Disco#2000–present: Success of nu-disco and disco revival

The term "disco" is shorthand for the word discothèque, a French word for "library of phonograph records" derived from "bibliothèque". The word "discotheque" had the same meaning in English in the 1950s. "Discothèque" became used in French for a type of nightclub in Paris, after they had resorted to playing records during the Nazi occupation in the early 1940s. Some clubs used it as their proper name. In 1960, it was also used to describe a Parisian nightclub in an English magazine.

The Oxford English Dictionary defines Discotheque as "A dance hall, nightclub, or similar venue where recorded music is played for dancing, typically equipped with a large dance floor, an elaborate system of flashing coloured lights, and a powerful amplified sound system. " Its earliest example is use as the name of a particular venue in 1952, and other examples date from 1960 onwards. The entry is annotated as "Now somewhat dated".{{Cite OED|term=Discotheque, 2.|2288895026}} It defines Disco as "A genre of strongly rhythmical pop music mainly intended for dancing in nightclubs and particularly popular in the mid to late 1970s.", with use from 1975 onwards, describing the origin of the word as a shortened form of discotheque.{{Cite OED|term=Disco 1b.|1075575134}}

In the summer of 1964, a short sleeveless dress called the "discotheque dress" was briefly very popular in the United States. The earliest known use for the abbreviated form "disco" described this dress and has been found in The Salt Lake Tribune on July 12, 1964; Playboy magazine used it in September of the same year to describe Los Angeles nightclubs.{{cite web |last=Hilton |first=Denny |date=October 19, 2012 |title=The birth of disco |url=https://blog.oup.com/2012/10/birth-of-disco-oed-appeals/ |access-date=December 21, 2020 |website=OUPblog |publisher=Oxford University Press |archive-date=October 27, 2020 |archive-url=https://web.archive.org/web/20201027125728/https://blog.oup.com/2012/10/birth-of-disco-oed-appeals/ |url-status=live }}

Vince Aletti was one of the first to describe disco as a sound or a music genre. He wrote the 13 September 1973 feature article Discotheque Rock '72: Paaaaarty! that appeared in Rolling Stone magazine.{{Cite web|url=https://www.residentadvisor.net/features/1072|title=Playing favourites: Vince Aletti|website=Resident Advisor|access-date=February 8, 2019|archive-date=December 29, 2019|archive-url=https://web.archive.org/web/20191229053804/https://www.residentadvisor.net/features/1072|url-status=dead}}

File:Characteristic disco bass rhythm.PNG

File:Characteristic rock and disco drum patterns.png of the beat, which is four-to-the-floor {{audio|Characteristic disco drum pattern.mid|Play}}|thumb|upright=1.15]]

The music typically layered soaring, often-reverberated vocals, often doubled by horns, over a background "pad" of electric pianos and "chicken-scratch" rhythm guitars played on an electric guitar. Lead guitar features less frequently in disco than in rock. "The "rooster scratch" sound is achieved by lightly pressing the guitar strings against the fretboard and then quickly releasing them just enough to get a slightly muted poker [sound] while constantly strumming very close to the bridge."{{cite web|url=http://www.gibson.com/News-Lifestyle/Beginners/en-us/What-the-Funk-!-How-to-Get-That-James-Brown-Sound.aspx|title=What the Funk?! How to Get That James Brown Sound|website=Gibson.com|access-date=October 27, 2017|archive-url=https://web.archive.org/web/20160304045402/http://www.gibson.com/News-Lifestyle/Beginners/en-us/What-the-Funk-!-How-to-Get-That-James-Brown-Sound.aspx|archive-date=March 4, 2016|url-status=dead}} Other backing keyboard instruments include the piano, electric organ (during early years), string synthesizers, and electromechanical keyboards such as the Fender Rhodes electric piano, Wurlitzer electric piano, and Hohner Clavinet. Donna Summer's 1977 song "I Feel Love", produced by Giorgio Moroder with a prominent Moog synthesizer on the beat, was one of the first disco tracks to use the synthesizer.{{sfn|Sanneh|2021|pp=375-376}}

The rhythm is laid down by prominent, syncopated basslines (with heavy use of broken octaves, that is, octaves with the notes sounded one after the other) played on the bass guitar and by drummers using a drum kit, African/Latin percussion, and electronic drums such as Simmons and Roland drum modules. In Philly dance and Salsoul disco, the sound was enriched with solo lines and harmony parts played by a variety of orchestral instruments, such as violin, viola, cello, trumpet, saxophone, trombone, flugelhorn, French horn, English horn, oboe, flute, timpani and synth strings, string section or a full string orchestra.{{citation needed|date=April 2021}}

Most disco songs have a steady four-on-the-floor beat set by a bass drum, a quaver or semi-quaver hi-hat pattern with an open hissing hi-hat on the off-beat, and a heavy, syncopated bass line.{{sfn|Sanneh|2021|p=364}}{{cite web|url=https://www.attackmagazine.com/technique/passing-notes/lessons-from-disco-chords/2/|title=Lessons from Disco [page 2]|work=Attack|date=May 18, 2013|last=Curry|first=Oliver|accessdate=June 15, 2022|archiveurl=https://web.archive.org/web/20130909032727/https://www.attackmagazine.com/technique/passing-notes/lessons-from-disco-chords/2/|archivedate=September 9, 2013|url-status=dead}} A recording error in the 1975 song "Bad Luck" by Harold Melvin & the Blue Notes where Earl Young's hi-hat was too loud in the recording is said to have established loud hi-hats in disco.{{sfn|Sanneh|2021|p=364}} Other Latin rhythms such as the rhumba, the samba, and the cha-cha-cha are also found in disco recordings, and Latin polyrhythms, 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.

Songs often use syncopation, which is the accenting of unexpected beats. In general, the difference between disco, or any dance song, and a rock or pop song is that in dance music the bass drum hits four to the floor, at least once a beat (which in 4/4 time is 4 beats per measure).{{cite journal |last1=Stratton |first1=J. |title=Disco Before Disco: Dancing and popular music in the 1960s and 1970s in England |journal=Journal of Popular Music Studies |date=2021 |volume=33 |issue=1 |pages=50–69 |doi=10.1525/jpms.2021.33.1.50}} Disco is further characterized by a 16th note division of the quarter notes (as shown in the second drum pattern in the picture above, after a typical rock drum pattern).

The orchestral sound usually known as "disco sound" relies heavily on string sections and horns playing linear phrases, in unison with the soaring, often reverberated vocals or playing instrumental fills, while electric pianos and chicken-scratch guitars create the background "pad" sound defining the harmony progression. Typically, all of the doubling of parts and use of additional instruments creates a rich "wall of sound". There are, however, more minimalist flavors of disco with reduced, transparent instrumentation.

Harmonically, disco music typically contains major and minor seven chords,{{Citation needed|date=November 2024}} which are found more often in jazz than pop music.{{Cite web |last=Kendall |first=Hannah |title=Learning Types of Seventh Chords: Major, Minor, & Diminished |url=https://www.hoffmanacademy.com/blog/learning-types-of-seventh-chords-major-minor-diminished-augmented# |access-date=2024-11-19 |website=Hoffman Academy |language=en}}

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 sound of funk, soul music of the late 1960s or the small jazz organ trios, disco music often included a large 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 (for example, flute, piccolo, and so on).

Disco songs were arranged and composed by experienced arrangers and orchestrators, and record producers added their creative touches to the overall sound using multitrack recording techniques and effects units. Recording complex arrangements with such a large number of instruments and sections required a team that included a conductor, copyists, record producers, and mixing engineers. Mixing engineers had an important role in the disco production process because disco songs used as many as 64 tracks of vocals and instruments. Mixing engineers and record producers, under the direction of arrangers, compiled these tracks into a fluid composition of verses, bridges, and refrains, complete with builds and breaks. Mixing engineers and record producers helped to develop the "disco sound" by creating a distinctive-sounding, sophisticated disco mix.

Early records were the "standard" three-minute version until Tom Moulton came up with a way to make songs longer so that he could take a crowd of dancers at a club to another level and keep them dancing longer. He found that it was impossible to make the 45-RPM vinyl singles of the time longer, as they could usually hold no more than five minutes of good-quality music. With the help of José Rodriguez, his remaster/mastering engineer, 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. Moulton and Rodriguez discovered that these larger records could have much longer songs and remixes. 12" single records, also known as "Maxi singles", quickly became the standard format for all DJs of the disco genre.{{cite web|url=http://www.disco-disco.com/disco/history.shtml|title=DISCO History @ Disco-Disco.com|website=disco-disco.com|access-date=October 27, 2017|archive-url=https://web.archive.org/web/20170121160210/http://www.disco-disco.com/disco/history.shtml|archive-date=January 21, 2017|url-status=dead}}

{{See also|Circuit parties}}

File:Blue disco quad roller skates.jpg.]]

By the late 1970s, most major US cities had thriving disco club scenes. The largest scenes were most notably in New York City but also in Philadelphia, San Francisco, Miami, and Washington, D.C. The scene was centered on discotheques, nightclubs and private loft parties.

In the 1970s, notable discos included "Crisco Disco", "The Sanctuary", "Leviticus", "Studio 54", and "Paradise Garage" in New York, "Artemis" in Philadelphia, "Studio One" in Los Angeles, "Dugan's Bistro" in Chicago, and "The Library" in Atlanta.{{cite news|url=http://www.phillymag.com/property/2016/05/18/once-a-hot-disco-now-a-cool-opportunity/|title=Once a Hot Disco, Now a Cool Opportunity – Philadelphia Magazine|date=May 18, 2016|newspaper=Philadelphia Magazine|access-date=October 27, 2017|archive-url=https://web.archive.org/web/20171028004100/http://www.phillymag.com/property/2016/05/18/once-a-hot-disco-now-a-cool-opportunity/|archive-date=October 28, 2017|url-status=live}}

In the late 1970s, Studio 54 in Midtown Manhattan was arguably the best-known nightclub in the world. This club played a major formative role in the growth of disco music and nightclub culture in general. It was operated by Steve Rubell and Ian Schrager and 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.

The "Copacabana", 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 Barry Manilow song of the same name.

In Washington, D.C., large disco clubs such as "The Pier" ("Pier 9") and "The Other Side", originally regarded exclusively as "gay bars", became particularly popular among the capital area's gay and straight college students in the late '70s.

By 1979 there were 15,000-20,000 disco nightclubs in the US, many of them opening in suburban shopping centers, hotels, and restaurants. The 2001 Club franchises were the most prolific chain of disco clubs in the country.{{cite book |first=Tim |last=Lawrence |title=Love Saves the Day: A History of American Dance Music Culture, 1970-1979 |url=https://books.google.com/books?id=qIdH2yR41bIC&dq=%222001+club%22+billboard+franchise&pg=PA315 |publisher=Duke University Press |date=2004 |isbn=0822385112 |page=315 |access-date=February 4, 2022 |archive-date=May 22, 2024 |archive-url=https://web.archive.org/web/20240522075950/https://books.google.com/books?id=qIdH2yR41bIC&dq=%222001+club%22+billboard+franchise&pg=PA315#v=onepage&q=%222001%20club%22%20billboard%20franchise&f=false |url-status=live }} Although many other attempts were made to franchise disco clubs, 2001 was the only one to successfully do so in this time frame.{{cite magazine |first=Bob Jr. |last=Redinger |title=Franchise Concept More than a Pipe Dream |url=https://books.google.com/books?id=LyQEAAAAMBAJ&dq=2001+disco+franchise&pg=PT57 |magazine=Billboard |date=October 20, 1979 |page=58 |access-date=February 4, 2022 |archive-date=May 22, 2024 |archive-url=https://web.archive.org/web/20240522075951/https://books.google.com/books?id=LyQEAAAAMBAJ&dq=2001+disco+franchise&pg=PT57#v=onepage&q=2001%20disco%20franchise&f=false |url-status=live }}

File:Dance floor 2 by harmon.jpg

File:ZMF 2015 IMGP 0000.jpg was a fixture on the ceilings of many discothèques.]]

Powerful, bass-heavy, hi-fi sound systems were viewed as a key part of the disco club experience. The Loft party host David 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 subwoofers positioned at ground level) at the start of the 1970s to boost the treble and bass at opportune moments, and by the end of the decade sound engineers such as Richard Long had multiplied the effects of these innovations in venues such as the Garage."{{cite news|url=http://www.timlawrence.info/articles2/2013/7/16/beyond-the-hustle-seventies-social-dancing-discotheque-culture-and-the-emergence-of-the-contemporary-club-dancer|title="Beyond the Hustle: Seventies Social Dancing, Discotheque Culture and the Emergence of the Contemporary Club Dancer". Urbana and Chicago: University of Illinois Press, 2009, 199–214.|newspaper=Tim Lawrence|access-date=June 5, 2017|archive-url=https://web.archive.org/web/20170614135534/http://www.timlawrence.info/articles2/2013/7/16/beyond-the-hustle-seventies-social-dancing-discotheque-culture-and-the-emergence-of-the-contemporary-club-dancer|archive-date=June 14, 2017|url-status=live}}

Typical lighting designs for disco dance floors include multi-colored lights that swirl around or flash to the beat, strobe lights, an illuminated dance floor, and a mirror ball.

Disco-era disc jockeys (DJs) would often remix existing songs using reel-to-reel tape machines, 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 DJ mixer and using a microphone to introduce songs and speak to the audiences. Other equipment was added to the basic DJ setup, providing unique sound manipulations, such as reverb, equalization, and echo effects unit. Using this equipment, a DJ could do effects such as cutting out all but the bassline of a song and then slowly mixing in the beginning of another song using the DJ mixer's crossfader. Notable U.S. disco DJs include Francis Grasso of The Sanctuary, David Mancuso of The Loft, Frankie Knuckles of the Chicago Warehouse, Larry Levan of the Paradise Garage, Nicky Siano of The Gallery, Walter Gibbons, Karen Mixon Cook, Jim Burgess, John "Jellybean" Benitez, Richie Kulala of Studio 54, and Rick Salsalini.

Some DJs were also record producers who created and produced disco songs in the recording studio. Larry Levan, for example, was a prolific record producer as well as a DJ. Because record sales were often dependent on dance floor play by DJs in the nightclubs, DJs were also influential in the development and popularization of certain types of disco music being produced for record labels.

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In the early years, dancers in discos danced in a "hang loose" or "freestyle" approach. At first, many dancers improvised their own dance styles and dance steps. Later in the disco era, popular dance styles were developed, including the "Bump", "Penguin", "Boogaloo", "Watergate", and "Robot". By October 1975 the Hustle reigned. It was highly stylized, sophisticated, and overtly sexual. Variations included the Brooklyn Hustle, New York Hustle, and Latin Hustle.[https://news.google.com/newspapers?id=gQQ1AAAAIBAJ&sjid=Fk8KAAAAIBAJ&pg=840,3518488&dq=disco+music&hl=en Everybody's Doing The hustle] {{Webarchive|url=https://web.archive.org/web/20200429205155/https://news.google.com/newspapers?id=gQQ1AAAAIBAJ&sjid=Fk8KAAAAIBAJ&pg=840,3518488&dq=disco+music&hl=en |date=April 29, 2020 }}, Associated Press, October 16, 1975

During the disco era, many nightclubs would commonly host disco dance competitions or offer free dance lessons. Some cities had disco dance instructors or dance schools, which taught people how to do popular disco dances such as "touch dancing", "the hustle", and "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, break down and codify popular disco dances as dance forms and distinguish between disco freestyle, partner, and line dances. The book hit the New York Times bestseller list for 13 weeks and was translated into Chinese, German, and French.

In Chicago, the Step By Step disco dance TV show was launched with the sponsorship support of the Coca-Cola company. Produced in the same studio that Don Cornelius used for the nationally syndicated dance/music television show, Soul Train, Step by Step's audience grew and the show became a success. The dynamic dance duo of Robin and Reggie led the show. The pair spent the week teaching disco dancing to dancers in the disco clubs. The instructional show aired on Saturday mornings and had a strong following. Its viewers would stay up all night on Fridays so they could be on the set the next morning, ready to return to the disco on Saturday night knowing with the latest personalized steps. The producers of the show, John Reid and Greg Roselli, routinely made appearances at disco functions with Robin and Reggie to scout out new dancing talent and promote upcoming events such as "Disco Night at White Sox Park".

