [[Van McCoy]]'s "[[The Hustle (song)|The Hustle]]" and [[Donna Summer]]'s "[[Love to Love You Baby]]" and "[[Could It Be Magic]]" brought disco further into the mainstream. Other notable early disco hits include [[The Jackson 5]]’s "[[Dancing Machine]]" (1973), [[Barry White]]’s "[[You're the First, the Last, My Everything]]" (1974), [[LaBelle]]’s "[[Lady Marmalade]]" (1974) and [[Silver Convention]]’s "[[Fly Robin Fly]]" (1975). [[Chic (band)|Chic]]'s "[[Le Freak]]" (1978) became a classic and is heard almost everywhere disco is mentioned; other hits by Chic include the often-sampled "[[Good Times (Chic song)|Good Times]]" (1979) and "[[Everybody Dance]]" (1977). Also noteworthy are [[Cheryl Lynn]]'s "[[Got to Be Real]]" (1978) and [[Walter Murphy]]'s various attempts to bring [[classical music]] to the mainstream, most notably his hit "[[A Fifth of Beethoven]]" (1976).

The rich orchestral accompaniment that became identified with the disco era conjured up the memories of the [[Big Band]] era which brought out several artists that recorded and disco-ized some Big Band Music
including [[Perry Como]], who re recorded his 1929 and 1939 hit, Temptation in 1975 as well as some unlikely Country artists such as [[Bill Anderson]] ( Double S) and [[Ronnie Milsap]] ([[High Heel Sneakers]]).
Even the [[I Love Lucy]] theme wasn't spared from being disco-ized.

Prominent European [[Pop music|pop]] and disco groups were [[Luv']] from the Netherlands and [[Boney M]], a group of four West Indian singers and dancers masterminded by West German record producer [[Frank Farian]]. [[Boney M]] charted worldwide hits with such songs as "[[Daddy Cool]]", "[[Ma Baker]]" and "[[Rivers of Babylon]]." In France, [[Dalida]] released "[[J'attendrai]]", which became a big hit in [[Canada]] and [[Japan]], and [[Cerrone]]'s early hit songs - "[[Love In C Minor]]", "[[Give Me Love]]" and "[[Supernature]]" - became major hits in the U.S. and Europe.

As one of the first movies to be scored with disco music before ''[[Saturday Night Fever]]'', the [[James Bond film series|James Bond film]] ''[[The Spy Who Loved Me (film)|The Spy Who Loved Me]]'' garnered great popularity from composer Marvin Hamlisch's score, especially the disco-flavored ''Bond 77'' opening track.

===1978–1980: Pop Preeminence===
The release of the film and soundtrack of ''[[Saturday Night Fever]]'' in December 1977, which became the best-selling soundtrack of all time, turned disco into a happening mainstream music genre. This in turn led many non-disco artists to record disco songs at the height of its popularity. Many of these songs were not "pure" disco, but were instead rock or pop songs with (sometimes inescapable) disco influence or overtones. Notable examples include [[Steely Dan]]'s "[[Kid Charlemagne]]" (1976), [[The Eagles]]' "[[One of These Nights (song)|One of These Nights]]" (1975), [[The Grateful Dead]]'s "[[Shakedown Street]]" (1979), [[Barry Manilow]]’s "[[Copacabana (At The Copa)]]" (1978), [[The Rolling Stones]]' "[[Miss You (The Rolling Stones song)|Miss You]]" (1978), [[Bette Midler]]'s "[[Married Men]]" (1979), [[Dolly Parton]]'s "[[Baby I'm Burning]]" (1978), [[Rod Stewart]]'s "[[Da Ya Think I'm Sexy?]]" (1979), [[Wings (band)|Wings]]’ "[[Goodnight Tonight]]" (1979), [[Barbra Streisand]]'s "The Main Event/Fight" (1979), [[Ann-Margret]]'s "Love Rush" (1979), [[Kiss (band)|Kiss]]' "[[I Was Made for Lovin' You]]" (1979), [[Electric Light Orchestra]]’s "[[Shine a Little Love]]" (1979), [[Isaac Hayes]]' "Don't Let Go" (1980), [[The Spinners]]' "[[Working My Way Back To You]]" (1980), [[Queen (band)|Queen]]'s "[[Another One Bites The Dust]]" (1980), and [[George Benson]]'s "[[Give Me the Night]]'' (1980).

Disco hit the airwaves with Marty Angelo's ''[[Disco Step-by-Step Television Show]]'' in 1975, Steve Marcus' ''Disco Magic/Disco 77'', Eddie Rivera's ''Soap Factory'' and [[Merv Griffin]]'s, ''[[Dance Fever]]'', hosted by [[Deney Terrio]], who is credited with teaching actor [[John Travolta]] to dance for his upcoming role in the hit movie ''[[Saturday Night Fever]]''. Several parodies of the disco style were created, most notably "[[Disco Duck]]" and "[[Dancin' Fool]]". [[Rick Dees]], at the time a radio DJ in [[Memphis, Tennessee]], recorded "Disco Duck"; [[Frank Zappa]] parodied the lifestyles of disco dancers in "Dancin' Fool" on his [[Sheik Yerbouti]] album.

