Abjorensen, Norman (2017). Historical Dictionary of Popular Music. Rowman & Littlefield. p.143. ISBN 9781538102152.

Powerful, bass-heavy, hi-fi sound systems were viewed as a key part of the disco club experience. "[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." [27] 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. The a cappella jazz group the Manhattan Transfer had a disco hit with the 1979 "Twilight Zone/Twilight Tone" theme.

From Bengal to boogie: Rupa Biswas, India's rediscovered disco diva". TheGuardian.com. June 21, 2019. Archived from the original on October 20, 2021 . Retrieved October 20, 2021.

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". 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 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. FanLabel Staff (April 30, 2020). "2020's Disco Pop Revival | FanLabel Music Scene | Playlist". FanLabel. Archived from the original on April 19, 2021 . Retrieved February 27, 2021.Cheeseman-fu, Phil. "The History Of House". DJ Magazine. Archived from the original on September 6, 2013 . Retrieved August 13, 2013. The 1979 riot that 'killed' disco". BBC. September 22, 2023. Archived from the original on November 2, 2023. 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: "Beyond the Hustle: Seventies Social Dancing, Discotheque Culture and the Emergence of the Contemporary Club Dancer". Timlawrence.info. September 19, 2013. Archived from the original on October 12, 2017 . Retrieved October 27, 2017. .

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. [39] 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. a b "ARTS IN AMERICA; Here's to Disco, It Never Could Say Goodbye", The New York Times, USA, December 10, 2002, archived from the original on November 6, 2015 , retrieved August 25, 2015

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Charlie, LeDuff (June 9, 1996). "Saturday Night Fever: The Life". The New York Times. Archived from the original on October 11, 2015 . Retrieved October 2, 2015.