In Sacramento, California, Disco King Paul Dale Roberts danced for the Guinness Book of World Records. He danced for 205 hours, the equivalent of 8½ days. Other dance marathons took place afterward and Roberts held the world record for disco dancing for a short period of time.{{Cite web|title=Former Pocket area resident was Sacto's "disco king" {{!}} Valley Community Newspapers, Inc.|url=https://www.valcomnews.com/former-pocket-area-resident-was-sacto%E2%80%99s-%E2%80%9Cdisco-king%E2%80%9D/|access-date=August 14, 2020|website=www.valcomnews.com|archive-date=August 18, 2020|archive-url=https://web.archive.org/web/20200818091929/https://www.valcomnews.com/former-pocket-area-resident-was-sacto%e2%80%99s-%e2%80%9cdisco-king%e2%80%9d/|url-status=live}}

Disco was influenced by art with the atypical song Bend It (1969) by British artists Gilbert & George. With the song comes special dance moves that blurrs the distinction between art and pop culture in a way never seen before.

Some notable professional dance troupes of the 1970s included Pan's People and Hot Gossip. For many dancers, a key source of inspiration for 1970s disco dancing was the film Saturday Night Fever (1977). Further influence came from the music and dance style of such films as Fame (1980), Disco Dancer (1982), Flashdance (1983), and The Last Days of Disco (1998). Interest in disco dancing also helped spawn dance competition TV shows such as Dance Fever (1979).

File:Fotothek df n-15 0000413 Disko.jpg discothèque in 1977. Due to the constant scarcity of consumer goods in the then socialist part of Germany, particularly more exotic fashion items like disco wear, people often sewed them themselves.]]

Disco fashions were very trendy in the late 1970s.[https://archive.org/details/WJZ-EVMAG-054-001 Evening Magazine: NY's Freakiest Night Spot : WJZ-TV on Internet Archive] Discothèque-goers often wore glamorous, expensive, and extravagant fashions for nights out at their local disco club. Some women would wear sheer, flowing dresses, such as Halston dresses, or loose, flared pants. Other women wore tight, revealing, sexy clothes, such as backless halter tops, disco pants, "hot pants", or body-hugging spandex bodywear or "catsuits".{{cite web|url=http://www.ultimatehistoryproject.com/disco-fashion.html|title=Disco Fashion: That's the way They Liked It|website=The Ultimate History Project|access-date=October 27, 2017|archive-url=https://web.archive.org/web/20171006032157/http://ultimatehistoryproject.com/disco-fashion.html|archive-date=October 6, 2017|url-status=live}} Men would wear shiny polyester Qiana shirts with colorful patterns and pointy, extra wide collars, preferably open at the chest. Men often wore Pierre Cardin suits, three piece suits with a vest, and double-knit polyester shirt jackets with matching trousers known as the leisure suit. Men's leisure suits were typically form-fitted to some parts of the body, such as the waist and bottom while the lower part of the pants were flared in a bell bottom style, to permit freedom of movement.

During the disco era, men engaged in elaborate grooming rituals and spent time choosing fashion clothing, activities that would have been considered "feminine" according to the gender stereotypes of the era. Women dancers wore glitter makeup, sequins, or gold lamé clothing that would shimmer under the lights. Bold colors were popular for both genders. Platform shoes and boots for both genders and high heels for women were popular footwear. Necklaces and medallions were a common fashion accessory. Less commonly, some disco dancers wore outlandish costumes, dressed in drag, covered their bodies with gold or silver paint, or wore very skimpy outfits leaving them nearly nude; these uncommon get-ups were more likely to be seen at invitation-only New York City loft parties and disco clubs.

In addition to the dance and fashion aspects of the disco club scene, there was also a thriving club drug subculture, particularly for drugs that would enhance the experience of dancing to the loud, bass-heavy music and the flashing colored lights, such as cocaineGootenberg, 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. "The relationship of cocaine to 1970s disco culture cannot be stressed enough ..." (nicknamed "blow"), amyl nitrite ("poppers"),Amyl, butyl and isobutyl nitrite (collectively known as alkyl nitrites) are clear, yellow liquids 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. 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.{{'"}}{{Cite magazine |last=Braunstein |first=Peter |date=November 1999 |title=DISCO |url=http://www.americanheritage.com/articles/magazine/ah/1999/7/1999_7_43.shtml |url-status=dead |magazine=American Heritage |volume=50 |issue=7 |archive-url=https://web.archive.org/web/20100205223044/http://www.americanheritage.com/articles/magazine/ah/1999/7/1999_7_43.shtml |archive-date=February 5, 2010 |access-date=February 5, 2010}} Quaaludes were so popular at disco clubs that the drug was nicknamed "disco biscuits".{{cite web|url=https://www.thefix.com/content/where-are-they-now-drugs-edition7098|title=PCP, Quaaludes, Mescaline. What Became of Yesterday's 'It' Drugs? – The Fix|website=Thefix.com|date=December 30, 2011|access-date=October 27, 2017|archive-url=https://web.archive.org/web/20171027232147/https://www.thefix.com/content/where-are-they-now-drugs-edition7098|archive-date=October 27, 2017|url-status=live}}

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 celebrities led to its "glamorization" and to the widely held view that it was a "soft drug".Brownstein, Henry H. The Handbook of Drugs and Society. John Wiley & Sons, 2015. p. 101. LSD, marijuana, and "speed" (amphetamines) were also popular in disco clubs, and the use of these drugs "...contributed to the hedonistic quality of the dance floor experience."Tim Lawrence: "Beyond the Hustle: Seventies Social Dancing, Discothèque Culture and the Emergence of the Contemporary Club Dancer." In Julie Malnig ed. Ballroom, Boogie, Shimmy Sham, Shake: A Social and Popular Dance Reader. Urbana and Chicago: University of Illinois Press, 2009, pp. 199–214. Online version: {{cite web |url=http://www.timlawrence.info/articles2/2013/7/16/beyond-the-hustle-seventies-social-dancing-discotheque-culture-and-the-emergence-of-the-contemporary-club-dancer |title=Beyond the Hustle: Seventies Social Dancing, Discotheque Culture and the Emergence of the Contemporary Club Dancer|website=Timlawrence.info|date=September 19, 2013 |access-date=October 27, 2017|archive-url=https://web.archive.org/web/20171012053538/http://www.timlawrence.info/articles2/2013/7/16/beyond-the-hustle-seventies-social-dancing-discotheque-culture-and-the-emergence-of-the-contemporary-club-dancer|archive-date=October 12, 2017|url-status=live}}. Since disco dances were typically held in liquor licensed-nightclubs and dance clubs, alcoholic drinks 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 Peter Braunstein, the "massive quantities of drugs ingested in discothèques 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 stairwells, and so on. In other cases the disco became a kind of 'main course' in a hedonist's menu for a night out." At The Saint nightclub, a high percentage of the gay male dancers and patrons would have sex in the club; they typically had unprotected sex, because in 1980, HIV-AIDS had not yet been identified.Tim Lawrence. "The Forging of a White Gay Aesthetic at the Saint, 1980–84". In: Dancecult, 3, 1, 2011, pp. 1–24. Online version: {{cite web|url=http://www.timlawrence.info/articles2/2013/7/2/the-forging-of-a-white-gay-aesthetic-at-the-saint-1980-84-dancecult|title=The Forging of a White Gay Aesthetic at the Saint, 1980–84|website=Timlawrence.info|date=July 2, 2013 |access-date=October 27, 2017|archive-url=https://web.archive.org/web/20171031074802/http://www.timlawrence.info/articles2/2013/7/2/the-forging-of-a-white-gay-aesthetic-at-the-saint-1980-84-dancecult|archive-date=October 31, 2017|url-status=live}} At The Saint, "dancers would elope to an unpoliced 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 "swingers clubs, hot tubs, [and] key parties."{{cite web|url=http://flashbak.com/the-decade-of-decadence-a-quick-look-at-the-sexual-revolution-29469/|title=The Decade of Decadence: A Quick Look at The Sexual Revolution – Flashbak|date=March 2, 2015|website=Flashbak.com|access-date=October 27, 2017|archive-url=https://web.archive.org/web/20171028094117/https://flashbak.com/the-decade-of-decadence-a-quick-look-at-the-sexual-revolution-29469/|archive-date=October 28, 2017|url-status=live}}.

In his paper, "In Defense of Disco" (1979), Richard Dyer claims eroticism as one of the three main characteristics of disco.Richard Dyer: "In Defense of Disco." In: Gay Left, 8, Summer 1979, pp. 20-23. Reprinted in: Mark J. Butler (ed): Electronica, Dance and Club Music. New York/London: Routledge 2017, pp. 121-127. As opposed to rock music which has a very phallic centered eroticism focusing on the sexual pleasure of men over other persons, Dyer describes disco as featuring a non-phallic full body eroticism. Through a range of percussion instruments, a willingness to play with rhythm, and the endless repeating of phrases without cutting the listener off, disco achieved this full-body eroticism by restoring eroticism to the whole body for both sexes. This allowed for the potential expression of sexualities not defined by the cock/penis, and the erotic pleasure of bodies that are not defined by a relationship to a penis. The sexual liberation expressed through the rhythm of disco is further represented in the club spaces that disco grew within.

In Peter Shapiro's Modulations: A History of Electronic Music: Throbbing Words on Sound, he discusses eroticism through the technology disco utilizes to create its audacious sound.{{cite book |last1=Shapiro |first1=Peter |title=Modulations : a history of electronic music : throbbing words on sound |year=2000 |publisher=Caipirinha Productions |isbn=1-891024-06-X |pages=[https://archive.org/details/modulationshisto00shap/page/40 40]–49 |url=https://archive.org/details/modulationshisto00shap|url-access=registration }} The music, Shapiro states, is adjunct to "the pleasure-is-politics ethos of post-Stonewall culture." He explains how "mechano-eroticism", which links the technology used to create the unique mechanical sound of disco to eroticism, set the genre in a new dimension of reality living outside of naturalism and heterosexuality. Randy Jones and Mark Jacobsen echo this sentiment in BBC Radio's "The Politics of Dancing: How Disco Changed the World," describing the loose, hip-focused dance style as "a new kind of communion" that celebrates the sparks of liberation brought on the Stonewall riots.{{cite web | url=https://www.bbc.co.uk/sounds/play/b0124284 | title=The Politics of Dancing: How Disco Changed the World - BBC Sounds | access-date=December 15, 2023 | archive-date=May 22, 2024 | archive-url=https://web.archive.org/web/20240522075951/https://www.bbc.co.uk/sounds/play/b0124284 | url-status=live }} As New York state had laws against homosexual behavior in public, including dancing with a member of the same sex, the eroticism of disco served as resistance and an expression of sexual freedom.{{cite web | url=https://www.history.com/topics/gay-rights/the-stonewall-riots | title=1969 Stonewall Riots - Origins, Timeline & Leaders | date=June 23, 2023 | access-date=December 15, 2023 | archive-date=June 26, 2020 | archive-url=https://web.archive.org/web/20200626084016/https://www.history.com/topics/gay-rights/the-stonewall-riots | url-status=live }}

He uses Donna Summer's singles "Love to Love You Baby" (1975) and "I Feel Love" (1977) as examples of the ever-present relationship between the synthesized bass lines and backgrounds to the simulated sounds of orgasms. Summer's voice echoes in the tracks, and likens them to the drug-fervent, sexually liberated fans of disco who sought to free themselves through disco's "aesthetic of machine sex."{{cite book |last1=Shapiro |first1=Peter |title=Modulations : a history of electronic music : throbbing words on sound |date=2000 |publisher=Caipirinha Productions |isbn=1-891024-06-X |page=[https://archive.org/details/modulationshisto00shap/page/44 44] |url=https://archive.org/details/modulationshisto00shap|url-access=registration }} Shapiro sees this as an influence that creates sub-genres like hi-NRG and dub-disco, which allowed for eroticism and technology to be further explored through intense synth bass lines and alternative rhythmic techniques that tap into the entire body rather than the obvious erotic parts of the body.

The New York nightclub The Sanctuary under resident DJ Francis Grasso is a prime example of this sexual liberty. In their history of the disc jockey and club culture, Bill Brewster and Frank Broughton describe the Sanctuary as "poured full of newly liberated gay men, then shaken (and stirred) by a weighty concoction of dance music and pharmacoia of pills and potions, the result is a festivaly of carnality."{{sfn|Brewster|Broughton|2000|p=134}} The Sanctuary was the "first totally uninhibited gay discotheque in America" and while sex was not allowed on the dancefloor, the dark corners, bathrooms. and hallways of the adjacent buildings were all utilized for orgy-like sexual engagements.{{sfn|Brewster|Broughton|2000|p=134}}

By describing the music, drugs, and liberated mentality as a trifecta coming together to create the festival of carnality, Brewster and Broughton are inciting all three as stimuli for the dancing, sex, and other embodied movements that contributed to the corporeal vibrations within the Sanctuary. It supports the argument that disco music took a role in facilitating this sexual liberation that was experienced in the discotheques. The recent legalization of abortion and the introduction of antibiotics and the pill facilitated a culture shift around sex from one of procreation to pleasure and enjoyment. Thus was fostered a very sex-positive framework around discotheques.{{sfn|Brewster|Broughton|2000|p=127}}

Further, in addition to gay sex being illegal in New York state, until 1973 the American Psychiatric Association classified homosexuality as an illness.{{sfn|Brewster|Broughton|2000|p=134}} This law and classification coupled together can be understood to have heavily dissuaded the expression of queerness in public, as such the liberatory dynamics of discotheques can be seen as having provided space for self-realization for queer persons. David Mancuso's club/house party, The Loft, was described as having a "pansexual attitude [that] was revolutionary in a country where up until recently it had been illegal for two men to dance together unless there was a woman present; where women were legally obliged to wear at least one recognizable item of female clothing in public; and where men visiting gay bars usually carried bail money with them."{{sfn|Brewster|Broughton|2000|p=148}}

Disco was mostly developed from music that was popular on the dance floor in clubs that started playing records instead of having a live band. The first discotheques mostly played swing music. Later on, uptempo rhythm and blues became popular in American clubs and northern soul and glam rock records in the UK. In the early 1940s, nightclubs in Paris resorted to playing jazz records during the Nazi occupation.

Régine Zylberberg claimed to have started the first discotheque and to have been the first club DJ in 1953 in the "Whisky à Go-Go" in Paris. She installed a dance floor with colored lights and two turntables so she could play records without having a gap in the music.{{Cite book|url=https://books.google.com/books?id=zoK1CwAAQBAJ&pg=PA176|title=The History of Live Music in Britain, Volume I: 1950-1967: From Dance Hall to the 100 Club|first1=Simon|last1=Frith|first2=Matt|last2=Brennan|first3=Emma|last3=Webster|date=March 9, 2016|publisher=Routledge|via=Google Books|isbn=9781317028871|access-date=June 1, 2020|archive-date=May 22, 2024|archive-url=https://web.archive.org/web/20240522075959/https://books.google.com/books?id=zoK1CwAAQBAJ&pg=PA176#v=onepage&q&f=false|url-status=live}} In October 1959, the owner of the Scotch Club in Aachen, West Germany chose to install a record player for the opening night instead of hiring a live band. The patrons were unimpressed until a young reporter, who happened to be covering the opening of the club, impulsively took control of the record player and introduced the records that he chose to play. Klaus Quirini later claimed to thus have been the world's first nightclub DJ.

During the 1960s, discotheque dancing became a European trend that was enthusiastically picked up by the American press. At this time, when the discotheque culture from Europe became popular in the United States, several music genres with danceable rhythms rose to popularity and evolved into different sub-genres: rhythm and blues (originated in the 1940s), soul (late 1950s and 1960s), funk (mid-1960s) and go-go (mid-1960s and 1970s; more than "disco", the word "go-go" originally indicated a music club). Musical genres that were primarily performed by African-American musicians would influence much of early disco.