== Characteristics ==
[[Image:Characteristic disco bass rhythm.PNG|Disco bass pattern|thumb|250px]]
{{Listen
|filename = Chic - Good Times.ogg
|title = Chic - Good Times
|description = [[Chic]] - [[Good Times (Chic song)|Good Times]] ([[1979]]). Disco composition, frequently sampled in early [[Hip hop music]].
}}
{{Listen
|filename = Chic - Le Freak.ogg
|title = Chic - Le Freak
|description = [[Chic]] - [[Le Freak]] ([[1978]]). Disco composition, that doesn't use four-to-the-floor rhythm.
}}
{{Listen
|filename = Sister Sledge - Reach Your Peak.ogg
|title = Sister Sledge - Reach Your Peak
|description = [[Sister Sledge]] - Reach Your Peak ([[1980]]). Example demonstrates the use of electric guitar and vocals in disco music.
}}
{{Listen
|filename = Sister_Sledge - Got To Love Somebody.ogg
|title = Sister Sledge - Got To Love Somebody
|description = [[Sister Sledge]] - Got To Love Somebody ([[1979]]). Example demonstrates the use of keyboards and horns in disco music.
}}
The "disco sound", while unique, almost defies a unified description, as it was an ultra-inclusive art form that drew on as many influences as it produced interpretations. [[Jazz]], [[Classical]], [[Calypso music|Calypso]], [[Rock music|Rock]], [[Latin music|Latin]], [[Soul music|Soul]], [[Funk]], and new technologies — just to name a few of the obvious — were all mingled with aplomb. Vocals could be frivolous or serious love intrigues — all the way to extremely serious socially-conscious commentary. The music tended to layer soaring, often-reverberated vocals, which are often doubled by horns, over a background "pad" of electric pianos and wah-pedaled "chicken-scratch" ([[palm mute]]d) guitars. Other backing keyboard instruments include the [[piano]], string synth, and electroacoustic keyboards such as the Fender Rhodes piano, Wurlitzer electric piano, and Hohner Clavinet. Synthesizers were also fairly common in disco, especially in the late '70s. The rhythm is laid down by prominent, syncopated basslines (with heavy use of octaves) played on the [[bass guitar]] and by drummers using a [[drum kit]], African/[[Latin percussion]], and [[electronic drum]]s such as Simmons and [[Roland Corporation|Roland]] [[sound module|drum modules]]). The sound was enriched with solo lines and harmony parts played by a variety of orchestral instruments, such as [[harp]], [[violin]], [[viola]], [[cello]], [[trumpet]], [[saxophone]], [[trombone]], [[clarinet]], [[flugelhorn]], [[French horn]], [[tuba]], [[English horn]], [[oboe]], [[flute]], and [[piccolo]].

Most disco songs have a steady [[four-on-the-floor (music)|four-on-the-floor]] beat, a [[quaver]] or semi-quaver [[hi-hat]] pattern with an open hi-hat on the off-beat, and a heavy, syncopated bass line. This basic beat would appear to be related to the Dominican [[merengue]] rhythm. Other Latin rhythms such as the rhumba, the samba and the cha-cha-cha are also found in disco recordings, and Latin [[polyrhythm]]s, such as a rhumba beat layered over a merengue, are commonplace. The quaver pattern is often supported by other instruments such as the rhythm guitar and may be implied rather than explicitly present. It often involves [[syncopation]], rarely occurring on the beat unless a [[synthesizer]] is used to replace the bass guitar.

In 1977, [[Giorgio Moroder]] again became responsible for a development in disco. Alongside [[Donna Summer]] and [[Pete Bellotte]] he wrote the song "[[I Feel Love]]" for Summer to perform. It became the first well-known disco hit to have a completely synthesised backing track. The song is still considered to have been well ahead of its time. Other disco producers, most famously [[Tom Moulton]], grabbed ideas and techniques from dub music (which came with the increased [[Jamaican]] migration to [[New York City|NYC]] in the seventies) to provide alternatives to the four on the floor style that dominated. [[Larry Levan]] utilized style keys from [[dub]] and [[jazz]] and more as one of the most successful remixers of all time to create early versions of [[house music]] that sparked the genre <ref>{{cite book
| last =Shapiro
| first =Peter
| title =Modulations: A History of Electronic Music
| publisher =Caipirinha Productions, Inc.
|date=2000
| location =
| pages =254 pages
| isbn =0819564982 }} see p.45, 46</ref>.

===Production===
The "disco sound" was much more costly to produce than many of the other popular music genres from the 1970s. Unlike the simpler, four-piece [[Band (music)|band]] sound of the [[funk]], [[soul]] of the late 1960s, or the small [[jazz]] [[organ trio]]s, disco music often included a large pop band, with several chordal instruments (guitar, keyboards, synthesizer), several drum or percussion instruments (drumkit, Latin percussion, electronic drums), a [[horn section]], a [[string orchestra]], and a variety of "classical" solo instruments (e.g., flute, piccolo, etc.).

