Editing Disco (section)

====Impact on the music industry====
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 (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.<ref>{{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}}</ref> [[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. (Bee Gees album)|E.S.P]] which spawned the chart topping hit ''[[You Win Again (Bee Gees song)|You Win Again]]'' in their home country -  whilst in the US, they only had one top-10 entry (1989's "[[One (Bee Gees song)|One]]") and three more top-40 songs, and the band itself had largely abandoned disco in its 1980s and 1990s songs. [[Chic (band)|Chic]] never hit the top-40 again after "[[Good Times (Chic song)|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,<ref>''[[Jackson 5: The Ultimate Collection]]'' (1996), liner notes.</ref> 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 (Kool & the Gang song)|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 (band)|Chic]] (1980), "[[Funkytown]]" by [[Lipps Inc.]] (1980), "[[Lady (You Bring Me Up)]]" by The [[Commodores]] (1981) and "[[All American Girls (song)|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 [[Contemporary R&B|R&B]] and [[pop music|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}}