Also during the 1960s, the Motown record label developed its own approach, described as having "1) simply structured songs with sophisticated melodies and chord changes, 2) a relentless four-beat drum pattern, 3) a gospel use of background voices, vaguely derived from the style of the Impressions, 4) a regular and sophisticated use of both horns and strings, 5) lead singers who were halfway between pop and gospel music, 6) a group of accompanying musicians who were among the most dextrous, knowledgeable, and brilliant in all of popular music (Motown bassists have long been the envy of white rock bassists) and 7) a trebly style of mixing that relied heavily on electronic limiting and equalizing (boosting the high range frequencies) to give the overall product a distinctive sound, particularly effective for broadcast over AM radio."{{Cite news|url=https://www.rollingstone.com/music/features/the-motown-story-19710513|title=The Motown Story|newspaper=Rolling Stone|access-date=December 11, 2016|archive-date=December 14, 2021 |archive-url=https://web.archive.org/web/20211214230027/https://www.rollingstone.com/music/music-features/the-motown-story-how-berry-gordy-jr-created-the-legendary-label-178066/|url-status=dead}} Motown had many hits with disco elements by acts like Eddie Kendricks ("Girl You Need a Change of Mind" in 1972, "Keep on Truckin'" in 1973,{{cite web |first= Tom |last= Breihan |title= The Number Ones: Eddie Kendricks' "Keep On Truckin'" |website= Stereogum |date= April 25, 2019 |url= https://www.stereogum.com/2041127/the-number-ones-eddie-kendricks-keep-on-truckin/columns/the-number-ones/ |quote= "Keep On Truckin'," the first disco record ever to hit #1...Eddie Kendricks "Keep On Truckin'" |access-date= 28 December 2023 |archive-date= May 22, 2024 |archive-url= https://web.archive.org/web/20240522075956/https://www.stereogum.com/2041127/the-number-ones-eddie-kendricks-keep-on-truckin/columns/the-number-ones/ |url-status= live }} "Boogie Down" in 1974).

At the end of the 1960s, musicians, and audiences from the Black, Italian, and Latino communities adopted several traits from the hippie and psychedelia subcultures. They included using music venues with a loud, overwhelming sound, free-form dancing, trippy lighting, colorful costumes, and the use of hallucinogenic drugs.[http://www.villagevoice.com/2001-07-10/news/disco-double-take/2 Disco Double Take: New York Parties Like It's 1975] {{webarchive|url=https://web.archive.org/web/20150130151059/http://www.villagevoice.com/2001-07-10/news/disco-double-take/2 |date=January 30, 2015 }}. Village Voice.com. Retrieved on August 9, 2009.(1998) "The Cambridge History of American Music", {{ISBN|978-0-521-45429-2}}, {{ISBN|978-0-521-45429-2}}, p.372: "Initially, disco musicians and audiences alike belonged to marginalized communities: women, gay, black, and Latinos"(2002) "Traces of the Spirit: The Religious Dimensions of Popular Music", {{ISBN|978-0-8147-9809-6}}, {{ISBN|978-0-8147-9809-6}}, p.117: "New York City was the primary center of disco, and the original audience was primarily gay African Americans and Latinos." In addition, the perceived positivity, lack of irony, and earnestness of the hippies informed proto-disco music like MFSB's album Love Is the Message."But the pre-Saturday Night Fever dance underground was actually sweetly earnest and irony-free in its hippie-dippie positivity, as evinced by anthems like MFSB's Love Is the Message." – Village Voice, July 10, 2001.

Partly through the success of Jimi Hendrix, psychedelic elements that were popular in rock music of the late 1960s found their way into soul and early funk music and formed the subgenre psychedelic soul. Examples can be found in the music of the Chambers Brothers, George Clinton with his Parliament-Funkadelic collective, Sly and the Family Stone, and the productions of Norman Whitfield with The Temptations.

The long instrumental introductions and detailed orchestration found in psychedelic soul tracks by the Temptations are also considered as cinematic soul. In the early 1970s, Curtis Mayfield and Isaac Hayes scored hits with cinematic soul songs that were actually composed for movie soundtracks: "Superfly" (1972) and "Theme from Shaft" (1971). The latter is sometimes regarded as an early disco song.{{cite book |url=https://archive.org/details/hotstuffdiscorem00echo|url-access=registration|page=[https://archive.org/details/hotstuffdiscorem00echo/page/24 24]|quote=shaft disco.|title=Hot Stuff: Disco and the Remaking of American Culture|first=Alice|last=Echols|date=March 29, 2010|publisher=W. W. Norton & Company|via=Internet Archive|isbn=9780393066753}} From the mid-1960s to early 1970s, Philadelphia soul developed as a sub-genre that also had lavish percussion, lush string orchestra arrangements, and expensive record production processes. In the early 1970s, the Philadelphia soul productions by Gamble and Huff evolved from the simpler arrangements of the late-1960s into a style featuring lush strings, thumping basslines, and sliding hi-hat rhythms. These elements would become typical for disco music and are found in several of the hits they produced in the early 1970s:

• "Love Train" by the O'Jays (with MFSB as the backup band) was released in 1972 and topped the Billboard Hot 100 in March 1973
• "The Love I Lost" by Harold Melvin & the Blue Notes (1973)
• "Now That We Found Love" by The O'Jays (1973), later a hit for Third World in 1978
• "TSOP (The Sound of Philadelphia)" by MFSB with vocals by The Three Degrees, a wordless song written as the theme for Soul Train and a #1 hit on the Billboard Hot 100 in 1974

Other early disco tracks that helped shape disco and became popular on the dance floors of (underground) discotheque clubs and parties include:

• "Jungle Fever" by The Chakachas was first released in Belgium in 1971 and later released in the U.S. in 1972, where it reached #8 on the Billboard Hot 100 that same year
• "Soul Makossa" by Manu Dibango was first released in France in 1972; it was picked up by the underground disco scene in New York and subsequently got a proper release in the U.S., reaching #35 on the Hot 100 in 1973
• "The Night" by the Four Seasons was released in 1972, but was not immediately popular; it appealed to the Northern soul scene and became a hit in the UK in 1975{{cite web |title=Official Singles Chart Top 50 - 04 May 1975 - 10 May 1975 |url=https://www.officialcharts.com/charts/singles-chart/19750504/7501/ |website=officialchart.com |access-date=January 19, 2021 |archive-date=February 25, 2021 |archive-url=https://web.archive.org/web/20210225075900/https://www.officialcharts.com/charts/singles-chart/19750504/7501/ |url-status=live }}
• "Love's Theme" by the Love Unlimited Orchestra, conducted by Barry White, an instrumental song originally featured on Under the Influence of... Love Unlimited in July 1973 from which it was culled as a single in November of that year; subsequently, the conductor included it on his own debut album
• "Sound Your Funky Horn" by KC and the Sunshine Band[https://www.allmusic.com/artist/kc-the-sunshine-band-mn0000299668 KC and the Sunshine Band] {{Webarchive|url=https://web.archive.org/web/20230531232955/https://www.allmusic.com/artist/kc-the-sunshine-band-mn0000299668 |date=May 31, 2023 }} allmusic.com Retrieved 29 December 2023 in 1974
• "Rock Your Baby" by George McCrae in 1974
• "Do It" by B.T. Express in 1974
• "Boogie Down" by Eddie Kendricks in 1974
• "If You Talk In Your Sleep" by Elvis Presley in 1974.

Early disco was dominated by record producers and labels such as Salsoul Records (Ken, Stanley, and Joseph Cayre), West End Records (Mel Cheren), Casablanca (Neil Bogart), and Prelude (Marvin Schlachter). The genre was also shaped by Tom Moulton, who wanted to extend the enjoyment of dance songs — thus creating the extended mix or "remix", 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 David Mancuso, Nicky Siano, Shep Pettibone, Larry Levan, Walter Gibbons, and Chicago-based Frankie Knuckles. Frankie Knuckles was not only an important disco DJ; he also helped to develop house music in the 1980s.

Disco hit the television airwaves as part of the music/dance variety show Soul Train in 1971 hosted by Don Cornelius, then Marty Angelo's Disco Step-by-Step Television Show in 1975, Steve Marcus's 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 role in the film Saturday Night Fever (1977), as well as DANCE, based out of Columbia, South Carolina.

In 1974, New York City's WPIX-FM premiered the first disco radio show.{{Cite web|url=http://www.discosavvy.com/discoearly70s.html|title=The First Years of Disco (1972-1974)|website=discosavvy.com|access-date=June 18, 2019|quote=In November 1974, WPIX FM launched the world's first disco radio show, "Disco 102", hosted by Steve Andrews for 4 hours every Saturday night.|archive-date=April 27, 2021|archive-url=https://web.archive.org/web/20210427024520/http://www.discosavvy.com/discoearly70s.html|url-status=live}}

In the 1970s, the key counterculture of the 1960s, the hippie movement, was fading away. The economic prosperity of the previous decade had declined, and unemployment, inflation, and crime rates had soared. Political issues like the backlash from the Civil Rights Movement culminating in the form of race riots, the Vietnam War, the assassinations of Dr. Martin Luther King Jr. and John F. Kennedy, and the Watergate scandal, left many feeling disillusioned and hopeless.{{Citation needed|date=July 2023}} The start of the '70s was marked by a shift in the consciousness of the American people: the rise of the feminist movement, identity politics, gangs, etc. very much shaped this era. Disco music and disco dancing provided an escape from negative social and economic issues.{{sfn|Shapiro|2006|pp=5-7}} The non-partnered dance style of disco music allowed people of all races and sexual orientations to enjoy the dancefloor atmosphere.{{cite journal |last1=Lawrence |first1=Tim |title=Disco and the Queering of the Dance Floor |journal=Cultural Studies |date=March 2011 |volume=25 |issue=2 |pages=230–243 |doi=10.1080/09502386.2011.535989 |s2cid=143682409 |url=https://www.tandfonline.com/doi/abs/10.1080/09502386.2011.535989 |access-date=March 20, 2021 |archive-date=April 27, 2021 |archive-url=https://web.archive.org/web/20210427000421/https://www.tandfonline.com/doi/abs/10.1080/09502386.2011.535989 |url-status=live |issn = 0950-2386|url-access=subscription }}

In Beautiful Things in Popular Culture, Simon Frith highlights the sociability of disco and its roots in 1960s 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."Alan McKee, Beautiful Things in Popular Culture. John Wiley & Sons, April 15, 2008, p.196

The explosion of disco is often claimed to be found in the private dance parties held by New York City DJ David Mancuso's home that became known as The Loft, an invitation-only non-commercial underground club that inspired many others.{{citation |url=https://www.nytimes.com/2002/12/10/arts/arts-in-america-here-s-to-disco-it-never-could-say-goodbye.html |title=ARTS IN AMERICA; Here's to Disco, It Never Could Say Goodbye |work=The New York Times, USA |date=December 10, 2002 |access-date=August 25, 2015 |archive-url=https://web.archive.org/web/20151106064333/http://www.nytimes.com/2002/12/10/arts/arts-in-america-here-s-to-disco-it-never-could-say-goodbye.html |archive-date=November 6, 2015 |url-status=live }} He organized the first major party in his Manhattan home on Valentine's Day 1970 with the name "Love Saves The Day". After some months the parties became weekly events and Mancuso continued to give regular parties into the 1990s.{{Cite web|url=http://www.timlawrence.info/|archive-url=https://web.archive.org/web/20050730075122/http://www.timlawrence.info/articles/2005/mancuso_VV.php|url-status=dead|title=Tim Lawrence|archive-date=July 30, 2005|website=tim lawrence}} Mancuso required that the music played had to be soulful, rhythmic, and impart words of hope, redemption, or pride.{{sfn|Brewster|Broughton|2000|p=148}}

When Mancuso threw his first informal house parties, the gay community (which made up much of The Loft's attendee roster) was often harassed in the gay bars and dance clubs, with many gay men carrying bail money with them to gay bars. But at The Loft and many other early, private discotheques, they could dance together without fear of police action thanks to Mancuso's underground, yet legal, policies. Vince Aletti described it "like going to party, completely mixed, racially and sexually, where there wasn't any sense of someone being more important than anyone else," and Alex Rosner reiterated this saying "It was probably about sixty percent black and seventy percent gay...There was a mix of sexual orientation, there was a mix of races, mix of economic groups. A real mix, where the common denominator was music."{{sfn|Brewster|Broughton|2000|p=148}}

Film critic Roger Ebert 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."{{cite web|url=http://teachrock.org/lesson/the-rise-of-disco/|title=The Rise of Disco|publisher=teachrock.org|access-date=June 5, 2017|archive-url=https://web.archive.org/web/20170618001058/http://teachrock.org/lesson/the-rise-of-disco|archive-date=June 18, 2017|url-status=live}} Pauline Kael, writing about the disco-themed film Saturday Night Fever, 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."Pauline Kael, For Keeps, Dutton, 1994, p. 767

In the late 1960s, uptempo soul with heavy beats and some associated dance styles and fashion were picked up in the British mod scene and formed the northern soul movement. Originating at venues such as the Twisted Wheel in Manchester, it quickly spread to other UK dancehalls and nightclubs like the Chateau Impney (Droitwich), Catacombs (Wolverhampton), the Highland Rooms at Blackpool Mecca, Golden Torch (Stoke-on-Trent), and Wigan Casino. As the favoured beat became more uptempo and frantic in the early 1970s, northern soul dancing became more athletic, somewhat resembling the later dance styles of disco and break dancing. Featuring spins, flips, karate kicks, and backdrops, club dancing styles were often inspired by the stage performances of touring American soul acts such as Little Anthony & the Imperials and Jackie Wilson.

In 1974, there were an estimated 25,000 mobile discos and 40,000 professional disc jockeys in the United Kingdom. Mobile discos were hired deejays that brought their own equipment to provide music for special events. Glam rock tracks were popular, with, for example, Gary Glitter's 1972 single "Rock and Roll Part 2" becoming popular on UK dance floors while it did not get much radio airplay.Reynolds, Simon (2016). Shock and Awe: Glam Rock and Its Legacy from the Seventies to the Twenty-First Century, pages 206–208, Dey Street Books {{ISBN|978-0062279804}}

From 1974 to 1977, disco music increased in popularity as many disco songs topped the charts. The Hues Corporation's "Rock the Boat" (1974), a US number-one single and million-seller, was one of the early disco songs to reach number one. The same year saw the release of "Kung Fu Fighting", performed by Carl Douglas and produced by Biddu, which reached number one in both the UK and US, and became the best-selling single of the year{{cite book| first= Joseph| last= Murrells| year= 1978| title= The Book of Golden Discs| edition= 2nd| publisher= Barrie and Jenkins Ltd| location= London| page= [https://archive.org/details/bookofgoldendisc00murr/page/344 344]| isbn= 0-214-20512-6| url= https://archive.org/details/bookofgoldendisc00murr/page/344}} and one of the best-selling singles of all time with 11 million records sold worldwide,{{cite web|title=Biddu|first=James|last=Ellis|work=Metro|date=October 27, 2009|url=http://www.metro.co.uk/showbiz/interviews/412-biddu|access-date=April 17, 2011|archive-url=https://web.archive.org/web/20110902182831/http://www.metro.co.uk/showbiz/interviews/412-biddu|archive-date=September 2, 2011|url-status=live}}{{cite web|date=August 20, 2004|title=It's a big step from disco to Sanskrit chants, but Biddu has made it|first=Malika|last=Browne|work=The Sunday Times|url=https://www.thetimes.com/article/its-a-big-step-from-disco-to-sanskrit-chants-but-biddu-has-made-it-n796tx7klww |access-date=May 30, 2011}} helping to popularize disco to a great extent. Another notable disco success that year was George McCrae's "Rock Your Baby":{{cite book|title=The Arts in the 1970s: Cultural Closure|url=https://books.google.com/books?id=7eWo7eGPx8AC&q=%22list+of+1970s+best-sellers%22|last=Moore-Gilbert|first=Bart|publisher=Routledge|date=March 11, 2002|access-date=May 30, 2012|isbn=9780415099066|archive-date=May 22, 2024|archive-url=https://web.archive.org/web/20240522080000/https://books.google.com/books?id=7eWo7eGPx8AC&q=%22list+of+1970s+best-sellers%22|url-status=live}} it became the United Kingdom's first number one disco single.{{cite book|title=The Book of Golden Discs|url=https://archive.org/details/bookofgoldendisc00murr|url-access=registration|quote=Biggest selling singles discs.|edition=2, illustrated|first=Joseph|last=Murrells|publisher=Barrie & Jenkins|isbn=0-214-20480-4|year=1978}}

In the northwestern sections of the United Kingdom, the northern soul 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. The shift by some DJs to the newer sounds coming from the U.S. resulted in a split in the scene, whereby some abandoned the 1960s soul and pushed a modern soul sound which tended to be more closely aligned with disco than soul.