Disco songs were [[arrangement|arranged]] and composed by experienced arrangers and [[orchestration|orchestrators]], and producers added their creative touches to the overall sound. Recording complex arrangements with such a large number of instruments and sections required a team that included a [[Conductor (music)|conductor]], [[copyist]]s, [[record producer]]s, and [[audio engineering|mixing engineers]]. Mixing engineers had an important role in the disco production process, because disco songs used as many as 64 [[sound recording|track]]s of vocals and instruments. Mixing engineers compiled these tracks into a fluid composition of verses, bridges, and refrains, complete with [[orchestral build]]s and [[break (music)|break]]s. Mixing engineers helped to develop the "disco sound" by creating a distinctive-sounding [[disco mix]].

Early records were the "standard" 3 minute version until [[Tom Moulton]] came up with a way to make songs longer, wanting to take a crowd to another level that was impossible with 45-RPM vinyl discs of the time (which could usually hold no more than 5 minutes of good-quality music). With the help of José Rodriguez, his remasterer, he pressed a single on a 10" disc instead of 7". They cut the next single on a 12" disc, the same format as a standard album. This method fast became the standard format for all DJs of the genre.<ref>[http://www.disco-disco.com/disco/history.shtml DISCO History @ Disco-Disco.com<!-- Bot generated title -->]</ref>

Because record sales were often dependent on floor play in clubs, [[DJ]]s were also important to the development and popularization of disco music. Notable DJs include Rex Potts (Loft Lounge, Sarasota, FL), [[Jim Burgess (producer)|Jim Burgess]], [[Walter Gibbons]], [[John "Jellybean" Benitez]], Richie Kaczar of [[Studio 54]], Rick Gianatos, [[Francis Grasso]] of Sanctuary, [[Larry Levan]], [[Ian Levine]], Neil "Raz" Rasmussen & Mike Pace of L'amour Disco in Brooklyn, Preston Powell of Magique, Jennie Costa of Lemontrees, Tee Scott, John Luongo, Robert Ouimet of [[The Limelight]], and [[David Mancuso]].

The 12-inch single format also allowed longer dance time and [[musical form|format]] possibilities. In May, 1976, [[Salsoul Records]] released [[Walter Gibbons]]' remix of [[Double Exposure (band)|Double Exposure]]'s "[[Ten Percent (song)|Ten Percent]]", the first commercially-available 12-inch single. {{Fact|date=July 2008}} [[Motown Records]]’ "Eye-Cue" label also marketed 12-inch singles; however, the play time remained the same length as the original 45s. In 1976, Scepter/Wand released the first 12-inch extended-version single, [[Jesse Green]]'s "Nice and Slow." This single was packaged in a collectible picture sleeve, a relatively new concept at the time. Twelve-inch singles became commercially available after the first crossover, [[Tavares (music group)|Tavares]]' "Heaven Must Be Missing an Angel."

==Disco clubs and dancing==
[[Image:ABC Disco Ball 1.jpg|right|thumb|Disco ball]]
[[Image:M&M's World NYC Blue saturday night fever.jpg|right|thumb|Saturday Night Fever impact on culture.]]
[[Image:Studio 54 im Prinzzclub 042.jpg|right|thumb|Studio 54 Disco palace]]
[[Image:Blue disco quad roller skates.jpg|Blue disco quad roller skates|thumb]]
By the late 1970s many major US cities had thriving disco club scenes which were centered around [[discotheque]]s, nightclubs, and private loft parties where [[DJ]]s would play disco hits through powerful [[PA system]]s for the dancers. The DJs played "...a smooth mix of long single records to keep people 'dancing all night long'".<ref>[http://www.unesco.org/courier/2000_07/uk/doss13.htm The Body and soul of club culture<!-- Bot generated title -->]</ref> Some of the most prestigious clubs had elaborate lighting systems that throbbed to the beat of the music.

Some cities had disco dance instructors or dance schools which taught people how to do popular disco dances such as "[[touch dancing]]", "[[Hustle (dance)|the hustle]]" and "[[Cha-cha-cha (dance)|the cha cha]]." The pioneer of disco dance instruction was Karen Lustgarten in San Francisco in 1973. Her book The Complete Guide to Disco Dancing (Warner Books, 1978) was the first to name and break down popular disco dances and distinguish between disco freestyle, partner and line dances. The book hit the New York Times Best Seller List for 13 weeks and was translated into Chinese, German and French.

There were also disco fashions that discotheque-goers wore for nights out at their local disco, such as sheer, flowing [[Halston]] dresses for women and shiny polyester [[Qiana]] shirts for men with pointy collars, preferably open at the chest, often worn with [[double-knit]] suit jackets.

