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". Cohn, Nik (April 8, 2008). "Tribal Rites of the New Saturday Night". New York. Archived from the original on September 29, 2015 . Retrieved October 2, 2015. Amyl, butyl and isobutyl nitrite (collectively known as alkyl nitrites) are clear, yellow liquids inhaled for their intoxicating effects. Nitrites originally came as small glass capsules that were popped open. This led to nitrites being given the name 'poppers' but this form of the drug is rarely found in the UK. The drug became popular in the UK first on the disco/club scene of the 1970s and then at dance and rave venues in the 1980s and 1990s.

Fashion [ edit ] Dancers at an East German discothèque in 1977. Due to the constant scarcity of consumer goods in the then socialist part of Germany, particularly more exotic fashion items like disco wear, people often sewed them themselves. 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 Jones, Alan and Kantonen, Jussi (1999). Saturday Night Forever: The Story of Disco. Chicago, Illinois: A Cappella Books. ISBN 978-1556524110. Brown, Chip (March 16, 2012). "Whit Stillman and the Song of the Preppy". The New York Times Magazine. Archived from the original on April 2, 2015 . Retrieved March 30, 2015. By describing the music, drugs, and liberated mentality as a trifecta coming together to create the festival of carnality, Brewster and Broughton are inciting all three as stimuli for the dancing, sex, and other embodied movements that contributed to the corporeal vibrations within the Sanctuary. It supports the argument that disco music took a role in facilitating this sexual liberation that was experienced in the discotheques. The recent legalization of abortion and the introduction of antibiotics and the pill facilitated a culture shift around sex from one of procreation to pleasure and enjoyment. Thus was fostered a very sex-positive framework around discotheques. [42]

Facilities

Charlotte loudly announces to various friends at the club that Alice has gonorrhea, deducing it when Alice refuses to drink. She immediately apologizes but tells Alice it will make men view her as more accessible. Des does become more interested in being with Alice and they start dating casually. a b c "House: Significant Albums, Artists and Songs, Most Viewed". AllMusic. Archived from the original on October 6, 2012 . Retrieved October 12, 2012. Vincentelli, Elisabeth (September 17, 2020). "Róisín Murphy, a Disco Queen Ruling Her Own Galaxy". The New York Times. Archived from the original on September 24, 2020 . Retrieved September 23, 2020.

a b "How Dua Lipa Is Leading The Charge Toward Disco-Influenced Production". Billboard. March 27, 2020 . Retrieved September 23, 2020. Pre-existing non-disco songs, standards, and TV themes were frequently "disco-ized" in the 1970s, such as the I Love Lucy theme (recorded as "Disco Lucy" by the Wilton Place Street Band), " Aquarela do Brasil" (recorded as "Brazil" by The Ritchie Family), and " Baby Face" (recorded by the Wing and a Prayer Fife and Drum Corps). The rich orchestral accompaniment that became identified with the disco era conjured up the memories of the big band era—which brought out several artists that recorded and disco-ized some big band arrangements, including Perry Como, who re-recorded his 1945 song " Temptation", in 1975, as well as Ethel Merman, who released an album of disco songs entitled The Ethel Merman Disco Album in 1979.Two-Piece Jumpsuits and Smokey Eyeshadow Stylish and Sexy What You Need for these Disco Bachelorette Party Outfits Donna Summer: I Feel Love" (in German). Zentrum für Populäre Kultur und Musik. May 8, 2017. Archived from the original on May 24, 2022 . Retrieved May 26, 2022. The "disco sound" was much more costly to produce than many of the other popular music genres from the 1970s. Unlike the simpler, four-piece-band sound of funk, soul music of the late 1960s or the small jazz organ trios, disco music often included a large band, with several chordal instruments (guitar, keyboards, synthesizer), several drum or percussion instruments (drumkit, Latin percussion, electronic drums), a horn section, a string orchestra, and a variety of " classical" solo instruments (for example, flute, piccolo, and so on).

In the 1970s Munich, West Germany, music producers Giorgio Moroder and Pete Bellotte made a decisive contribution to disco music with a string of hits for Donna Summer, which became known as the "Munich Sound". [68] In 1975, Summer suggested the lyric " Love to Love You Baby" to Moroder and Bellotte, who turned the lyric into a full disco song. The final product, which contained the vocalizations of a series of simulated orgasms, initially was not intended for release, but when Moroder played it in the clubs it caused a sensation and he released it. The song became an international hit, reaching the charts in many European countries and the US (No. 2). It has been described as the arrival of the expression of raw female sexual desire in pop music. A nearly 17-minute 12-inch single was released. The 12" single became and remains a standard in discos today. [69] [70] In 1976 Donna Summer's version of " Could It Be Magic" brought disco further into the mainstream. In 1977 Summer, Moroder and Bellotte further released " I Feel Love", as the B-side of "Can't We Just Sit Down (And Talk It Over)", which revolutionized dance music with its mostly electronic production and was a massive worldwide success, spawning the Hi-NRG subgenre. [69] Giorgio Moroder was described by AllMusic as "one of the principal architects of the disco sound". [71] Another successful disco music project by Moroder at that time was Munich Machine (1976–1980).Alice and Charlotte learn their employer has merged with a larger publishing house and layoffs are expected. Some time later, Charlotte, Josh and Des are seen leaving the unemployment office. Josh announces he is going to Lutèce for lunch, treated by Alice, who is celebrating her promotion and her book that was published after she switched it from nonfiction to self-help. Des and Charlotte discuss how their big personalities are too much for normal people like Alice, Josh and Jimmy. Des says that pairing off monogamously detracts from their glamorous lifestyle and Charlotte agrees.

DISCO History @ Disco-Disco.com". disco-disco.com. Archived from the original on January 21, 2017 . Retrieved October 27, 2017. Zaleski, Anne (February 26, 2015). "Where to start with '80s U.K. synth-pop". The A.V. Club. Archived from the original on February 27, 2015 . Retrieved August 27, 2015. 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]

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. Josh Neff, a district attorney and friend of Jimmy's who frequently attends the club, asks Alice to lunch to pitch a book. He confesses he is actually interested in Alice and they go on a real date, where he tells her he is on medication for manic depression. Returning home, Alice discovers Charlotte being taken away in an ambulance and is told by Jimmy that he is moving to Barcelona. At the hospital, Charlotte asks Alice if Jimmy ever expressed interest in being with her. When Alice admits that he did, Charlotte reacts with tears and tells her she would like her to move out of their shared apartment. 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] Shh! Did you hear that? It’s the call of the disco ball and this season’s most coveted hen party theme: The Last Disco!