File:Gloria Gaynor (1976).jpg in 1976]]

In 1975, Gloria Gaynor released her first vinyl album, which included a remake of the Jackson 5's "Never Can Say Goodbye" (which, in fact, is also the album title) and two other songs, "Honey Bee" and her disco version of "Reach Out (I'll Be There)". The album first topped the Billboard disco/dance charts in November 1974. Later in 1978, Gaynor's number-one disco song was "I Will Survive", which was seen as a symbol of female strength and a gay anthem,{{cite journal|last=Hubbs|first=Nadine|date=May 1, 2007|title='I Will Survive': musical mappings of queer social space in a disco anthem|url=https://zenodo.org/record/854793|journal=Popular Music|volume=26|issue=2|pages=231–244|doi=10.1017/S0261143007001250|s2cid=146390768|via=Cambridge Core|access-date=September 6, 2019|archive-url=https://web.archive.org/web/20170905142529/https://zenodo.org/record/854793/files/article.pdf|archive-date=September 5, 2017|url-status=dead}} like her further disco hit, a 1983 remake of "I Am What I Am". In 1979 she released "Let Me Know (I Have a Right)", a single which gained popularity in the civil rights movements. Also in 1975, Vincent Montana Jr.'s Salsoul Orchestra contributed with their Latin-flavored orchestral dance song "Salsoul Hustle", reaching number four on the Billboard Dance Chart; their 1976 hits were "Tangerine" and "Nice 'n' Naasty", the first being a cover of a 1941 song.{{citation needed|date=April 2018}}

File:Fly, Robin, Fly - Cash Box ad 1975.jpg's "Fly, Robin, Fly", October 18, 1975]]

Songs such as Van McCoy's 1975 "The Hustle" and the humorous Joe Tex 1977 "Ain't Gonna Bump No More (With No Big Fat Woman)" gave names to the popular disco dances "the Bump" and "the Hustle". Other notable early successful disco songs include Barry White's "You're the First, the Last, My Everything" (1974); Labelle's "Lady Marmalade" (1974)'; Disco-Tex and the Sex-O-Lettes' "Get Dancin'" (1974); Earth, Wind & Fire's "Shining Star" (1975); Silver Convention's "Fly, Robin, Fly" (1975) and "Get Up and Boogie" (1976); Vicki Sue Robinson's "Turn the Beat Around" (1976); and "More, More, More" (1976) by Andrea True (a former pornographic actress during the Golden Age of Porn, an era largely contemporaneous with the height of disco).

Formed by Harry Wayne Casey (a.k.a. "KC") and Richard Finch, Miami's KC and the Sunshine Band had a string of disco-definitive top-five singles 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", "Boogie Shoes", and "Keep It Comin' Love". In this period, rock bands like the English Electric Light Orchestra featured in their songs a violin sound that became a staple of disco music, as in the 1975 hit "Evil Woman", although the genre was correctly described as orchestral rock.

Other disco producers such as Tom Moulton took ideas and techniques from dub music (which came with the increased Jamaican migration to New York City in the 1970s) to provide alternatives to the "four on the floor" style that dominated. DJ Larry Levan utilized styles from dub and jazz and remixing techniques to create early versions of house music that sparked the genre.{{cite book

| last =Shapiro

| first =Peter

| title =Modulations: A History of Electronic Music

| url =https://archive.org/details/impossibledancec00buck

| url-access =registration

| publisher =Caipirinha Productions, Inc.

| year =2000

| pages =254

| isbn =978-0-8195-6498-6

}} see p.45, 46

Norman Whitfield was an influential producer and songwriter at Motown records, renowned for creating innovative "psychedelic soul" songs with many hits for Marvin Gaye, The Velvelettes, The Temptations, and Gladys Knight & the Pips. From around the production of the Temptations album Cloud Nine in 1968, he incorporated some psychedelic influences and started to produce longer, dance-friendly tracks, with more room for elaborate rhythmic instrumental parts. An example of such a long psychedelic soul track is "Papa Was a Rollin' Stone", which appeared as a single edit of almost seven minutes and an approximately 12-minute-long 12" version in 1972. By the early 1970s, many of Whitfield's productions evolved more and more towards funk and disco, as heard on albums by the Undisputed Truth and the 1973 album G.I.T.: Get It Together by The Jackson 5. The Undisputed Truth, a Motown recording act assembled by Whitfield to experiment with his psychedelic soul production techniques, found success with their 1971 song "Smiling Faces Sometimes". Their disco single "You + Me = Love" (number 43) was produced by Whitfield and made number 2 on the US dance chart in 1976.

In 1975, Whitfield left Motown and founded his own label Whitfield records, on which also "You + Me = Love" was released. Whitfield produced some more disco hits, including "Car Wash" (1976) by Rose Royce from the album soundtrack to the 1976 film Car Wash. In 1977, singer, songwriter, and producer Willie Hutch, who had been signed to Motown since 1970, now signed with Whitfield's new label, and scored a successful disco single with his song "In and Out" in 1982.

File:Diana Ross 1976.jpg in 1976]]

Other Motown artists turned to disco as well. Diana Ross embraced the disco sound with her successful 1976 outing "Love Hangover" from her self-titled album. Her 1980 dance classics "Upside Down" and "I'm Coming Out" were written and produced by Nile Rodgers and Bernard Edwards of the group Chic. The Supremes, the group that made Ross famous, scored a handful of hits in the disco clubs without her, most notably 1976's "I'm Gonna Let My Heart Do the Walking" 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, Marvin Gaye released "Got to Give It Up" 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. However, several of Gaye's songs have disco elements, including "I Want You" (1975). Stevie Wonder released the disco single "Sir Duke" in 1977 as a tribute to Duke Ellington, the influential jazz legend who had died in 1974. Smokey Robinson left the Motown group The Miracles for a solo career in 1972 and released his third solo album A Quiet Storm in 1975, which spawned and lent its name to the "Quiet Storm" musical programming format and subgenre of R&B. It contained the disco single "Baby That's Backatcha". Other Motown artists who scored disco hits were Robinson's former group, the Miracles, with "Love Machine" (1975), Eddie Kendricks with "Keep On Truckin'" (1973), the Originals with "Down to Love Town" (1976), and Thelma Houston with her cover of the Harold Melvin and the Blue Notes song "Don't Leave Me This Way" (1976). The label continued to release successful songs into the 1980s with Rick James's "Super Freak" (1981), and the Commodores' "Lady (You Bring Me Up)" (1981).

Several of Motown's solo artists who left the label went on to have successful disco songs. Mary Wells, Motown's first female superstar with her signature song "My Guy" (written by Smokey Robinson), abruptly left the label in 1964. She briefly reappeared on the charts with the disco song "Gigolo" in 1980. Jimmy Ruffin, the elder brother of the Temptations lead singer David Ruffin, was also signed to Motown and released his most successful and well-known song "What Becomes of the Brokenhearted" as a single in 1966. Ruffin eventually left the record label in the mid-1970s, but saw success with the 1980 disco song "Hold On (To My Love)", which was written and produced by Robin Gibb of the Bee Gees, for his album Sunrise. Edwin Starr, known for his Motown protest song "War" (1970), reentered the charts in 1979 with a pair of disco songs, "Contact" and "H.A.P.P.Y. Radio". Kiki Dee 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 US Chart). She soon left the company and signed with Elton John's The Rocket Record Company, and in 1976 had her biggest and best-known single, "Don't Go Breaking My Heart", 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 Tammi Terrell and Kim Weston.

Many Motown groups who had left the record label charted with disco songs. The Jackson 5, one of Motown's premier acts in the early 1970s, left the record company in 1975 (Jermaine Jackson, however, remained with the label) after successful songs like "I Want You Back" (1969) and "ABC" (1970), and even the disco song "Dancing Machine" (1974). Renamed as 'the Jacksons' (as Motown owned the name 'the Jackson 5'), they went on to find success with disco songs like "Blame It on the Boogie" (1978), "Shake Your Body (Down to the Ground)" (1979), and "Can You Feel It?" (1981) on the Epic label.

The Isley Brothers, whose short tenure at the company had produced the song "This Old Heart of Mine (Is Weak for You)" in 1966, went on release successful disco songs like "It's a Disco Night (Rock Don't Stop)" (1979). Gladys Knight & the Pips, who recorded the most successful version of "I Heard It Through the Grapevine" (1967) before Marvin Gaye, scored commercially successful singles such as "Baby, Don't Change Your Mind" (1977) and "Bourgie, Bourgie" (1980) in the disco era. The Detroit Spinners were also signed to the Motown label and saw success with the Stevie Wonder-produced song "It's a Shame" in 1970. They left soon after, on the advice of fellow Detroit native Aretha Franklin, to Atlantic Records, and there had disco songs like "The Rubberband Man" (1976). In 1979, they released a successful cover of Elton John's "Are You Ready for Love", as well as a medley of the Four Seasons' song "Working My Way Back to You" 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 and soul artists based on the West Coast, and there the group produced one album, Chameleon (1972) – to little commercial success in the US. However, one single, "The Night", was released in Britain in 1975, and thanks to popularity from the Northern Soul circuit, reached number seven on the UK Singles Chart. The Four Seasons left Motown in 1974 and went on to have a disco hit with their song "December, 1963 (Oh, What a Night)" (1975) for Warner Curb Records.

{{Main|Euro disco}}

File:ABBA - TopPop 1974 5.png in 1974.]]

By far the most successful Euro disco act was ABBA (1972–1982). This Swedish quartet, which sang primarily in English, found success with singles such as "Waterloo" (1974), "Take a Chance on Me" (1978), "Gimme! Gimme! Gimme! (A Man After Midnight)" (1979), "Super Trouper" (1980), and their signature smash hit "Dancing Queen" (1976).

File:Giorgio Moroder (cropped).jpg is known as the "Father of Disco"."This record was a collaboration between Philip Oakey, the big-voiced lead singer of the techno-pop band the Human League, and Giorgio Moroder, the Italian-born father of disco who spent the 1980s writing synth-based pop and film music." {{cite web|url= {{AllMusic|class=album|id=r59464|pure_url=yes}}|title=Philip Oakey & Giorgio Moroder: Overview |access-date=December 21, 2009 |website=AllMusic |first=Evan|last=Cater}}]]

File:Donna Summer 1977.JPG in 1977|alt=]]

In the 1970s, Munich, West Germany, music producers Giorgio Moroder and Pete Bellotte made a decisive contribution to disco music with a string of hits for Donna Summer, which became known as the "Munich Sound".{{cite book |editor1-first=Michael |editor1-last=Ahlers |editor2-first=Christoph |editor2-last=Jacke | first=Thomas| last= Krettenauer| year=2017 | title=Perspectives on German Popular Music |chapter=Hit Men: Giorgio Moroder, Frank Farian and the eurodisco sound of the 1970s/80s| publisher=Routledge | location= London| pages=77–78| isbn= 978-1-4724-7962-4}} In 1975, Summer suggested the lyric "Love to Love You Baby" to Moroder and Bellotte, who turned the lyric into a full disco song. The final product, which contained the vocalizations of a series of simulated orgasms, initially was not intended for release, but when Moroder played it in the clubs it caused a sensation and he released it. The song became an international hit, reaching the charts in many European countries and the US (No. 2). It has been described as the arrival of the expression of raw female sexual desire in pop music. A nearly 17-minute 12-inch single was released. The 12" single became and remains a standard in discos today.{{cite web |first=Bill |last=Brewster |url=https://mixmag.net/feature/i-feel-love-donna-summer-and-giorgio-moroder-created-the-template-for-dance-music-as-we-know-it |title=I feel love: Donna Summer and Giorgio Moroder created the template for dance music as we know it |publisher=Mixmag |date=June 22, 2017 |access-date=January 9, 2019 |archive-date=June 22, 2017 |archive-url=https://web.archive.org/web/20170622124251/https://mixmag.net/feature/i-feel-love-donna-summer-and-giorgio-moroder-created-the-template-for-dance-music-as-we-know-it |url-status=live }}{{cite web|url=http://www.theaustralian.com.au/news/world/donna-summer-was-the-queen-who-made-disco-work-on-the-radio/story-fnb64oi6-1226360052284|title=Subscribe – theaustralian|website=theaustralian.com.au|access-date=June 5, 2017|archive-url=https://web.archive.org/web/20120521034952/http://www.theaustralian.com.au/news/world/donna-summer-was-the-queen-who-made-disco-work-on-the-radio/story-fnb64oi6-1226360052284|archive-date=May 21, 2012|url-status=live|df=mdy-all}}

Donna Summer's "Love to Love You Baby" peaking on the Billboard charts at No.2 in 1976, is considered a feminist anthem and staple in the genre. Billboard recently ranked the song #1 on their list of "The 34 Top Disco Songs of All Time." Summer is featured at all top six spots on the list.{{cite magazine |url=https://www.billboard.com/lists/top-disco-songs-all-time/donna-summer-bad-girls/ |title=The 34 Top Disco Songs of All Time |magazine=Billboard |last=Moroder |first=Giorgio |date=January 6, 2022 |access-date=January 23, 2025}}

In 1976 Donna Summer's version of "Could It Be Magic" brought disco further into the mainstream. In 1977 Summer, Moroder and Bellotte further released "I Feel Love", as the B-side of "Can't We Just Sit Down (And Talk It Over)", which revolutionized dance music with its mostly electronic production and was a massive worldwide success, spawning the Hi-NRG subgenre. Giorgio Moroder was described by AllMusic as "one of the principal architects of the disco sound".[{{AllMusic|class=artist|id=p23915|pure_url=yes}} Giorgio Moroder] Allmusic.com Another successful disco music project by Moroder at that time was Munich Machine (1976–1980).

Boney M. (1974–1986) was a West German Euro disco group of four West Indian singers and dancers masterminded by record producer Frank Farian. Boney M. charted worldwide with such songs as "Daddy Cool" (1976) "Ma Baker" (1977) and "Rivers Of Babylon" (1978). Another successful West German Euro disco recording act was Silver Convention (1974–1979). The German group Kraftwerk also had an influence on Euro disco.

File:Dalida19673.jpg in 1967.]]

In France, Dalida released "J'attendrai" ("I Will Wait") in 1975, which also became successful in Canada, Europe, and Japan. Dalida successfully adjusted herself to disco and released at least a dozen of songs that charted in the top 10 in Europe. Claude François, who re-invented himself as the "king of French disco", released "La plus belle chose du monde", a French version of the Bee Gees song "Massachusetts", which became successful in Canada and Europe and "Alexandrie Alexandra" was posthumously released on the day of his burial and became a worldwide success. Cerrone's early songs, "Love in C Minor" (1976), "Supernature" (1977), and "Give Me Love" (1978) were successful in the US and Europe. Another Euro disco act was the French diva Amanda Lear, where Euro disco sound is most heard in "Enigma (Give a Bit of Mmh to Me)" (1978). French producer Alec Costandinos assembled the Euro disco group Love and Kisses (1977–1982).

In Italy Raffaella Carrà was the most successful Euro disco act, alongside La Bionda, Hermanas Goggi and Oliver Onions. Her greatest international single was "Tanti Auguri" ("Best Wishes"), which has become a popular song with gay audiences. The song is also known under its Spanish title "Para hacer bien el amor hay que venir al sur" (which refers to Southern Europe, since the song was recorded and taped in Spain). The Estonian version of the song "Jätke võtmed väljapoole" was performed by Anne Veski. "A far l'amore comincia tu" ("To make love, your move first") was another success for her internationally, known in Spanish as "En el amor todo es empezar", in German as "Liebelei", in French as "Puisque tu l'aimes dis le lui", and in English as "Do It, Do It Again". It was her only entry to the UK Singles Chart, reaching number 9, where she remains a one-hit wonder.{{cite book | first = David

| last = Roberts| year = 2006 | title = British Hit Singles & Albums | edition = 19th | publisher = Guinness World Records Limited | location = London | isbn = 1-904994-10-5 | page = 95}} In 1977, she recorded another successful single, "Fiesta" ("The Party" in English) originally in Spanish, but then recorded it in French and Italian after the song hit the charts. "A far l'amore comincia tu" has also been covered in Turkish by a Turkish popstar Ajda Pekkan as "Sakın Ha" in 1977.