Some notable professional dance troupes of the 1970s included [[Pan's People]] and [[Hot Gossip]]. For many dancers, the primary influence of the 1970s disco age is still predominantly the film [[Saturday Night Fever]](1977). This developed into the music and dance style of such films as ''[[Fame (film)|Fame]]'' (1980), ''[[Flashdance]]'' (1983), and the musical ''[[A Chorus Line]]'' (1975).

===Drug subculture===
In addition to the dance and fashion aspects of the disco club scene, there was also a thriving drug [[subculture]], particularly for drugs that would enhance the experience of dancing to the loud music and the flashing lights, such as [[cocaine]] <ref>Gootenberg, Paul 1954-
- Between Coca and Cocaine: A Century or More of U.S.-Peruvian Drug Paradoxes, 1860-1980
- Hispanic American Historical Review - 83:1, February 2003, pp. 119-150. He says that "The relationship of cocaine to 1970s disco culture cannot be stressed enough; ..."
- </ref> (nicknamed "blow"), amyl nitrite "[[poppers]]" <ref>Amyl, butyl and isobutyl nitrite (collectively known as alkyl nitrites) are clear, yellow liquids which are inhaled for their intoxicating effects. Nitrites originally came as small glass capsules that were popped open. This led to nitrites being given the name 'poppers' but this form of the drug is rarely found in the UK. The drug became popular in the UK first on the disco/club scene of the 1970s and then at dance and rave venues in the 1980s and 1990s. Available at: http://www.drugscope.org.uk/druginfo/drugsearch/ds_results.asp?file=%5Cwip%5C11%5C1%5C1%5Cnitrites.html</ref>, and the "...other quintessential 1970s club drug [[Quaalude]], which suspended [[motor coordination]] and gave the sensation that one’s arms and legs had turned to [[Jell-O]]."<ref>www.americanheritage.com/articles/magazine/ah/1999/7/1999_7_43.shtml - 76k - </ref> According to [[Peter Braunstein]], the "massive quantities of drugs ingested in discotheques produced the next [[cultural phenomenon]] of the disco era: rampant promiscuity and [[public sex]]. While the [[dance floor]] was the central arena of [[seduction]], actual sex usually took place in the nether regions of the disco: bathroom stalls, exit [[stairwell]]s, and so on. In other cases the disco became a kind of 'main course' in a [[hedonism|hedonist’s]] menu for a night out."<ref>Peter Braunstein. Available at: http://www.americanheritage.com/articles/magazine/ah/1999/7/1999_7_43.shtml</ref>
Famous disco bars included the very important [[Paradise Garage]] and [[Crisco Disco]] as well as "...cocaine-filled [[celebrity|celeb]] hangouts such as [[Manhattan]]'s [[Studio 54]]", which was operated by [[Steve Rubell]] and [[Ian Schrager]]. Studio 54 was notorious for the [[hedonism]] that went on within; the balconies were known for [[sexual encounters]], and drug use was rampant. Its dance floor was decorated with an image of the "[[Man in the Moon]]" that included an animated [[cocaine spoon]].

==Backlash==
{{see|Disco Demolition Night}}
From 1979, The popularity of the film ''Saturday Night Fever'' prompted major record labels to mass-produce hits, a move which some perceived as turning the genre from something vital and edgy into a safe "product" homogenized for mainstream audiences. Though disco music had enjoyed several years of popularity, an anti-disco sentiment manifested in America. This sentiment proliferated at the time because of oversaturation and the big-business mainstreaming of disco. Worried about declining profits, rock radio stations and record producers encouraged this trend. According to [[Gloria Gaynor]], the music industry supported the destruction of disco because rock music producers were losing money and rock musicians were losing the spotlight.<ref>[http://www.emplive.org/exhibits/index.asp?articleID=622 empsfm.org - EXHIBITIONS - Featured Exhibitions<!-- Bot generated title -->]</ref> Many [[hard rock]] fans expressed strong disapproval of disco throughout the height of its popularity. Among these fans, the slogan "Disco Sucks" was common by the late 1970s and appeared in written form in places ranging from tee shirts to graffiti.<ref>(2001) "Encyclopedia of Contemporary American Culture", ISBN 0415161614, 9780415161619, p.217: "In fact, by 1977, before punk spread, there was a "disco sucks" movement sponsored by radio stations that attracted suburban white youth, who insisted that disco was escapist, synthetic and overproduced."</ref>

