Editing Disco (section)

==Legacy==
===DJ culture===
[[File:Vintage DJ Station 2019 by Glenn Francis.jpg|thumb|left|upright=1.15|Classic DJ Station. A [[DJ mixer]] is placed between two [[Technics SL-1200|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 mixer]]s 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|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 music|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|thumb|right|upright=1.1|Disco dance performance at the 30th anniversary of [[Kontula, Helsinki|Kontula]] 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 (producer)|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 "[[Mass (liturgy)|Saturday Mass]]". Some DJs would use [[reel-to-reel tape recorder]]s to make [[remix]]es 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 unit]]s 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}}

===Post-disco===
{{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 (genre)|boogie]], [[Italo disco]], and [[alternative dance]]. Drawing from a diverse range of non-disco influences and techniques, such as the "[[Multi-instrumentalist|one-man band]]" style of [[Kashif (musician)|Kashif]] and [[Stevie Wonder]] and alternative approaches of [[Parliament-Funkadelic]], it was driven by synthesizers, [[Keyboard instrument|keyboards]], and [[drum machine]]s. Post-disco acts include [[D Train (music group)|D. Train]], [[Patrice Rushen]], [[ESG (band)|ESG]], [[Bill Laswell]], [[Arthur Russell (musician)|Arthur Russell]]. Post-disco had an important influence on [[dance-pop]] and was bridging classical disco and later forms of [[electronic dance music]].<ref name="AMG1">{{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}}</ref>

===Early hip hop===
{{main|Hip hop music|Old-school hip hop}}
The disco sound had a strong influence on early [[hip hop music|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 (Chic song)|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 (song)|Planet Rock]]", spawning a [[hip hop music|hip hop]] [[Electronic dance music|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 (American singer)|Shannon]]'s "[[Let the Music Play (song)|Let the Music Play]]" (1983), [[Freeez]]'s "[[I.O.U. (Freeez song)|I.O.U.]]" (1983), [[Midnight Star (band)|Midnight Star]]'s "Freak-a-Zoid" (1983), and [[Chaka Khan]]'s "[[I Feel For You]]" (1984).

===House music and rave culture===
{{Main|House music|rave}}
[[File:Miguel Migs by Peter Chiapperino.jpg|thumb|left|upright=1.1|Like disco, house music was based around [[DJ]]s 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.<ref name=unesco_4>{{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.&nbsp;... 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 }}</ref> Early house music commercial success in Europe saw songs such as "[[Pump Up the Volume (song)|Pump Up The Volume]]" by [[MARRS]] (1987), "House Nation" by [[Farley "Jackmaster" Funk|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 music|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,<ref name="allmusic"/> such as [[Eurodance|euro house]], [[tech house]], [[electro house]], and [[Jump House (music genre)|jump house]].

[[File:RaveOn.jpg|thumb|right|Strobing lights flash at a [[rave]] dance event in [[Vienna]], 2005]]

In the late 1980s and early 1990s, [[rave]] culture began to emerge from the house and acid house scene.<ref>{{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 }}</ref> Like house, it incorporated disco culture's same love of dance music played by DJs over powerful [[PA system|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 (drug)|ecstasy]].

{{Anchor|Post punk}}

===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]].<ref name=Reynolds/> Post-punk's mantra of constantly moving forward lent itself to both openness to and experimentation with elements of disco and other styles.<ref name=Reynolds/> [[Public Image Limited]] is considered the first post-punk group.<ref name=Reynolds/> The group's second album ''[[Metal Box]]'' fully embraced the "studio as instrument" methodology of disco.<ref name=Reynolds/> 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.<ref name=Reynolds/> 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]]''.<ref name=Reynolds/> Their performances resembled those of disco performers (horn section, dancers and so on).<ref name=Reynolds/> In 1981 [[ZE Records]] led the transition from no wave into the more subtle [[mutant disco]] ([[Post-disco#Dance-rock|post-disco/punk]]) genre.<ref name=Reynolds/> Mutant disco acts such as [[Kid Creole and the Coconuts]], [[Was Not Was]], [[ESG (band)|ESG]] and [[Liquid Liquid]] influenced several British post-punk acts such as [[New Order (band)|New Order]], [[Orange Juice (band)|Orange Juice]] and [[A Certain Ratio]].<ref name="Reynolds">Rip It Up and Start Again POSTPUNK 1978–1984 by [[Simon Reynolds]]</ref>

===Nu-disco===
{{main|Nu-disco}}

Nu-disco is a 21st-century dance music genre associated with the renewed interest in 1970s and early 1980s disco,<ref name="reynolds2001">{{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}}</ref> mid-1980s Italo disco, and the synthesizer-heavy Euro disco aesthetics.<ref name="spin200802">{{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 }}</ref> 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.<ref name="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".&nbsp;... Nu Disco is everything that springs from the late '70s and early '80s (electronic) disco, boogie, cosmic, Balearic and Italo disco continuum&nbsp;...
 |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
}}</ref> 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]].