Recently, Carrà has gained new attention for her appearance as the female dancing soloist in a 1974 TV performance of the experimental gibberish song "Prisencolinensinainciusol" (1973) by Adriano Celentano.{{Cite news|url=https://www.npr.org/2012/11/04/164206468/its-gibberish-but-italian-pop-song-still-means-something|title=It's Gibberish, But Italian Pop Song Still Means Something|website=NPR.org|access-date=April 1, 2017|archive-url=https://web.archive.org/web/20170318092600/http://www.npr.org/2012/11/04/164206468/its-gibberish-but-italian-pop-song-still-means-something/|archive-date=March 18, 2017|url-status=live}} A remixed video featuring her dancing went viral on the internet in 2008.{{Cite web|url=https://www.youtube.com/playlist?list=PLEogw6w5d_jNGyUvjmdcDdJgqG40Wl-eN|title=Popular Videos – Prisencolinensinainciusol – YouTube|via=YouTube|language=en|access-date=April 1, 2017|archive-url=https://web.archive.org/web/20170410161344/https://www.youtube.com/playlist?list=PLEogw6w5d_jNGyUvjmdcDdJgqG40Wl-eN|archive-date=April 10, 2017|url-status=live}}{{citation needed|date=October 2016}} In 2008 a video of a performance of her only successful UK single, "Do It, Do It Again", was featured in the Doctor Who episode "Midnight". Rafaella Carrà worked with Bob Sinclar on the new single "Far l'Amore" which was released on YouTube on March 17, 2011. The song charted in different European countries.{{Cite web|url=http://www.ultratop.be/fr/song/c8d07/Bob-Sinclar-&-Raffaella-Carra-Far-l'amore|title=Bob Sinclar & Raffaella Carrà – Far l'amore|website=ultratop.be|access-date=January 30, 2017|archive-url=https://web.archive.org/web/20170705005907/http://www.ultratop.be/fr/song/c8d07/Bob-Sinclar-%26-Raffaella-Carra-Far-l%27amore|archive-date=July 5, 2017|url-status=live}} Also prominent European disco acts are Spargo (band), Time Bandits (band) and Luv' from the Netherlands.

Euro disco continued evolving within the broad mainstream pop music scene, even when disco's popularity sharply declined in the United States, abandoned by major U.S. record labels and producers.{{cite news|title=ARTS IN AMERICA; Here's to Disco, It Never Could Say Goodbye|url=https://www.nytimes.com/2002/12/10/arts/arts-in-america-here-s-to-disco-it-never-could-say-goodbye.html?pagewanted=3&src=pm|newspaper=New York Times|date=December 10, 2002|access-date=February 15, 2017|archive-url=https://web.archive.org/web/20161224103954/http://www.nytimes.com/2002/12/10/arts/arts-in-america-here-s-to-disco-it-never-could-say-goodbye.html?pagewanted=3&src=pm|archive-date=December 24, 2016|url-status=live}} Through the influence of Italo disco, it also played a role in the evolution of early house music in the early 1980s and later forms of electronic dance music, including early '90s Eurodance.

In December 1977, the film Saturday Night Fever was released. It was a huge success and its soundtrack became one of the best-selling albums of all time. The idea for the film was sparked by a 1976 New York magazine{{cite web|last1=Cohn|first1=Nik|title=Tribal Rites of the New Saturday Night|url=https://nymag.com/nightlife/features/45933/|website=New York|date=April 8, 2008 |access-date=October 2, 2015|archive-url=https://web.archive.org/web/20150929174704/http://nymag.com/nightlife/features/45933/|archive-date=September 29, 2015|url-status=live}} 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.{{cite news|last1=Charlie|first1=LeDuff|title=Saturday Night Fever: The Life|newspaper=The New York Times |url=https://www.nytimes.com/1996/06/09/nyregion/saturday-night-fever-the-life.html|access-date=October 2, 2015|date=June 9, 1996|archive-url=https://web.archive.org/web/20151011182214/http://www.nytimes.com/1996/06/09/nyregion/saturday-night-fever-the-life.html|archive-date=October 11, 2015|url-status=live}} Some critics said the film "mainstreamed" disco, making it more acceptable to heterosexual white males.{{cite book|url=https://books.google.com/books?id=slVWT5EDdbIC&q=reasons+for+disco&pg=PT234|title=Hot Stuff: Disco and the Remaking of American Culture|first=Alice|last=Echols|date=June 5, 2017|publisher=W. W. Norton & Company|access-date=June 5, 2017|via=Google Books|isbn=9780393338911|archive-date=May 22, 2024|archive-url=https://web.archive.org/web/20240522081458/https://books.google.com/books?id=slVWT5EDdbIC&q=reasons+for+disco&pg=PT234#v=snippet&q=reasons%20for%20disco&f=false|url-status=live}} Many music historians believe the success of the movie and soundtrack extended the life of the disco era by several years.

Organized around the culture of suburban discotheques and the character of Tony Manero, portrayed by John Travolta (which earned him an Academy Award for Best Actor nomination),[https://www.oscars.org/oscars/ceremonies/1978 1978|Oscars.org] Saturday Night Fever became a cultural phenomenon that recast the dance floor as a site for patriarchal masculinity and heterosexual courtship. This transformation aligned disco with the interests of the perceived mass market, specifically targeting suburban and Middle American audiences.

The portrayal of the dance floor in Saturday Night Fever marked a reappropriation by straight male culture, turning it into a space for men to showcase their prowess and pursue partners of the opposite sex. The film popularized the hustle, a Latin social dance, reinforcing the centrality of the straight-dancing couple in the disco exchange. Notably, the soundtrack, dominated by the Bee Gees, risked presenting disco as a new incarnation of shrill white pop, deviating from its diverse and inclusive origins. The success of Saturday Night Fever was unprecedented, breaking box office and album sale records. Unfortunately, its impact went beyond mere popularity. The film established a template for disco that was easily reproducible, yet thoroughly de-queered in its outlook. By narrowing the narrative to fit into the conventional ideals of suburban heterosexual culture, the film contributed to a distorted and commodified version of disco.

File:Bee Gees 1977.JPG had several disco hits on the soundtrack to Saturday Night Fever in 1977.|alt=|234x234px]]The Bee Gees used Barry Gibb's falsetto to garner hits such as "You Should Be Dancing", "Stayin' Alive", "Night Fever", "More Than A Woman", "Love You Inside Out", and "Tragedy". Andy Gibb, a younger brother to the Bee Gees, followed with similarly styled solo singles such as "I Just Want to Be Your Everything", "(Love Is) Thicker Than Water", and "Shadow Dancing".

In 1978, Donna Summer's multi-million-selling vinyl single disco version of "MacArthur Park" was number one on the Billboard Hot 100 chart for three weeks and was nominated for the Grammy Award for Best Female Pop Vocal Performance. The recording, which was included as part of the "MacArthur Park Suite" on her double live album Live and More, was eight minutes and 40 seconds long on the album. The shorter seven-inch vinyl single version of 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 "MacArthur Park" by Summer topped the Billboard Dance Charts marking five consecutive decades with a number-one song on the charts.{{cite web|url=http://hangout.altsounds.com/news/163401-donna-summers-macarthur-park-2013-remix-1-a.html |title=Donna Summer's 'Macarthur Park 2013' Remix #1 on Billboard's Dance Club Songs Chart - #AltSounds |access-date=August 20, 2014 |url-status=dead |archive-url=https://web.archive.org/web/20140720151423/http://hangout.altsounds.com/news/163401-donna-summers-macarthur-park-2013-remix-1-a.html |archive-date=July 20, 2014 }} From mid-1978 to late 1979, Summer continued to release singles such as "Last Dance", "Heaven Knows" (with Brooklyn Dreams), "Hot Stuff", "Bad Girls", "Dim All the Lights" and "On the Radio", all very successful songs, landing in the top five or better, on the Billboard pop charts.

The band Chic was formed mainly by guitarist Nile Rodgers—a self-described "street hippie" from late 1960s New York—and bassist Bernard Edwards. Their popular 1978 single, "Le Freak", is regarded as an iconic song of the genre. Other successful songs by Chic include the often-sampled "Good Times" (1979), "I Want Your Love" (1979), and "Everybody Dance" (1979). The group regarded themselves as the disco movement's rock band that made good on the hippie 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.[https://www.nytimes.com/2011/12/04/books/review/le-freak-an-upside-down-story-of-family-disco-and-destiny-by-nile-rodgers-book-review.html?pagewanted=1&_r=2 The Rock Days of Disco] {{Webarchive|url=https://web.archive.org/web/20170626185303/http://www.nytimes.com/2011/12/04/books/review/le-freak-an-upside-down-story-of-family-disco-and-destiny-by-nile-rodgers-book-review.html?pagewanted=1&_r=2 |date=June 26, 2017 }}, Robert Christgau, The New York Times, December 2, 2011

Sylvester, a flamboyant and openly gay singer famous for his soaring falsetto voice, scored his biggest disco hits in late 1978 with "You Make Me Feel (Mighty Real)" and "Dance (Disco Heat)". His singing style was said to have influenced the singer Prince. At that time, disco was one of the forms of music most open to gay performers.{{cite web|url=https://popmatters.com/column/167895-queen-of-disco-the-legend-of-sylvester/|title=Queen of Disco: The Legend of Sylvester|website=popmatters.com|date=February 12, 2013|access-date=June 5, 2017|archive-url=https://web.archive.org/web/20170203185623/http://www.popmatters.com/column/167895-queen-of-disco-the-legend-of-sylvester/|archive-date=February 3, 2017|url-status=live}}

The Village People were a singing/dancing group created by Jacques Morali and Henri Belolo to target disco's gay audience. They were known for their onstage costumes of typically male-associated jobs and ethnic minorities and achieved mainstream success with their 1978 hit song "Macho Man". Other songs include "Y.M.C.A." (1979) and "In the Navy" (1979).

Also noteworthy are The Trammps' "Disco Inferno" (1976), (1978, reissue due to the popularity gained from the Saturday Night Fever soundtrack), Heatwave's "Boogie Nights" (1977), Evelyn "Champagne" King's "Shame" (1977), A Taste of Honey's "Boogie Oogie Oogie" (1978), Cheryl Lynn's "Got to Be Real" (1978), Alicia Bridges's "I Love the Nightlife" (1978), Patrick Hernandez's "Born to Be Alive" (1978), Earth, Wind & Fire's "September" (1978) and "Boogie Wonderland" (1979), Peaches & Herb's "Shake Your Groove Thing" (1978), Sister Sledge's "We Are Family" and "He's the Greatest Dancer" (both 1979), McFadden and Whitehead's "Ain't No Stoppin' Us Now" (1979), Anita Ward's "Ring My Bell" (1979), Kool & the Gang's "Ladies' Night" (1979) and "Celebration" (1980), The Whispers's "And the Beat Goes On" (1979), Stephanie Mills's "What Cha Gonna Do with My Lovin'" (1979), Lipps Inc.'s "Funkytown" (1980), The Brothers Johnson's "Stomp!" (1980), George Benson's "Give Me the Night" (1980), Donna Summer's "Sunset People" (1980), and Walter Murphy's various attempts to bring classical music to the mainstream, most notably the disco song "A Fifth of Beethoven" (1976), which was inspired by Beethoven's fifth symphony.

At the height of its popularity, many non-disco artists recorded songs with disco elements, such as Rod Stewart with his "Da Ya Think I'm Sexy?" in 1979.{{cite book |last=Abjorensen |first=Norman |title=Historical Dictionary of Popular Music |publisher=Rowman & Littlefield |date=2017 |isbn=9781538102152 |page=143}} Even mainstream rock artists adopted elements of disco. Progressive rock group Pink Floyd used disco-like drums and guitar in their song "Another Brick in the Wall, Part 2" (1979),It was producer Bob Ezrin's idea to incorporate a disco riff, as well as a second-verse children's choir, into "Another Brick in the Wall, Part 2".{{cite journal | title = "Good Bye Blue Sky", (Pink Floyd: 30th Anniversary, The Wall Revisited.) | journal = Guitar World | volume = 30 | issue = 10 | pages = 79–80 | url = https://www.guitarworld.com/article/pink_floyd_goodbye_blue_sky?page=0%2C3 | editor = Simmons, Sylvie | publisher = Future | date = October 2009 | url-status = dead | archive-url = https://web.archive.org/web/20110513090114/http://www.guitarworld.com/article/pink_floyd_goodbye_blue_sky?page=0%2C3 | archive-date = May 13, 2011 | df = mdy-all }} A few other Pink Floyd songs of the 1970s incorporated disco elements, especially songs like Part 8 of "Shine On You Crazy Diamond" (1975), "Pigs (Three Different Ones)" (1977), and "Young Lust" (1979), which all featured a funky, syncopated bass line. which became their only number-one single in both the US and UK. The Eagles referenced disco with "One of These Nights" (1975)Don Henley commented on "One of These Nights"'s disco connection in the liner notes of The Very Best Of, 2003. and "Disco Strangler" (1979), Paul McCartney & Wings with "Silly Love Songs" (1976) and "Goodnight Tonight" (1979), Queen with "Another One Bites the Dust" (1980), the Rolling Stones with "Miss You" (1978) and "Emotional Rescue" (1980), Stephen Stills with his album Thoroughfare Gap (1978), Electric Light Orchestra with "Shine a Little Love" and "Last Train to London" (both 1979), Chicago with "Street Player" (1979), the Kinks with "(Wish I Could Fly Like) Superman" (1979), the Grateful Dead with "Shakedown Street", The Who with "Eminence Front" (1982), and the J. Geils Band with "Come Back" (1980). Even hard rock group KISS jumped in with "I Was Made for Lovin' You" (1979),Paul Stanley, a guitarist for the rock group Kiss became friends with Desmond Child and, as Child remembered in Billboard, "Paul and I talked about how dance music at that time didn't have any rock elements." To counteract the synthesized disco music dominating the airwaves, Stanley and Child wrote, "I Was Made For Loving You." So, "we made history," Child further remembered in Billboard, "because we created the first rock-disco song." {{cite magazine |title=Gifted Child |last=Barnes |first=Terry |magazine=Billboard |volume=111 |issue=48 |pages=DC-23 |url=https://books.google.com/books?id=gggEAAAAMBAJ&pg=RA1-PA47 |date=November 27, 1999 |access-date=February 3, 2017 |archive-date=May 22, 2024 |archive-url=https://web.archive.org/web/20240522081459/https://books.google.com/books?id=gggEAAAAMBAJ&pg=RA1-PA47#v=onepage&q&f=false |url-status=live }} and Ringo Starr's album Ringo the 4th (1978) features a strong disco influence.

The disco sound was also adopted by artists from other genres, including the 1979 U.S. number one hit "No More Tears (Enough Is Enough)" by easy listening singer Barbra Streisand in a duet with Donna Summer. In country music, in an attempt to appeal to the more mainstream market, artists began to add pop/disco influences to their music. Dolly Parton launched a successful crossover onto the pop/dance charts, with her albums Heartbreaker and Great Balls of Fire containing songs with a disco flair. In particular, a disco remix of the track "Baby I'm Burnin'" peaked at number 15 on the Billboard Dance Club Songs chart; ultimately becoming one of the year's biggest club hits.{{cite web |last1=Johnson |first1=Zac |title=Heartbreaker - Dolly Parton {{!}} Songs, Reviews, Credits {{!}} AllMusic |url=https://www.allmusic.com/album/heartbreaker-mw0000253166 |website=AllMusic |access-date=August 2, 2021 |language=en |archive-date=April 7, 2022 |archive-url=https://web.archive.org/web/20220407194525/https://www.allmusic.com/album/heartbreaker-mw0000253166 |url-status=live }}

Additionally, Connie Smith covered Andy Gibb's "I Just Want to Be Your Everything" in 1977, Bill Anderson recorded "Double S" in 1978, and Ronnie Milsap released "Get It Up" and covered blues singer Tommy Tucker's song "Hi-Heel Sneakers" in 1979.

Pre-existing non-disco songs, standards, and TV themes were frequently "disco-ized" in the 1970s, such as the I Love Lucy theme (recorded as "Disco Lucy" by the Wilton Place Street Band), "Aquarela do Brasil" (recorded as "Brazil" by The Ritchie Family), and "Baby Face" (recorded by the Wing and a Prayer Fife and Drum Corps). 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 arrangements, including Perry Como, who re-recorded his 1945 song "Temptation", in 1975, as well as Ethel Merman, who released an album of disco songs entitled The Ethel Merman Disco Album in 1979.

Myron Floren, second-in-command on The Lawrence Welk Show, released a recording of the "Clarinet Polka" entitled "Disco Accordion." Similarly, Bobby Vinton adapted "The Pennsylvania Polka" into a song named "Disco Polka". Easy listening icon Percy Faith, in one of his last recordings, released an album entitled Disco Party (1975) and recorded a disco version of his "Theme from A Summer Place" in 1976. Even classical music was adapted for disco, notably Walter Murphy's "A Fifth of Beethoven" (1976, based on the first movement of Beethoven's 5th Symphony) and "Flight 76" (1976, based on Rimsky-Korsakov's "Flight of the Bumblebee"), and Louis Clark's Hooked On Classics series of albums and singles.