In the late 1970s, Disco music and dancing fads began to be depicted by rock music fans as silly and [[effeminate]], such as in [[Frank Zappa]]'s satirical song [[Sheik Yerbouti|"Dancin' Fool"]]. Some listeners objected to the perceived sexual promiscuity and illegal drug use that had become associated with disco music. Others were put off by the exclusivity of the disco scene, especially in major clubs in large cities such as the Studio 54 discotheque, where [[bouncer (doorman)|bouncer]]s only let in fashionably-dressed club-goers, [[celebrity|celebrities]], and their hangers-on. Rock fans objected to the idea of centering music around an electronic drum beat and synthesizers instead of live performers. Some have contended that there was also an element of bigotry to the anti-disco backlash; in his book ''A Change Is Gonna Come'', [[Craig Werner]] wrote, "the attacks on disco gave respectable voice to the ugliest kinds of unacknowledged racism, sexism and homophobia."<ref>[http://www.independent.co.uk/news/world/americas/disco-inferno-680390.html Disco Inferno], Daryl Easlea, ''[[The Independent]]'', December 11, 2004</ref>
Some historians have referred to July 12, 1979 as "the day disco died" because of an anti-disco demonstration that was held in Chicago. Rock station DJs [[Steve Dahl]] and [[Garry Meier]], along with [[Michael Veeck]], son of [[Chicago White Sox]] owner [[Bill Veeck]], staged ''[[Disco Demolition Night]],'' a promotional event with an anti-disco theme, between games at a White Sox doubleheader for disgruntled rock fans. During this event, which involved exploding disco records, the raucous crowd tore out seats and turf in the field and did other damage to [[Comiskey Park]]. It ended in a riot in which police made numerous arrests. The damage done to the field forced the Sox to forfeit the second game to the [[Detroit Tigers]] who won the first game. The stadium suffered thousands of dollars in damage.

The television industry — taking a cue from the music industry — responded with an anti-disco agenda as well. A recurring theme on the television show ''[[WKRP in Cincinnati]]'' contained a hateful attitude towards disco music. The anti-disco backlash may have helped to cause changes to the landscape of [[Top 40]] radio. Negative responses from the listenerships of many Top 40 stations encouraged these stations to drop all disco songs from rotation, filling the holes in their playlists with [[New Wave (music)|New Wave]], [[punk rock]], and [[album-oriented rock]] cuts.<ref>For example, [[WLS (AM)|]] in Chicago, KFJZ-FM (now [[KEGL]]) in [[Dallas, Texas|Dallas]]/[[Fort Worth, Texas|Fort Worth]], and [[CHUM-AM]] in [[Toronto]] were among the stations that took this approach. Although WLS continued to list some disco tracks, such as "[[Funkytown]]" by [[Lipps Inc.]], on its record surveys in the early 1980s, it refused to air them.</ref>. Indeed, [[Jello Biafra]] of [[anarcho-punk]] band [[The Dead Kennedys]] likened disco to the [[cabaret]] culture of [[Weimar Germany]] for its apathy towards government policy and its escapism (which Biafra saw as delusional). He sang about this in the song "Saturday Night Holocaust"{{Fact|date=March 2008}}, the B-side of the song "[[Halloween (Dead Kennedys song)|Halloween]]".

It should be noted that, unlike in the U.S., there was never a focused backlash against disco in Europe, and discotheques and the Disco culture continued past 1980 in Europe.

It was during this backlash and decline that several record companies were folded, reorganized or sold. [[TK Records]] closed in 1981. [[ABC Records]] was sold to [[MCA Records]] in 1979, which shut down the label. [[Casablanca Records]]' founder [[Neil Bogart]] was forced out in 1980 by label owner [[PolyGram]]. [[RSO Records]] founder [[Robert Stigwood]] left the label in 1981.

==Influence on other music==
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 [[big band|large ensembles]] of studio session musicians (including a [[horn section]] and an orchestral [[string section]]), to a leaner sound, in which one or two singers would perform to the accompaniment of [[synthesizer]] [[Keyboard instrument|keyboards]] and [[drum machine]]s.

In addition, [[dance music]] during the 1981–83 period borrowed elements from [[blues]] and [[jazz]], 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 [[discothèque]]s. Examples of early 1980s dance sound performers include [[D. Train]], [[Kashif]], and [[Patrice Rushen]]. <ref>These changes were influenced by some of the notable R&B and jazz musicians of the 1970s, such as Stevie Wonder and [[Herbie Hancock]], who had pioneered "[[|Multi-instrumentalist|one-man-band]]"-type keyboard techniques. Some of these influences had already begun to emerge during the mid-1970s, at the height of disco’s popularity.

Songs such as [[Gloria Gaynor]]’s "[[Never Can Say Goodbye]]" (1974), [[Thelma Houston]]’s "[[Don't Leave Me This Way]]" (1976), [[Donna Summer]]’s "[[Spring Affair]]" (1977), [[Rod Stewart]]’s "[[Do Ya Think I'm Sexy?]]&amp;amp;amp;quot; (1978), [[Donna Summer]]’s "[[Bad Girls (song)|Bad Girls]]" (1979), and [[The Bee Gees]]’ "[[Love You Inside Out]]" (1979) foreshadowed the dramatic change in dance music styles which was to follow in the 1980s. </ref>

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 funk and pop genres. This trend can be seen in singer [[Billy Ocean]]'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 [[symphonic]] arrangements. This drift from the original disco sound is called [[post-disco]].

