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a b Braunstein, Peter (November 1999). "DISCO". American Heritage. Vol.50, no.7. Archived from the original on February 5, 2010 . Retrieved February 5, 2010. Disco jingles also made their way into many TV commercials, including Purina's 1979 "Good Mews" cat food commercial [88] and an "IC Light" commercial by Pittsburgh's Iron City Brewing Company. 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, as well as DANCE, based out of Columbia, South Carolina. Paul Gootenberg states that "[t]he relationship of cocaine to 1970s disco culture cannot be stressed enough..." [30] 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". [34] 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." [35] 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. In the late '70s, 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.
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Ihsan Al-Mounzer: The godfather of belly dance disco". Archived from the original on October 20, 2021 . Retrieved October 20, 2021. 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). Beta, Andy (February 2008). "Boogie Children: A new generation of DJs and producers revive the spaced-out, synthetic sound of Euro disco". Spin: 44. Archived from the original on July 16, 2011 . Retrieved August 8, 2008. Shapiro, Peter (2000). Modulations: a history of electronic music: throbbing words on sound. Caipirinha Productions. pp. 40–49. ISBN 1-891024-06-X. Popular Videos – Prisencolinensinainciusol – YouTube". YouTube. Archived from the original on April 10, 2017 . Retrieved April 1, 2017.In the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America and Australia. [116] 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. 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." [32] 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. [36] At The Saint, "dancers would elope to an un[monitored] upstairs balcony to engage in sex." [36] 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." [37] 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]
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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." [111] Early house music was generally dance-based music characterized by repetitive four-on-the-floor beats, rhythms mainly provided by drum machines, [112] off-beat hi-hat cymbals, and synthesized basslines. While house displayed several characteristics similar to disco music, it was more electronic and minimalist, [112] 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. Frith, Simon; Brennan, Matt; Webster, Emma (March 9, 2016). The History of Live Music in Britain, Volume I: 1950-1967: From Dance Hall to the 100 Club. Routledge. ISBN 9781317028871– via Google Books. 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 Playing favourites: Vince Aletti". Resident Advisor. Archived from the original on December 29, 2019 . Retrieved February 8, 2019. 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.Bernard Edwards, 43, Musician In Disco Band and Pop Producer". The New York Times. April 22, 1996. Archived from the original on April 24, 2019 . Retrieved October 10, 2022. As disco waned in the late 70s, so did Chic's album sales. But its influence lingered on as new wave, rap and dance-pop bands found inspiration in Chic's club anthems
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resurgence [ edit ] Students from Monterrey Institute of Technology and Higher Education, Mexico City dancing to disco during a cultural event on campusempsfm.org – EXHIBITIONS – Featured Exhibitions". emplive.org . Retrieved June 5, 2017. [ permanent dead link] Shapiro, Peter (2000). Modulations: A History of Electronic Music. Caipirinha Productions, Inc. p.254. ISBN 978-0-8195-6498-6. see p.45, 46
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Morley, Paul (August 20, 2009). "Paul Morley's showing off ... Vince Aletti, Bill Brewster and Luke Howard". The Guardian. Archived from the original on April 29, 2020 . Retrieved February 8, 2019– via www.theguardian.com. Each Disco Ball is handmade, some minor imperfections and unique flaws may be present due to the handmade nature of the craft, but that’s what adds to their charm and quirkiness! You don't have permission to access "http://www.urbanoutfitters.com/shop/sofiest-designs-disco-cherries" on this server. Jones, Alan and Kantonen, Jussi (1999). Saturday Night Forever: The Story of Disco. Chicago, Illinois: A Cappella Books. ISBN 978-1556524110.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. SofiestDesigns is an online store. Correspondence can be submitted here or if you prefer traditional mail 979 Woodland Parkway 101-108. San Marcos, CA 92069.
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