File:Manhattan Transfer.jpg jazz group the Manhattan Transfer had a disco hit with the 1979 "Twilight Zone/Twilight Tone" theme.]]

Many original television theme songs of the era also showed a strong disco influence, such as S.W.A.T. (1975), Wonder Woman (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), NBC Sports broadcasts (1978), Kojak (1977), and The Hollywood Squares (1979).

Disco jingles also made their way into many TV commercials, including Purina's 1979 "Good Mews" cat food commercial{{Cite web|url=https://www.youtube.com/watch?v=GtKOGvHqgvg|url-status=dead|title=1979 Purina Good Mews cat food TV commercial|date=August 15, 2013|via=YouTube|access-date=March 9, 2019|archive-date=May 20, 2019|archive-url=https://web.archive.org/web/20190520154001/https://www.youtube.com/watch?v=GtKOGvHqgvg&gl=US&hl=en}} and an "IC Light" commercial by Pittsburgh's Iron City Brewing Company.

Several parodies of the disco style were created. Rick Dees, at the time a radio DJ in Memphis, Tennessee, recorded "Disco Duck" (1976) and "Dis-Gorilla" (1977); Frank Zappa parodied the lifestyles of disco dancers in "Disco Boy" on his 1976 Zoot Allures album and in "Dancin' Fool" on his 1979 Sheik Yerbouti album. "Weird Al" Yankovic's eponymous 1983 debut album includes a disco song called "Gotta Boogie", an extended pun on the similarity of the disco move to the American slang word "booger". Comedian Bill Cosby devoted his entire 1977 album Disco Bill to disco parodies. In 1980, Mad Magazine released a flexi-disc titled Mad Disco featuring six full-length parodies of the genre. Rock and roll songs critical of disco included Bob Seger's "Old Time Rock and Roll" and, especially, the Who's "Sister Disco" (both 1978)—although the Who's "Eminence Front" (four years later) had a disco feel.

File:Rich Carey, 1977.jpg

By the end of the 1970s, anti-disco sentiment developed among rock music fans and musicians, particularly in the United States.Encyclopedia of Contemporary American Culture, {{ISBN|978-0-415-16161-9}}, {{ISBN|978-0-415-16161-9}} (2001) p. 217: "In fact, by 1977, before punk rock spread, there was a 'disco sucks' movement sponsored by radio stations that attracted some suburban white youth, who thought that disco was escapist, synthetic, and overproduced." Disco was criticized as mindless, consumerist, overproduced and escapist.{{cite web|url=http://reason.com/archives/2014/05/27/paranoia-at-the-disco|title=Disco Doesn't Suck. Here's Why.|date=May 27, 2014|website=Reason|access-date=June 5, 2017|archive-url=https://web.archive.org/web/20170802123422/http://reason.com/archives/2014/05/27/paranoia-at-the-disco|archive-date=August 2, 2017|url-status=live}} Also see Encyclopedia of Contemporary American Culture, {{ISBN|978-0-415-16161-9}}, {{ISBN|978-0-415-16161-9}} (2001) p. 217. The slogans "Disco sucks" and "Death to disco" became common. Rock artists such as Rod Stewart and David Bowie who added disco elements to their music were accused of selling out.[http://www.robertchristgau.com/xg/pnj/pj78.php Robert Christgau: Pazz & Jop 1978: New Wave Hegemony and the Bebop Question] {{Webarchive|url=https://web.archive.org/web/20091004025459/http://www.robertchristgau.com/xg/pnj/pj78.php |date=October 4, 2009 }} Robert Christgau for the Village Voice Pop & Jop Poll January 22, 1978, 1979

The punk subculture in the United States and the United Kingdom was often hostile to disco,{{cite web|url=https://www.allmusic.com/subgenre/disco-ma0000002552|title=Disco Music Genre Overview – AllMusic|website=AllMusic|access-date=October 27, 2017|archive-url=https://web.archive.org/web/20171019012752/https://www.allmusic.com/subgenre/disco-ma0000002552|archive-date=October 19, 2017|url-status=live}} although, in the UK, many early Sex Pistols fans such as the Bromley Contingent and Jordan liked disco, often congregating at nightclubs such as Louise's in Soho and the Sombrero in Kensington. The track "Love Hangover" by Diana Ross, the house anthem at the former, was cited as a particular favourite by many early UK punks.England's Dreaming, Jon Savage Faber & Faber 1991, pp 93, 95, 185–186

The film The Great Rock 'n' Roll Swindle and its soundtrack album contained a disco medley of Sex Pistols songs, entitled Black Arabs and credited to a group of the same name.

However, Jello Biafra of the Dead Kennedys, in the song "Saturday Night Holocaust", likened disco to the cabaret culture of Weimar-era Germany for its apathy towards government policies and its escapism. Mark Mothersbaugh of Devo said that disco was "like a beautiful woman with a great body and no brains", and a product of political apathy of that era.{{cite web|url=http://juicemagazine.com/home/devo/|title=DEVO|date=September 1, 2001|website=Juicemagazine.com|access-date=October 27, 2017|archive-url=https://web.archive.org/web/20170620165319/http://juicemagazine.com/home/devo/|archive-date=June 20, 2017|url-status=live}} Experimental filmmaker Wheeler Winston Dixon called it "absolutely brain dead", around the clock disco-based radio as "just awful" and Studio 54 struck him as "really dull and elitist" and "everything I was against" (favoring CBGB, which he called "something of a haven", and New Wave acts like Blondie, The Ramones and Television).Foster, Gwendolyn Audrey [http://sensesofcinema.com/2003/feature-articles/wheeler_winston_dixon/ "Community, Loss, and Regeneration: An Interview with Wheeler Winston Dixon"], Senses of Cinema. Accessed February 7, 2020. David Byrne, lead singer of The Talking Heads, remarked on the liner notes for the compilation album Once in a Lifetime: The Best of Talking Heads about lyrics in their 1979 song "Life During Wartime" ("this ain't no party, this ain't no disco, this ain't no foolin' around")[https://americansongwriter.com/talking-heads-life-wartime/ Behind the Song: Talking Heads, "Life During Wartime" - American Songwriter]{{cite book

| first= Joel

| last= Whitburn

| year= 1997

| title= Joel Whitburn's Top Pop Singles

| edition=

| publisher= Record Research Inc

| location= Menomonee Falls, WI

| isbn= 0-89820-122-5

| page= 869}}{{Cite web|url=https://www.allmusic.com/song/life-during-wartime-mt0031644471|title=Life During Wartime - Talking Heads | Song Info | AllMusic|via=www.allmusic.com}}

The line 'This ain't no disco' sure stuck! Remember when they would build bonfires of Donna Summer records? Well, we liked some disco music! It's called 'dance music' now. Some of it was radical, camp, silly, transcendent and disposable. So it was funny that we were sometimes seen as the flag-bearers of the anti-disco movement.

New Jersey rock critic Jim Testa wrote "Put a Bullet Through the Jukebox", a vitriolic screed attacking disco that was considered a punk call to arms.{{cite book|first1=Mark|last1=Andersen|first2=Mark|last2=Jenkins|title=Dance of days: two decades of punk in the nation's capital|url=https://books.google.com/books?id=CU1jKq0TlvQC&pg=PA17|access-date=March 21, 2011|date=August 1, 2003|publisher=Akashic Books|isbn=978-1-888451-44-3|pages=17–|archive-date=May 22, 2024|archive-url=https://web.archive.org/web/20240522081459/https://books.google.com/books?id=CU1jKq0TlvQC&pg=PA17|url-status=live}} Steve Hillage, shortly prior to his transformation from a progressive rock musician into an electronic artist at the end of the 1970s with the inspiration of disco, disappointed his rockist fans by admitting his love for disco, with Hillage recalling "it's like I'd killed their pet cat."{{cite web|url=http://www.terrascope.co.uk/Features/Steve_Hillage_feature.htm|title=Steve Hillage Terrascope Feature|website=terrascope.co.uk|access-date=October 27, 2017|archive-url=https://web.archive.org/web/20121104140430/http://www.terrascope.co.uk/Features/Steve_Hillage_feature.htm|archive-date=November 4, 2012|url-status=live}}

Anti-disco sentiment was expressed in some television shows and films. A recurring theme on the show WKRP in Cincinnati was a hostile attitude towards disco music. In one scene of the 1980 comedy film Airplane!, a wayward airplane slices a radio tower with its wing, knocking out an all-disco radio station.{{cite web |last1=Foster |first1=Buzz |title=Disco Lives Forever! |url=https://www.youtube.com/watch?v=vtsQI2IeM5U | archive-url=https://ghostarchive.org/varchive/youtube/20211211/vtsQI2IeM5U| archive-date=December 11, 2021 | url-status=live|via=YouTube |access-date=November 4, 2021 |date=May 17, 2012}}{{cbignore}} July 12, 1979, became known as "the day disco died" because of the Disco Demolition Night, an anti-disco demonstration in a baseball double-header at Comiskey Park in Chicago.Campion, Chris Walking on the Moon: The Untold Story of the Police and the Rise of New Wave Rock. John Wiley & Sons, (2009), {{ISBN|978-0-470-28240-3}} pp. 82–84. Rock station DJs Steve Dahl and Garry Meier, along with Michael Veeck, son of Chicago White Sox owner Bill Veeck, staged the promotional event for disgruntled rock fans between the games of a White Sox doubleheader which involved exploding disco records in centerfield. As the second game was about to begin, the raucous crowd stormed onto the field and proceeded to set fires and tear out seats and pieces of turf. The Chicago Police Department made numerous arrests, and the extensive damage to the field forced the White Sox to forfeit the second game to the Detroit Tigers, who had won the first game.

Disco's decline in popularity after Disco Demolition Night was rapid. On July 12, 1979, the top six records on the U.S. music charts were disco songs.[http://www.wnyc.org/shows/soundcheck/2009/jul/14/disco-demolition-night/ From Comiskey Park to Thriller: The Effect of "Disco Sucks" on Pop] {{webarchive|url=https://web.archive.org/web/20111119085207/http://www.wnyc.org/shows/soundcheck/2009/jul/14/disco-demolition-night/ |date=November 19, 2011 }} by Steve Greenberg founder and CEO of S-Curve Records July 10, 2009. By September 22, there were no disco songs in the US Top 10 chart, with the exception of Herb Alpert's instrumental "Rise", a smooth jazz composition with some disco overtones. Some in the media, in celebratory tones, declared disco dead and rock revived. Karen Mixon Cook, 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 [at the time]. But I think it [Disco Demolition Night] hastened its demise".{{cite web|url=https://www.nbcnews.com/id/wbna5429592|work=NBC News|title='Countdown with Keith Olbermann' Complete Transcript for July 12, 2004|date=July 12, 2004|access-date=February 15, 2013|archive-date=September 24, 2020|archive-url=https://web.archive.org/web/20200924003428/http://www.nbcnews.com/id/5429592|url-status=live}}

The anti-disco movement, 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, country music began a slow rise on the pop chart. Emblematic of country music's rise to mainstream popularity was the commercially successful 1980 movie Urban Cowboy. The continued popularity of power pop and the revival of oldies in the late 1970s was also related to disco's decline; the 1978 film Grease was emblematic of this trend. Coincidentally, the star of both films was John Travolta, who in 1977 had starred in Saturday Night Fever, which remains one of the most iconic disco films of the era.

During this period of decline in disco's popularity, several record companies folded, were reorganized, or were sold. In 1979, MCA Records purchased ABC Records, absorbed some of its artists and then shut the label down. Midsong International Records ceased operations in 1980. RSO Records founder Robert Stigwood left the label in 1981 and TK Records closed in the same year. Salsoul Records continues to exist in the 2000s, but primarily is used as a reissue brand.{{cite web|url=http://www.disco-disco.com/labels/salsoul.shtml|title=Salsoul Records @ Disco-Disco.com|website=disco-disco.com|access-date=October 27, 2017|archive-url=https://web.archive.org/web/20171014151424/http://www.disco-disco.com/labels/salsoul.shtml|archive-date=October 14, 2017|url-status=live}} Casablanca Records had been releasing fewer records in the 1980s, and was shut down in 1986 by parent company PolyGram.

Many groups that were popular during the disco period subsequently struggled to maintain their success—even ones who tried to adapt to evolving musical tastes. The Bee Gees, for instance, retreated from the pop mainstream in the early 1980s and spent the first half of the decade writing and producing successful material for other artists such as Barbra Streisand and Dionne Warwick, finally returning for 1987's E.S.P which spawned the chart topping hit You Win Again in their home country - whilst in the US, they only had one top-10 entry (1989's "One") and three more top-40 songs, and the band itself had largely abandoned disco in its 1980s and 1990s songs. Chic never hit the top-40 again after "Good Times" topped the chart in August 1979. Of the handful of groups not taken down by disco's fall from favor, Kool and the Gang, Donna Summer, the Jacksons, and Gloria Gaynor in particular, stand out. In spite of having helped define the disco sound early on,Jackson 5: The Ultimate Collection (1996), liner notes. they continued to make popular and danceable, if more refined, songs for yet another generation of music fans in the 1980s and beyond. Earth, Wind & Fire also survived the anti-disco trend and continued to produce successful singles 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. Some popular disco tracks released after Disco Demolition Night include "Steppin' Out" by Kool and the Gang (1981), "In the Middle" by Unlimited Touch (1981), "I'm Coming Out" by Diana Ross (1980), "My Feet Keep Dancing" by Chic (1980), "Funkytown" by Lipps Inc. (1980), "Lady (You Bring Me Up)" by The Commodores (1981) and "All American Girls" by Sister Sledge (1981).

Six months prior to Disco Demolition Night (in December 1978), popular progressive rock radio station WDAI (WLS-FM) had suddenly switched to an all-disco format, disenfranchising thousands of Chicago rock fans and leaving Dahl unemployed. WDAI, who survived the change of public sentiment and still had good ratings at this point, continued to play disco until it flipped to a short-lived hybrid Top 40/rock format in May 1980. Another disco outlet that competed against WDAI at the time, WGCI-FM, would later incorporate R&B and pop songs into the format, eventually evolving into an urban contemporary outlet that it continues with today. The latter also helped bring the Chicago house genre to the airwaves.{{Citation needed|date=April 2023}}

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 burnout from the hedonistic lifestyles led by participants.[{{AllMusic|class=artist|id=p3652|pure_url=yes}} Allmusic BeeGees bio] In the years since Disco Demolition Night, some social critics have described the "Disco sucks" movement as implicitly macho and bigoted, and an attack on non-white and non-heterosexual cultures. It was also linked to a wider cultural "backlash", the move towards conservatism,[https://www.theguardian.com/music/musicblog/2009/jun/18/disco-sucks Ben Myers: "Why 'Disco sucks!' sucked"] {{Webarchive|url=https://web.archive.org/web/20210320111407/https://www.theguardian.com/music/musicblog/2009/jun/18/disco-sucks |date=March 20, 2021 }}, in: The Guardian, June 18, 2009, accessed on March 26, 2020. that also made its way into US politics with the election of conservative president Ronald Reagan in 1980, which also led to Republican control of the United States Senate for the first time since 1954, plus the subsequent rise of the Religious Right around the same time.

In January 1979, rock critic Robert Christgau argued that homophobia, and most likely racism, were reasons behind the movement, a conclusion seconded by John Rockwell. Craig Werner wrote: "The Anti-disco movement represented an unholy alliance of funkateers and feminists, progressives, and puritans, rockers and reactionaries. Nonetheless, the attacks on disco gave respectable voice to the ugliest kinds of unacknowledged racism, sexism and homophobia."Easlea, Daryl, [https://www.independent.co.uk/news/world/americas/disco-inferno-680390.html Disco Inferno] {{Webarchive|url=https://web.archive.org/web/20110913220555/http://www.independent.co.uk/news/world/americas/disco-inferno-680390.html |date=September 13, 2011 }}, The Independent, December 11, 2004 Legs McNeil, founder of the fanzine Punk, was quoted in an interview as saying, "the hippies always wanted to be black. We were going, 'fuck the blues, fuck the black experience.'" He also said that disco was the result of an "unholy" union between homosexuals and blacks.Rip it Up and Start Again POSTPUNK 1978–1984 by Simon Reynolds p. 154

Steve Dahl, 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,"{{cite web|url=http://sports.espn.go.com/espn/page3/story?page=behrens/040809 |title=Top Sports Searches – ESPN |url-status=dead |archive-url=https://web.archive.org/web/20100504172447/http://sports.espn.go.com/espn/page3/story?page=behrens%2F040809 |archive-date=May 4, 2010 }} it was "just kids pissing on a musical genre".{{cite web |title=The 1979 riot that 'killed' disco |url=https://www.bbc.com/culture/article/20230922-the-night-angry-rock-fans-destroyed-disco-music |website=BBC |archive-url=https://web.archive.org/web/20231102120513/https://www.bbc.com/culture/article/20230922-the-night-angry-rock-fans-destroyed-disco-music |archive-date=November 2, 2023 |date=September 22, 2023 |url-status=live}} It has been noted that British punk rock critics of disco were very supportive of the pro-black/anti-racist reggae genre as well as the more pro-gay new romantics 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."Are We Not New Wave Modern Pop at the Turn of the 1980s Theo Cateforis Page 36 {{ISBN|978-0-472-03470-3}} Harold Childs, senior vice president at A&M Records, reportedly told the Los Angeles Times that "radio is really desperate for rock product" and "they're all looking for some white rock-n-roll".