During the early 1980s, dance music dropped the complicated melodic structure and orchestration which typified the "disco sound." Examples of well-known songs which illustrate this difference include [[Kool & the Gang]]’s "[[Celebration (song)|Celebration]]" (1980), [[Rick James]]’ "[[Super Freak]]" (1981), [[Grace Jones]]'s "[[Pull Up to the Bumper]]" (1981), [[Carol Jiani]]'s "Hit N' Run Lover" (1981), [[Laura Branigan]]'s "[[Gloria]]" (1982), [[The Pointer Sisters]]’ "[[I'm So Excited]]" (1982), [[Prince (musician)|Prince]]’s "[[1999 (song)|1999]]" (1982), [[The Weather Girls]]'s "[[It's Raining Men]]" (1982), [[Madonna (entertainer)|Madonna]]’s "[[Holiday (Madonna song)|Holiday]]" (1983), [[Irene Cara]]’s "[[Flashdance (What A Feeling)]]" (1983), [[Angela Bofill]]'s "Too Tough" (1983), [[Miquel Brown]]'s "[[So Many Men, So Little Time]]" (1983), [[Michael Jackson]]’s "[[Thriller (song)|Thriller]]" (1983), [[Cerrone]]'s "Back Track" (1984), [[Jocelyn Brown]]'s "Somebody Else's Guy" (1984), and [[Klymaxx]]'s "Meeting in the Ladies Room" (1984).

===TV Themes===
During the mid to late 1970s a number of TV themes began to be produced (or older themes updated) with disco influenced music. Examples include S.W.A.T (1975), Charlie's Angels (1976), NBC Saturday Night At The Movies (1976), The Love Boat (1977), The Donahue Show (1977), CHiPs (1977), The Professionals (1977), Dallas (1978), Kojak (1978).

===DJ culture===
The rising popularity of disco came in tandem with developments in [[turntablism]] and the use of records to create a continuous mix of songs. The resulting [[DJ mix]] differed from previous forms of dance music, which were oriented towards live performances by musicians. This in turn affected the arrangement of dance music, with songs since the disco era typically containing beginnings and endings marked by a simple beat or riff that can be easily slipped into the mix.

===Hip hop and electro===
{{Listen
|filename = Good Times by Chic.ogg
|title = Chic - Good Times
|description = [[Chic]] - [[Good Times (Chic song)|Good Times]] ([[1979]]). Disco composition, sampled in Grandmaster Flash - [[The Adventures of Grandmaster Flash on the Wheels of Steel]].
}}
{{Listen
| filename = BlondieRapture.ogg
| title = Blondie - Rapture (1980)
| description = Composition, influenced by disco music and hip-hop music, also sampled in Grandmaster Flash - [[The Adventures of Grandmaster Flash on the Wheels of Steel]].
}}
The disco sound had a strong influence on early [[hip-hop music|hip hop]]. Most of the early rap/hip-hop songs were created by isolating existing disco bass-guitar lines and dubbing over them with MC rhymes. [[The Sugarhill Gang]] used Chic's "Good Times" as the foundation for their 1979 hit "[[Rapper's Delight]]", generally considered to be the song that first popularized hip hop in the United States and around the world. In 1982, [[Afrika Bambataa]] released the single "[[Planet Rock (song)|Planet Rock]]," which incorporated electronica elements from [[Kraftwerk]]'s "[[Trans-Europe Express (album)|Trans-Europe Express]]" and "Numbers." The "Planet Rock" sound also spawned a [[hip-hop]] electronic dance trend ([[electro music]]), which included such songs as [[Planet Patrol]]'s "Play At Your Own Risk" (1982), C Bank’s "One More Shot" (1982), [[Cerrone]]'s "Club Underworld" (1984), [[Shannon (singer)|Shannon]]'s "[[Let the Music Play (song)|Let the Music Play]]" (1983), [[Freeez]]'s "I.O.U." (1983), [[Midnight Star]]'s "Freak-A-Zoid" (1983), and [[Chaka Khan]]'s "[[I Feel For You]]" (1984).

===House music===
{{main article|House music}}
House music is the direct heir apparent of disco. A large number of disco performers and musicians have stated it was the same thing with a different name. Some might agree that record producers and synthesizer pioneers such as the American [[Patrick Cowley]] and Italian [[Giorgio Moroder]], who both had a number of hit disco singles such as Moroder's "From Here to Eternity" (1977) and Sylvester's "You Make Me Feel (Mighty Real)" (1978) and "Hills of Katmandu" (1978) influenced to some degree the development of the later electric dance music genres such as [[house (music)|house]] and its offshoot [[techno]]. Both early/proto House music and its stripped down offshoot ''techno'' rely on the repetitive bass drum rhythm and hi-hat rhythm patterns introduced by disco. However, as House music evolved over time, the productions became more lush with productions maintaining soulful vocals while re-introducing live instrumentation and live complex percussion mixed with the electronic drums and synthesizers — basically coming full circle back to the Disco musical ideals with a contemporary edge to them. Techno became more mechanical and devoid of organic flourishes, relying more on instrumental compositions or with minimal synthesized vocals.

