Foster, Buzz (May 17, 2012). "Disco Lives Forever!". YouTube. Archived from the original on December 11, 2021 . Retrieved November 4, 2021. 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.

This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. ( October 2023) ( Learn how and when to remove this template message) 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). Andrea Angeli Bufalini & Giovanni Savastano (2014). La Disco. Storia illustrata della discomusic. Arcana, Italy. ISBN 978-8862313223 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. 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".

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Shapiro, Peter (2000). Modulations: a history of electronic music: throbbing words on sound. Caipirinha Productions. p. 44. ISBN 1-891024-06-X. The 1979 riot that 'killed' disco". BBC. September 22, 2023. Archived from the original on November 2, 2023. a b c Brewster, Bill (June 22, 2017). "I feel love: Donna Summer and Giorgio Moroder created the template for dance music as we know it". Mixmag. Archived from the original on June 22, 2017 . Retrieved January 9, 2019.

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.

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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 is a genre of dance music and a subculture that emerged in the 1970s from the United States' urban nightlife scene. Its sound is typified by four-on-the-floor beats, syncopated basslines, string sections, brass and horns, electric piano, synthesizers, and electric rhythm guitars. 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." [55] 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. [23] [24] Further, in addition to gay sex being illegal in New York state, until 1973 the American Psychiatric Association classified homosexuality as an illness. [41] 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." [43] History [ edit ] 1940s–1960s: First discotheques [ edit ]