Disco was instrumental in the development of electronic dance music genres like house, techno, and Eurodance. The Eurodisco song I Feel Love, produced by Giorgio Moroder for Donna Summer in 1976, has been described as a milestone and blueprint for electronic dance music because it was the first to combine repetitive synthesizer loops with a continuous four-on-the-floor bass drum and an off-beat hi-hat, which would become a main feature of techno and house ten years later.{{cite web |url=https://songlexikon.de/songs/ifeellove/ |title=Donna Summer: I Feel Love |date=8 May 2017 |publisher=Zentrum für Populäre Kultur und Musik |language=de |access-date=May 26, 2022 |archive-date=May 24, 2022 |archive-url=https://web.archive.org/web/20220524182438/https://songlexikon.de/songs/ifeellove/ |url-status=live }}

During the first years of the 1980s, the traditional disco sound characterized by complex arrangements performed by large ensembles of studio session musicians (including a horn section and an orchestral string section) began to be phased out, and faster tempos and synthesized effects, accompanied by guitar and simplified backgrounds, moved dance music toward electronic and pop genres, starting with hi-NRG. Despite its decline in popularity, so-called club music and European-style disco remained relatively successful in the early-to-mid 1980s with songs like Aneka's "Japanese Boy", The Weather Girls's "It's Raining Men", Stacey Q's "Two of Hearts", Dead or Alive's "You Spin Me Round (Like a Record)", Laura Branigan's "Self Control", and Baltimora's "Tarzan Boy". However, a revival of the traditional-style disco called nu-disco has been popular since the 1990s.

House music displayed a strong disco influence, which is why house music, regarding its enormous success in shaping electronic dance music and contemporary club culture, is often described being "disco's revenge."[https://www.vice.com/en/article/house-music-is-discos-revenge-a-look-at-the-early-days-of-american-house/ "House Music is Disco's Revenge: A Look at the Early Days of American House"] , in: Vice magazine, September 9, 2014, accessed on March 26, 2020. Early house music was generally dance-based music characterized by repetitive four-on-the-floor beats, rhythms mainly provided by drum machines,{{cite web |url=https://www.allmusic.com/subgenre/house-ma0000002651 |title=House : Significant Albums, Artists and Songs, Most Viewed |website=AllMusic |access-date=October 12, 2012 |archive-url=https://web.archive.org/web/20121006233620/http://www.allmusic.com/subgenre/house-ma0000002651 |archive-date=October 6, 2012 |url-status=live }} off-beat hi-hat cymbals, and synthesized basslines. While house displayed several characteristics similar to disco music, it was more electronic and minimalist, and the repetitive rhythm of house was more important than the song itself. As well, house did not use the lush string sections that were a key part of the disco sound.

File:Vintage DJ Station 2019 by Glenn Francis.jpg is placed between two Technics SL-1200 MK 2 turntables.]]

The rising popularity of disco came in tandem with developments in the role of the DJ. DJing developed from the use of multiple record turntables and DJ mixers 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 DJ mix differed from previous forms of dance music in the 1960s, which were oriented towards live performances by musicians. It, 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 turntablism techniques, such as beatmatching and scratching, a process facilitated by the introduction of new turntable technologies such as the Technics SL-1200 MK 2, first sold in 1978, which had a precise variable pitch control and a direct drive motor. DJs were often avid record collectors, who would hunt through used record stores for obscure soul records and vintage funk recordings. DJs helped to introduce rare records and new artists to club audiences.

File:Diskotanssiesitys Kontulan 30-vuotispäivillä 1994. - N262306 (hkm.HKMS000005-km0036in).jpg in Helsinki, Finland, in 1994]]

In the 1970s, individual DJs became more prominent, and some DJs, such as Larry Levan, the resident at Paradise Garage, Jim Burgess, Tee Scott, and Francis Grasso became famous in the disco scene. Levan, for example, developed a cult following among clubgoers, who referred to his DJ sets as "Saturday Mass". Some DJs would use reel-to-reel tape recorders to make remixes and tape edits of songs. Some DJs who were making remixes made the transition from the DJ booth to becoming a record producer, 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 beat-matched records, the first to use electronic effects units in his mixes, and he was an innovator in mixing dialogue in from well-known movies, typically over a percussion break. These mixing techniques were also applied to radio DJs, such as Ted Currier of WKTU and WBLS. Grasso is particularly notable for taking the DJ "profession out of servitude and [making] the DJ the musical head chef."{{sfn|Brewster|Broughton|2000|p=129}} 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 their own technical and creative skills to whip up a nightly special of innovative mixes, refining their personal sound and aesthetic, and building their own reputation.{{sfn|Sanneh|2021|p=369}}

{{Main|Post-disco|Italo disco|alternative dance}}

The post-disco sound and genres associated with it originated in the 1970s and early 1980s with R&B and post-punk musicians focusing on a more electronic and experimental side of disco, spawning boogie, Italo disco, and alternative dance. Drawing from a diverse range of non-disco influences and techniques, such as the "one-man band" style of Kashif and Stevie Wonder and alternative approaches of Parliament-Funkadelic, it was driven by synthesizers, keyboards, and drum machines. Post-disco acts include D. Train, Patrice Rushen, ESG, Bill Laswell, Arthur Russell. Post-disco had an important influence on dance-pop and was bridging classical disco and later forms of electronic dance music.{{cite web|url=https://www.allmusic.com/style/post-disco-ma0000012124|title=Post-disco|website=Allmusic|access-date=October 31, 2019|archive-date=June 6, 2019|archive-url=https://web.archive.org/web/20190606095555/https://www.allmusic.com/style/post-disco-ma0000012124|url-status=live}}

{{main|Hip hop music|Old-school hip hop}}

The disco sound had a strong influence on early hip hop. Most of the early 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 song "Rapper's Delight", generally considered to be the song that first popularized rap music in the United States and around the world.

With synthesizers and Krautrock influences that replaced the previous disco foundation, a new genre was born when Afrika Bambaataa released the single "Planet Rock", spawning a hip hop electronic dance trend that includes songs such as Planet Patrol's "Play at Your Own Risk" (1982), C-Bank's "One More Shot" (1982), Cerrone's "Club Underworld" (1984), Shannon's "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).

{{Main|House music|rave}}

File:Miguel Migs by Peter Chiapperino.jpgs creating mixes for dancers in clubs. Pictured is DJ Miguel Migs, mixing using CDJ players.]]

House music is a genre of electronic dance music that originated in Chicago in the early 1980s (also see: Chicago house). It quickly spread to other American cities such as Detroit, where it developed into the harder and more industrial techno, New York City (also see: garage house), 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.{{cite journal | url=http://unesdoc.unesco.org/images/0012/001201/120152e.pdf | title=The club DJ: a brief history of a cultural icon | publisher=UNESCO | date=July–August 2000 | last=Fikentscher | first=Kai | journal=UNESCO Courier | page=47 | quote=Around 1986/7, after the initial explosion of house music in Chicago, it became clear that the major recording companies and media institutions were reluctant to market this genre of music, associated with gay African Americans, on a mainstream level. House artists turned to Europe, chiefly London but also cities such as Amsterdam, Berlin, Manchester, Milan, Zurich, and Tel Aviv. ... A third axis leads to Japan where, since the late 1980s, New York club DJs have had the opportunity to play guest-spots. | access-date=March 7, 2016 | archive-url=https://web.archive.org/web/20160303181437/http://unesdoc.unesco.org/images/0012/001201/120152e.pdf | archive-date=March 3, 2016 | url-status=live | df=mdy-all }} Early house music commercial success in Europe saw songs such as "Pump Up The Volume" by MARRS (1987), "House Nation" by House Master Boyz and the Rude Boy of House (1987), "Theme from S'Express" by S'Express (1988) and "Doctorin' the House" by Coldcut (1988) in the pop charts. Since the early to mid-1990s, house music has been infused in mainstream pop and dance music worldwide.

House music in the 2010s, while keeping several of these core elements, notably the prominent kick drum on every beat, varies widely in style and influence, ranging from the soulful and atmospheric deep house to the more aggressive acid house or the minimalist microhouse. House music has also fused with several other genres creating fusion subgenres, such as euro house, tech house, electro house, and jump house.

File:RaveOn.jpg dance event in Vienna, 2005]]

In the late 1980s and early 1990s, rave culture began to emerge from the house and acid house scene.{{cite magazine | url = http://music.hyperreal.org/library/history_of_house.html | title = The History Of House | access-date = August 13, 2013 | first = Phil | last = Cheeseman-fu | magazine = DJ Magazine | archive-url = https://web.archive.org/web/20130906062503/http://music.hyperreal.org/library/history_of_house.html | archive-date = September 6, 2013 | url-status = live | df = mdy-all }} Like house, it incorporated disco culture's same love of dance music played by DJs over powerful sound systems, recreational drug and club drug exploration, sexual promiscuity, and hedonism. 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 mass consumption. In contrast, the rave culture started out underground and stayed (mostly) 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 law enforcement 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 ecstasy.

{{Anchor|Post punk}}

{{Main|Post-punk|dance-punk}}

The post-punk movement that originated in the late 1970s both supported punk rock's rule-breaking while rejecting its move back to raw rock music. Post-punk's mantra of constantly moving forward lent itself to both openness to and experimentation with elements of disco and other styles. Public Image Limited is considered the first post-punk group. The group's second album Metal Box fully embraced the "studio as instrument" methodology of disco. The group's founder John Lydon, the former lead singer for the Sex Pistols, told the press that disco was the only music he cared for at the time.

No wave was a subgenre of post-punk centered in New York City. For shock value, James Chance, 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 superradioactive disco voodoo funk". His band James White and the Blacks wrote a disco album titled Off White. Their performances resembled those of disco performers (horn section, dancers and so on). In 1981 ZE Records led the transition from no wave into the more subtle mutant disco (post-disco/punk) genre. Mutant disco acts such as Kid Creole and the Coconuts, Was Not Was, ESG and Liquid Liquid influenced several British post-punk acts such as New Order, Orange Juice and A Certain Ratio.Rip It Up and Start Again POSTPUNK 1978–1984 by Simon Reynolds

{{main|Nu-disco}}

Nu-disco is a 21st-century dance music genre associated with the renewed interest in 1970s and early 1980s disco,{{cite journal|journal=Village Voice|title=Disco Double Take: New York Parties Like It's 1975|date=July 11, 2001|access-date=December 17, 2008|last=Reynolds|first=Simon|url=http://energyflashbysimonreynolds.blogspot.com/2008/06/disco-double-take-new-york-parties-like.html|archive-url=https://web.archive.org/web/20090211160513/http://energyflashbysimonreynolds.blogspot.com/2008/06/disco-double-take-new-york-parties-like.html|archive-date=February 11, 2009|url-status=live}} mid-1980s Italo disco, and the synthesizer-heavy Euro disco aesthetics.{{cite journal |last=Beta |first=Andy |date=February 2008 |title=Boogie Children: A new generation of DJs and producers revive the spaced-out, synthetic sound of Euro disco |journal=Spin |page=44 |url=http://spin-cdnsrc.texterity.com/spin/200802/?pg=48 |access-date=August 8, 2008 |archive-url=https://web.archive.org/web/20110716213206/http://spin-cdnsrc.texterity.com/spin/200802/?pg=48 |archive-date=July 16, 2011 |url-status=live }} 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.{{cite press release

|title = Beatport launches nu disco / indie dance genre page

|publisher = Beatport

|date = July 30, 2008

|url = http://www.beatportal.com/feed/item/beatport-launches-nu-disco-indie-dance-genre-page/

|access-date = August 8, 2008

|quote = 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 ...

|archive-url = https://web.archive.org/web/20080807115809/http://www.beatportal.com/feed/item/beatport-launches-nu-disco-indie-dance-genre-page/

|archive-date = August 7, 2008

|url-status = dead

|df = mdy-all

}} 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 who were previously associated with the genres electroclash and French house.

{{Main|Nu-disco}}

In the 1990s, after a decade of backlash, disco and its legacy became more accepted by pop music artists and listeners alike, as more songs, films, and compilations were released that referenced disco. This was part of a wave of 1970s nostalgia that was taking place in popular culture at the time. Some commentators attributed the revival of the genre to frequent use of disco music in fashion shows.{{Cite web |last=Considine |first=J. d |date=1998-09-14 |title=Disco's Comeback More Than Nostalgia |url=https://www.latimes.com/archives/la-xpm-1998-sep-14-ca-22789-story.html |access-date=2024-01-14 |website=Los Angeles Times |language=en-US |archive-date=May 22, 2024 |archive-url=https://web.archive.org/web/20240522081500/https://www.latimes.com/archives/la-xpm-1998-sep-14-ca-22789-story.html |url-status=live }}

Examples of songs during this time that were influenced by disco included Deee-Lite's "Groove Is in the Heart" (1990), U2's "Lemon" (1993), Blur's "Girls & Boys" (1994) and "Entertain Me" (1995), Pulp's "Disco 2000" (1995), and Jamiroquai's "Canned Heat" (1999), while films such as Boogie Nights (1997) and The Last Days of Disco (1998) featured primarily disco soundtracks.[https://albumism.com/lists1/100-greatest-soundtracks-of-all-time-boogie-nights 100 Greatest Soundtracks of All Time: 'Boogie Nights' (1997) - Albumism][https://www.ica.art/films/the-last-days-of-disco ICA|The Last Days of Disco on 35mm]

File:04232012dae jpg semana de la cultura159.JPG 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 Daft Punk's "One More Time" and Kylie Minogue's "Love at First Sight" and "Can't Get You Out of My Head" became club favorites and commercial successes. Several nu-disco songs were crossovers with funky house, such as Spiller's "Groovejet (If This Ain't Love)" and Modjo's "Lady (Hear Me Tonight)", both songs sampling older disco songs and both reaching number one on the UK Singles Chart in 2000. Robbie Williams's disco single "Rock DJ" was the UK's fourth best-selling single the same year. Jamiroquai's song "Little L" and "Murder on the Dancefloor" by Sophie Ellis-Bextor were hits in 2001. Rock band Manic Street Preachers released a disco song, "Miss Europa Disco Dancer", in the same year. The song's disco influence, which appears on Know Your Enemy, was described as being "much-discussed".{{cite news|url=https://www.theguardian.com/lifeandstyle/2001/mar/16/shopping.culture1|title=Condemned to rock'n'roll|first=Garry|last=Mulholland|date=March 16, 2001|newspaper=The Guardian|access-date=December 11, 2016|archive-url=https://web.archive.org/web/20170224140032/https://www.theguardian.com/lifeandstyle/2001/mar/16/shopping.culture1|archive-date=February 24, 2017|url-status=live}} In 2005, Madonna immersed herself in the disco music of the 1970s and released her album Confessions on a Dance Floor to rave reviews. One of the singles from the album, "Hung Up", which samples ABBA's 1979 song "Gimme! Gimme! Gimme! (A Man After Midnight)", became a major club staple. In addition to Madonna's disco-influenced attire to award shows and interviews, her Confessions Tour incorporated various elements of the 1970s, such as disco balls, a mirrored stage design, and the roller derby. In 2006, Jessica Simpson released her album A Public Affair inspired by disco and the 1980s music. The first single of the album, "A Public Affair", was reviewed as a disco-dancing competition influenced by Madonna's early works. The video of the song was filmed on a skating rink and features a line dance of hands.{{cite magazine|url=https://books.google.com/books?id=PhYEAAAAMBAJ&q=jessica+simpson+a+public+affair+billboard+release&pg=PA53|title=A Public Affair Spotlight|magazine=Billboard|date=July 1, 2006|accessdate=June 4, 2020|archive-date=May 22, 2024|archive-url=https://web.archive.org/web/20240522081501/https://books.google.com/books?id=PhYEAAAAMBAJ&q=jessica+simpson+a+public+affair+billboard+release&pg=PA53#v=snippet&q=jessica%20simpson%20a%20public%20affair%20billboard%20release&f=false|url-status=live}}{{AllMusic|class=album|id=r849668}}{{cite web|url=https://www.bbc.co.uk/music/release/3w8c/|title=BBC - Music - Review of Jessica Simpson - A Public Affair|first=Lizzie|last=Ennever|access-date=September 7, 2021|archive-date=May 22, 2024|archive-url=https://web.archive.org/web/20240522082004/https://www.bbc.co.uk/music/reviews/3w8c/|url-status=live}}