Early house music, which was developed by innovative [[DJ]]s such as [[Larry Levan]] in New York and [[Frankie Knuckles]] in Chicago, consisted of various disco loops overlapped by strong bass beats. House music was usually computer-driven, and longer segments were used for mixing. Clubs associated with the birth of house music include New York's [[Paradise Garage]] and Chicago's [[Warehouse (nightclub)|Warehouse]] and The Music Box.

===Resurgence from the 1990s to the Present Day===
{{Listen
|filename = WhoDoYouThinkYouAreSample.ogg
|title = Spice Girls - Who do you think you are
|description = [[Spice Girls]] - [[Who Do You Think You Are]] ([[1997]]). An example of [[1990s]] composition, influenced by disco.
}}
{{Listen
|filename = S Club 7 - Don't Stop Movin'.ogg
|title = S Club 7 - Don't Stop Movin'
|description = [[S Club 7]] - [[Don't Stop Movin' (S Club 7 song)|Don't Stop Movin']] ([[2001]]). An example of [[2000–2009|2000s]] composition, influenced by disco.
}}
{{Listen
|filename = HungUpSample.ogg
|title = Hung Up
|description = The sample from "Hung up" ([[2005]]) single. An example of [[2000–2009|2000s]] composition, influenced by disco.
}}
In the 1990s, a revival of the original disco style began to emerge. The disco influence can be heard in songs as [[Rick Astley]]'s [[Never Gonna Give You Up]] (1988)<ref>http://www.allmusic.com/cg/amg.dll?p=amg&sql=33:aifwxztrld0e</ref> [[Gloria Estefan]]'s "[[Get On Your Feet]]" (1991), [[Paula Abdul]]'s "[[Vibeology]]" (1992), [[Whitney Houston]]'s "[[I'm Every Woman]]" (1993), [[U2]]’s "[[Lemon (U2 song)|Lemon]]" (1993), [[Diana Ross]]'s "[[Take Me Higher]]" (1995), The [[Spice Girls]]’ "[[Who Do You Think You Are]]" (1997) and "[[Never Give up on the Good Times]]" (1997), [[Gloria Estefan]]'s "[[Heaven's What I Feel]]" (1998) & "[[Don't Let This Moment End]]" (1999), [[Cher]]’s "[[Strong Enough (Cher song)|Strong Enough]]" (1998), and [[Jamiroquai]]'s "[[Canned Heat (song)|Canned Heat]]" (1999).

The trend continued in the 2000s with hit songs such as [[Kylie Minogue]]’s "[[Spinning Around]]" (2000) and "[[Love at First Sight (Kylie Minogue song)|Love at First Sight]]" (2002), [[Sheena Easton]]'s "Givin' Up, Givin' In" (2001), [[Sophie Ellis-Bextor]]'s smash single [[Murder on the Dancefloor]] (2002), [[S Club 7]]'s singles [[Don't Stop Movin' (S Club 7 song)|Don't Stop Movin']] (2001), [[Alive (S Club song)|Alive]] (2002) and [[Love Ain't Gonna Wait For You]] (2003), The Shapeshifters' "Lola's Theme" (2003),[[Janet Jackson]]'s "[[R&B Junkie]]" (2004) and [[Madonna (entertainer)|Madonna]]’s 2005 album ''[[Confessions on a Dancefloor|Confessions on a Dance Floor]]'' echoes traditional disco themes, particularly in the single "[[Hung Up]]," which samples [[ABBA]]'s "[[Gimme! Gimme! Gimme! (A Man After Midnight)]]."

In the mid-late part of the decade, many disco songs have been released, becoming hits, including (2005) [[Gorillaz]]'s [[Dare]], [[Ultra Nate]]'s "Love's The Only Drug" (2006), [[Gina G]]’s "Tonight's The Night" (2006), The Shapeshifters' "Back To Basics" (2006), Michael Gray's "Borderline" (2006), [[Irene Cara]]'s "Forever My Love" (2006), [[Bananarama]]'s "[[Look on the Floor (Hypnotic Tango)]]", [[Akcent]]'s "Kings of Disco" (2007), the [[Freemasons (band)|Freemasons]] "Rain Down Love" (2007), [[Claudja Barry]]'s "I Will Stand" (2006), [[Pepper Mashay]]'s "Lost Yo Mind" (2007), [[Sophie Ellis-Bextor]]’s "[[Me and My Imagination]]" (2007), [[Maroon 5]]'s "[[Makes Me Wonder]]" (2007) [[Justice (French band)|Justice]]’s "[[D.A.N.C.E.]]" and "[[Phantom (song)|Phanton (Part II)]]" (2007), [[Cerrone]]'s "Misunderstanding" and "Tatoo Woman" (2008), [[Sean Ensign]]'s "I Wanna Be With You" (2008), [[Donna Summer]]'s "[[I'm a Fire]]" (2008), [[Jody Watley]]'s "A Beautiful Life" (2008), [[Crystal Waters]]'s "Dancefloor" (2008), and [[Dannii Minogue]]'s "[[Touch Me Like That]]"(2008). Music producer, [[Ian Levine]] has also produced many new songs with such singers as George Daniel Long, [[Hazell Dean]], [[Sheila Ferguson]], [[Steve Brookstein]] and [[Tina Charles]] among others for the compilation album titled, ''[[Disco 2008]]'', a tribute to Disco music using original material.

In recent years, artists such as [[DE SIGNER]], [[Ali Love]], [[Hercules and Love Affair]], [[producer JMV]] and [[Lady Gaga]] have revived the disco sound helping bring further mainstream interest and success.

===Nu Disco===
Nu-disco is a 21st century dance music genre associated with the renewed interest in 1970s and early 1980s disco,[1] mid-1980s Italo disco, and the synthesizer-heavy Eurodisco aesthetics.[2] 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.[3]. 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 ′70s and early ′80s. It is also used to describe the music on several American labels that were previously associated with the genres electroclash and deep house.

Artists associated with Nu Disco include the following:

* [[Jamiroquai]]
* [[DE SIGNER]]
* [[Sophie Ellis-Bextor]]
* [[Ali Love]]
* [[Hercules & Love Affair]]
* [[Modjo]]
* [[Hed Kandi]]
* [[Carla Lavern]]
* [[JMV]]
* [[Blade & Friends]]
* [[Shapeshifters]]
* [[Metro Area]]
* [[Arcade Lover]]
* [[Martin Circus]]
* [[Sheila Ferguson]]
* [[Kennedy (musical artist)|Kennedy]]
* [[Lady Gaga]]
* [[Tim "Onyx" Simmons]]
* [[Moloko]]
* [[The Brand New Heavies]]
* [[D'Sound]]
* [[Dimitri From Paris]]
* [[Kylie Minogue]]
* [[Paul Johnson]]
* [[Zee Asha]]
* [[Mr. Oizo]]
* [[Justice (French band)|Justice]]
* [[Moby]]
* [[SR-71]]
* [[Scissor Sisters]]
* [[In Flagranti]]

==See also==
{{wikiquote}}
* [[Number-one dance hits of 1978 (USA)]]
* [[Number-one dance hits of 1979 (USA)]]
* [[Philadelphia International Records]]

==References and notes==
{{reflist}}
* Michaels, Mark (1990). ''The Billboard Book of Rock Arranging''. ISBN 0-8230-7537-0.
* Jones, Alan and Kantonen, Jussi (1999). ''Saturday Night Forever: The Story of Disco''. Chicago, Illinois: A Cappella Books. ISBN 1-55652-411-0.
* Article on the [http://blogcritics.org/archives/2007/09/19/163620.php 30th Annversary of Saturday Night Fever DVD], re-mastered by writer John Reed.

==Further reading==
* Brewster, Bill and Broughton, Frank (1999) ''Last Night a DJ Saved my Life: the History of the Disc Jockey'' Headline Book Publishing Ltd. ISBN 0-7472-6230-6
* Lawrence, Tim (2004) ''Love Saves the Day: A History of American Dance Music Culture, 1970-1979''. Duke University Press. ISBN 0-8223-3198-5.
* Angelo, Marty (2006) ''Once Life Matters: A New Beginning''. Impact Publishing. ISBN 0961895446.
* Shapiro, Peter (2005) ''Turn The Beat Around - The Secret History Of Disco''. Faber And Faber. ISBN-10 0865479526 ISBN-13 978-0865479524
* Cook, Karen - First female disco DJ on record. From 1975 - ... She was trained by Sam Meyer, discjockey at Barbary Coast in Houston. Her first job was at Mean Green Inn at the University of North Texas Campus in Denton, TX. then she moved to Houston where she went to work high atop the Sheraton Oaks Town and Country. Then she went on to work at the most popular Houston Club at the time, which was Todds, owned by McFaddin Kendrick. They liked what she did so much that they hired her not only for their premiere exclusive member-only club, 'Elan, but also to program their many properties throughout the US. She met and married Dwight "Shotgun" Cook, popular rock jock from radio station KRBE in 1976. She moved out of the music arena and into family life. They have been married for 32 years and have 2 daughters, both musical. (Christin and Rebecca) She now is Vice President of Soundworks.com amd Christwebs.com in Houston, TX
*[http://www.villagevoice.com/2008-11-19/music/disco-inferno-2-0-a-slightly-less-hedonistic-comeback/ Disco Inferno 2.0: A Slightly Less Hedonistic Comeback Charting the DJs, labels, and edits fueling an old new craze] article by Andy Beta for [[The Village Voice]] (November 2008)

{{Disco music-footer}}

[[Category:African American music]]
[[Category:Latin music]]
[[Category:LGBT culture]]
[[Category:Disco]]
[[Category:Dance music]]
[[Category:1970s fads]]

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Revision as of 07:03, 25 February 2009

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