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 2000's great disco number ones explore how to play this hand. Madison Avenue 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."{{cite web|last1=Ewing|first1=Tom|title=SPILLER – "Groovejet (If This Ain't Love)"|url=http://freakytrigger.co.uk/popular/2015/04/spiller-groovejet-if-this-aint-love-2/|website=Freaky Trigger|access-date=April 12, 2017|date=April 22, 2015|archive-url=https://web.archive.org/web/20170222225543/http://freakytrigger.co.uk/popular/2015/04/spiller-groovejet-if-this-aint-love-2/|archive-date=February 22, 2017|url-status=live}}

In 2011, K-pop girl group T-ara released Roly-Poly as a part of their EP John Travolta Wannabe. The song accumulated over 4,000,000 units in digital downloads, which became the highest number of downloads for a K-pop girl group single on the Gaon Digital Chart in the 2010s. In 2013, with several 1970s-style disco and funk being released, the pop charts had more dance songs than at any other point since the late 1970s.{{cite web|url=https://www.nytimes.com/2013/05/30/arts/music/daft-punks-get-lucky-may-rule-the-summer.html|title=It's Happy, It's Danceable and It May Rule Summer|date=May 30, 2013|work=The New York Times|access-date=February 15, 2017|archive-url=https://web.archive.org/web/20170303082943/http://www.nytimes.com/2013/05/30/arts/music/daft-punks-get-lucky-may-rule-the-summer.html|archive-date=March 3, 2017|url-status=live}} The biggest disco song of the year was "Get Lucky" by Daft Punk, featuring Nile Rodgers on guitar. Its parent album, Random Access Memories, ended up winning Album of the Year at the 2014 Grammys. Other disco-styled songs that made it into the top 40 that year were Robin Thicke's "Blurred Lines" (number one), Justin Timberlake's "Take Back the Night" (number 29), Bruno Mars' "Treasure" (number five) Arcade Fire's Reflektor featured strong disco elements. In 2014, disco music could be found in Lady Gaga's Artpop{{cite magazine|url=https://www.billboard.com/articles/list/5840321/15-best-albums-of-2013-critics-picks |title=15 Best Albums of 2013: Critics' Picks |magazine=Billboard |date=December 19, 2013 |access-date=January 4, 2014| archive-url = https://web.archive.org/web/20140103021106/http://www.billboard.com/articles/list/5840321/15-best-albums-of-2013-critics-picks | archive-date = January 3, 2014| url-status=live}}{{cite news|last=Shriver|first=Jerry|title=Review: Lady Gaga's 'Artpop' bursts with disco energy|url=https://www.usatoday.com/story/life/music/2013/11/05/lady-gaga-artpop-listen-up-album-review/3446301/|newspaper=USA Today|date=November 5, 2013|access-date=August 26, 2017|archive-url=https://web.archive.org/web/20170709202547/https://www.usatoday.com/story/life/music/2013/11/05/lady-gaga-artpop-listen-up-album-review/3446301/|archive-date=July 9, 2017|url-status=live}} and Katy Perry's "Birthday".{{cite web |url=https://latimes.com/entertainment/music/posts/la-et-ms-katy-perry-prism-review-20131022,0,6156766.story#axzz2lgkBm0bs |title=Review: Hits pack Katy Perry's 'Prism' |first=Randall |last=Roberts |work=Los Angeles Times |date=October 22, 2013 |access-date=November 25, 2013 |archive-url=https://web.archive.org/web/20140125034828/http://www.latimes.com/entertainment/music/posts/la-et-ms-katy-perry-prism-review-20131022%2C0%2C6156766.story#axzz2lgkBm0bs |archive-date=January 25, 2014 |url-status=live }} Other disco songs from 2014 include "I Want It All" By Karmin, 'Wrong Club" by the Ting Tings, "Blow" by Beyoncé and the William Orbit mix of "Let Me in Your Heart Again" by Queen.

In 2014 Brazilian Globo TV, the second biggest television network in the world, aired Boogie Oogie, a telenovela about the Disco Era that takes place between 1978 and 1979, from the hit fever to the decadence. The show's success was responsible for a Disco revival across the country, bringing back to the stage and to Brazilian record charts local disco divas like Lady Zu and As Frenéticas.{{Citation needed|date=October 2023}}

Top-10 entries from 2015 such as Mark Ronson's disco groove-infused "Uptown Funk", Maroon 5's "Sugar", the Weeknd's "Can't Feel My Face" and Jason Derulo's "Want To Want Me" also have a strong disco influence. Disco mogul and producer Giorgio Moroder also re-appeared in 2015 with his new album Déjà Vu, which proved to be a modest success. Other songs from 2015 like "I Don't Like It, I Love It" by Flo Rida, "Adventure of a Lifetime" by Coldplay, "Back Together" by Robin Thicke and "Levels" by Nick Jonas feature disco elements as well. In 2016, disco songs or disco-styled pop songs continued showing a strong presence on the music charts as a possible backlash to the 1980s-styled synthpop, electro house, and dubstep that had been dominating the charts up until then.{{Citation needed|date=January 2024}} Justin Timberlake's 2016 song "Can't Stop the Feeling!", which shows strong elements of disco, became the 26th song to debut at number-one on the Billboard Hot 100 in the history of the chart. The Martian, 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.{{cite magazine |url=https://www.billboard.com/articles/columns/pop-shop/6715353/the-martian-soundtrack-disco-music-guardians-of-the-galaxy |title=Will the '70s Disco Soundtrack of 'The Martian' Be the Next 'Guardians of the Galaxy'? |first=Melinda |last=Newman |magazine=Billboard |date=October 2, 2015 |access-date=May 6, 2016 |archive-url=https://web.archive.org/web/20151011191757/http://www.billboard.com/articles/columns/pop-shop/6715353/the-martian-soundtrack-disco-music-guardians-of-the-galaxy |archive-date=October 11, 2015 |url-status=live }} "Kill the Lights", featured on an episode of the HBO television series "Vinyl" (2016) and with Nile Rodgers' guitar licks, hit number one on the US Dance chart in July 2016.

File:Dua Lipa with Warner Music 2.jpg has been credited by music critics with leading the revival of disco following the widespread international success of her single "Don't Start Now" and her album Future Nostalgia.]]

In 2020, disco continued its mainstream popularity and became a prominent trend in popular music.{{cite web |url=http://www.hani.co.kr/arti/english_edition/e_national/959625.html |title=A comeback of disco amid the COVID-19 pandemic |work=hani.co.kr |access-date=September 23, 2020 |archive-date=October 1, 2020 |archive-url=https://web.archive.org/web/20201001170557/http://www.hani.co.kr/arti/english_edition/e_national/959625.html |url-status=live }}{{cite news |url=https://www.nytimes.com/2020/09/17/arts/music/roisin-murphy-roisin-machine.html |title=Róisín Murphy, a Disco Queen Ruling Her Own Galaxy |work=The New York Times |date=September 17, 2020 |access-date=September 23, 2020 |last1=Vincentelli |first1=Elisabeth |archive-date=September 24, 2020 |archive-url=https://web.archive.org/web/20200924092807/https://www.nytimes.com/2020/09/17/arts/music/roisin-murphy-roisin-machine.html |url-status=live }} In early 2020, disco-influenced hits such as Doja Cat's "Say So", Lady Gaga's "Stupid Love", and Dua Lipa's "Don't Start Now" experienced widespread success on global music charts, charting at numbers 1, 5 and 2, respectively, on the US Billboard Hot 100 chart. At the time, Billboard, declared that Lipa was "leading the charge toward disco-influenced production" a day after her retro and disco-influenced album Future Nostalgia was released on March 27, 2020.{{cite magazine|url=https://www.billboard.com/articles/columns/pop/9343687/dua-lipa-lady-gaga-disco-pop-top-40-trend|title=How Dua Lipa Is Leading The Charge Toward Disco-Influenced Production|date=March 27, 2020|magazine=Billboard|access-date=September 23, 2020|archive-date=March 28, 2020|archive-url=https://web.archive.org/web/20200328141957/https://www.billboard.com/articles/columns/pop/9343687/dua-lipa-lady-gaga-disco-pop-top-40-trend|url-status=live}}{{cite magazine|url=https://www.billboard.com/charts/dance-club-play-songs/2016-07-02|title=Hot Dance Club Songs – July 2, 2016|magazine=Billboard|date=July 2, 2016|access-date=June 21, 2016|archive-url=https://web.archive.org/web/20160702000620/http://www.billboard.com/charts/dance-club-play-songs/2016-07-02|archive-date=July 2, 2016|url-status=live}} By the end of 2020, multiple disco albums had been released, including Adam Lambert's Velvet, Jessie Ware's What's Your Pleasure?, and Róisín Murphy's discothèque mixtape, Róisín Machine. In early September 2020, South Korean group BTS debuted at number 1 in the US with their English–language disco single "Dynamite" having sold 265,000 downloads in its first week in the US, marking the biggest pure sales week since Taylor Swift's "Look What You Made Me Do" (2017).{{cite magazine|url=http://www.billboard.com/articles/business/chart-beat/9442836/bts-dynamite-tops-hot-100-chart|title=BTS' 'Dynamite' Blasts in at No. 1 on Billboard Hot 100, Becoming the Group's First Leader|last=Trust|first=Gary|date=September 23, 2020|magazine=Billboard|access-date=September 23, 2020|archive-date=September 1, 2020|archive-url=https://web.archive.org/web/20200901173118/https://www.billboard.com/articles/business/chart-beat/9442836/bts-dynamite-tops-hot-100-chart|url-status=live}}

In July 2020, Australian singer Kylie Minogue announced she would be releasing her fifteenth studio album, Disco, on November 6, 2020. The album was preceded by two singles. The lead single, "Say Something", was released on July 23 and premiered on BBC Radio 2;{{cite web | url=https://www.pinknews.co.uk/2020/07/21/kylie-minogue-say-something-new-single-2020-album-disco/ | title=Kylie Minogue is about to save 2020 with the joy-filled first single from her disco-drenched new album | work=PinkNews | date=July 21, 2020 | access-date=July 21, 2020 | author=Kelleher, Patrick | archive-date=October 8, 2020 | archive-url=https://web.archive.org/web/20201008210548/https://www.pinknews.co.uk/2020/07/21/kylie-minogue-say-something-new-single-2020-album-disco/ | url-status=live }} the second single, "Magic", was released on September 24.{{cite web|url=https://www.officialcharts.com/chart-news/kylie-minogue-announces-details-of-new-single-magic__31024/|title=Kylie Minogue announces details of new single Magic|publisher=Official Charts Company|last=Copsey|first=Rob|date=September 21, 2020|access-date=September 21, 2020|archive-date=September 24, 2020|archive-url=https://web.archive.org/web/20200924141831/https://www.officialcharts.com/chart-news/kylie-minogue-announces-details-of-new-single-magic__31024/|url-status=live}} Both singles received critical acclaim, with critics praising Minogue for returning to disco roots, which were prominent in her albums Light Years (2000), Fever (2001), and Aphrodite (2010).

{{Portal|Music|1970s}}

• Club Kids
• List of number-one dance singles of 1977 (U.S.)
• List of number-one dance singles of 1978 (U.S.)
• List of number-one dance singles of 1979 (U.S.)
• Roller disco
• Stealth disco

• {{cite book|last1=Brewster|first1=Bill|last2=Broughton|first2=Frank|year=2000|orig-year=1999|title=Last Night a DJ Saved My Life: The History of the Disc Jockey|url=https://archive.org/details/lastnightdjsaved00brew|edition=2nd|place=New York|publisher=Headline Book Publishing|isbn=978-0-80213-6886}}
• {{cite book|last=Sanneh|first=Kelefa|title=Major Labels: A History of Popular Music in Seven Genres|url=https://books.google.com/books?id=X8UXEAAAQBAJ|place=New York|publisher=Penguin Press|year=2021|isbn=978-0-525-55959-7}}
• {{cite book|last=Shapiro|first=Peter|year=2006|orig-year=2005|title=Turn the Beat Around: The Secret History of Disco|edition=Paperback|place=New York|publisher=Faber And Faber|isbn=978-0-86547-952-4}}

{{Reflist}}

• Andrea Angeli Bufalini & Giovanni Savastano (2014). La Disco. Storia illustrata della discomusic. Arcana, Italy. {{ISBN|978-8862313223}}
• {{cite book |last1=Aletti |first1=Vince|author-link=Vince Aletti |title=The Disco Files 1973-78: New York's Underground, Week by Week |date=2018 |publisher=Distributed Art Publishers |location=New York |isbn=978-1942884309}}
• Angelo, Marty (2006). Once Life Matters: A New Beginning. Impact Publishing. {{ISBN|978-0961895440}}.
• Beta, Andy (November 2008). [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"] {{Webarchive|url=https://web.archive.org/web/20081219004500/http://www.villagevoice.com/2008-11-19/music/disco-inferno-2-0-a-slightly-less-hedonistic-comeback/ |date=December 19, 2008 }}. The Village Voice.
• Campion, Chris (2009). "Walking on the Moon:The Untold Story of the Police and the Rise of New Wave Rock". John Wiley & Sons. {{ISBN|978-0470282403}}
• Echols, Alice (2010). Hot Stuff: Disco and the Remaking of American Culture. W. W. Norton and Company, Inc. {{ISBN|978-0-393-06675-3}}.
• Flynn, Daniel J. (February 18, 2010). [https://web.archive.org/web/20111125195859/http://spectator.org/archives/2010/02/18/how-the-knack-conquered-disco "How the Knack Conquered Disco"]. The American Spectator.
• Gillian, Frank (May 2007). "Discophobia: Antigay Prejudice and the 1979 Backlash against Disco". Journal of the History of Sexuality, Volume 15, Number 2, pp. 276–306. Electronic {{issn|1535-3605}}, print {{issn|1043-4070}}.
• Hanson, Kitty (1978) Disco Fever: The Beat, People, Places, Styles, Deejays, Groups. Signet Books. {{ISBN|978-0451084521}}.
• Jones, Alan and Kantonen, Jussi (1999). Saturday Night Forever: The Story of Disco. Chicago, Illinois: A Cappella Books. {{ISBN|978-1556524110}}.
• Lawrence, Tim (2004). Love Saves the Day: A History of American Dance Music Culture, 1970–1979. Duke University Press. {{ISBN|978-0822331988}}.
• Lester, Paul (February 23, 2007). [https://www.theguardian.com/music/2007/feb/23/popandrock1 "Can you feel the force?"]. The Guardian.
• Michaels, Mark (1990). The Billboard Book of Rock Arranging. {{ISBN|978-0823075379}}.
• Narvaez, Richie (2020), Holly Hernandez and the Death of Disco. Pinata Books. {{ISBN|978-1558859029}}
• Reed, John (September 19, 2007). "[http://blogcritics.org/dvd-review-saturday-night-fever-30th/ DVD Review: Saturday Night Fever (30th Anniversary Special Collector's Edition)]{{-"}}. Blogcritics.
• Rodgers, Nile (2011). Le Freak: An Upside Down Story of Family, Disco, and Destiny. Spiegel & Grau. {{ISBN|978-0385529655}}.
• Sclafani, Tony (July 10, 2009). [http://www.today.com/id/31832616 "When 'Disco Sucks!' echoed around the world"] {{Webarchive|url=https://web.archive.org/web/20200215031453/http://www.today.com/id/31832616 |date=February 15, 2020 }}. MSNBC.

• Disco Hall of Fame https://www.discohof.com/
• {{Wikiquote-inline}}
• {{Commons category-inline|Disco}}

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{{Music industry}}

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{{US Dance Chart}}

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