define disco

[graeme]

what makes Disco disco? what was it like to be around when it reached it's hieght in the 70's?

[JussiK]

Define disco? I'd say it's all about Catwalk Consciouness. It don't mean a thing if it ain't got THAT swing.

[originalbigm]

Disco was a truly defining cultural phenomena

of the 70's.It was a state of mind.The dress,the dance steps, the light shows,and of course the music.You'd prepare yourself all week for the weekend when you'd boogie on down to your favourite club just to dig the new records and mixing capabilities of the DJ.Personally I found the smaller clubs much better simply to better acoustics where you could appreciate the music better.Disco had a freedom to it where anyone could star on the dance floor.Pure fun times without prejudice or judgement.We were there for the music and rythmns.

[Fiorenzo]

The idea of discotheque (which literally means "record library"), which originated in Europe, goes back to Nazi occupation in France. Jazz, a typical black genre, was not allowed any more. So people resorted to listen to their favourite songs on vynil. The scene had not much to do with disco as we know it today. But for the first time in history people were going out to listen to recorded music.



In America this idea was exported by a Frenchman, Arthur, who opened the first American disco in the early 60's. His first DJ was Slim Hyatt's butler, who left a lot to be desired, but the other DJ's who tried to take over his position were even worse. However, this new attitude towards dancing became big with the British pop invasion in a notorious New York club like Electric Circus only some years later. DJ Terry Noel gave a huge contribution to the figure of the DJ, who is not just somebody playing the records. He experimented with lights, records associated with feelings, etc.



Some critics trace the birth of disco back in 1969, during the Stonewall uproar. To understand the real origin of disco we must take a trip back to the gay coming-out process that launched this scene in the first place. Some claim that the first gay disco was the Ice Palace on Fire Island; others insist it was the Manhattan-based restaurant-discotheque Aux Puces, or a place known as the Sanctuary. Believe what you want, but these three night spots turned the DJ booth from the jet-set image of the 60's discotheque into the racially and sexually different scene. The main artists in the clubs were the DJs. The Sanctuary first opened in 1969 and was originally called Hell's Kitchen. Eventually, the name had to be changed as a result of an anti-campaign started by the Catholic church. Its decoration was quite blasphemous: in fact it presented mosaics depicting angels having sexual intercourse. Located on West 43rd Street in a former German Baptist church, the Sanctuary evolved from a straight disco for white celebrities to a pleasure palace frequented by gay men. DJ Francis Grasso, whose turntables were placed on the altar, became the first minister of disco for the vast group of parishioners, who used to admire the mixing and slip-cueing skills of the first beatmixing DJ. There was something particular that characterised Grasso. He introduced soul music to the venue and suddenly people were dancing to Aretha Franklyn, Gladys Knight, Booker T. & the MG‘s etc. Although Francis didn‘t have vari-speed turntables at his disposal, his bpm selection married to his smooth performances sent the crowd crazy. For the first time ever the music flowed continuously with no DJ interrupting the dancefloor. Whilst entertaining his crowd he had also experimented with the formula bassdrums and erotic moanings. In fact he would play the percussions of "I‘m a Man" with Robert Plant‘s "Whole Lotta Love".



BPM was an unknown word to Francis: it was a feel for the mood, a cut at the right bar, a cross-fade at the right moment, until he got his first Thorens vari-speed turntables and then a new horizon came into his view. Before the introduction of this turntable, dj's couldn't adjust the speeds, so they had to cut at the right moment. There was no room for mistakes. Nobody actually mixed like Francis, who developped an incredible skill for coming in with right record at the right time. Francis had a natural talent for mixing records. Francis Grasso taught his techniques to young and talented DJ's, Steve D'Acquisto and Micheal Cappello, who were later to become two of the most famous DJ's in New York.



To cut a long story short, the Sanctuary became an important starting point after the post-Stonewall era: gay men no longer needed to hide and had won the right to dance together without worrying about the police. The early gay discos were not only orgiastic meeting points, they became places of liberation free from the bourgeois society.



During the early seventies running a disco was not a business without problems: sex, drugs and, of course, music were something a good club manager or owner had to take into consideration. David Mancuso was fascinated by discotheques and he soon realized that if you wanted to create a good ambience you had to run a club like a party at your home. Mancuso used to live in an old factory loft in lower Broadway, which would accomodate a lot of people. After some unsuccessful parties in 1970, Dave perfected his formula and his place became one of the hottest discos in New York. Dave's first party took place on 12 February 1970. What made the Loft a legend was the concoction of people who used to frequent it. As time was passing, this circle of people widened until Mancuso had visitors from other towns. The Loft became one of the most revered clubs, even if it could hold only about 200 invitees. If you could get into the Loft, you were personally invited by Mancuso himself. No alcohol was served at the Loft and the decor wasn't really spectacular: a ceiling with some ballons and paper streamers. Dave Mancuso used to have regulars like Larry Levan, Frankie Knuckles and Tony Humphries, who eventually went on to become famous DJ's. Back in thoses days legendary DJ's like Francis Grasso, Michael Cappello and Steve D'Acquisto were the most acclaimed DJ's. The music was central to the Loft. It was a blend of soul, dance oriented rock and obscure records. Mancuso was one of the first DJ's who experimented with cutting and seguing as well as playing records with associated feelings and emotions. He would also break the music with sound effects to create a special atmosphere for his guests, a technique which was later used by Larry Levan, too.



Another pioneer in the earlier disco years was Nicky Siano, who hailed from Brooklyn and who used to hang out in Mancuso's club. He wanted to be like him and started his career as a DJ in 1971. Then, in 1972, at the tender age of 17, Nicky and his brother opened their own club called the Gallery in New York. They ran it until 1978 when they closed it down. At the Gallery two young talented DJ's started their careers and were taught to beat mix by Nicky: they were nobody but Frankie Knuckles and Larry Levan. Nicky was was famous for breaking new innovative music like "Love's Theme" by the Love Unlimited Orchestra, "T.S.O.P." and "Love is the Message" by MFSB. Besides, new talents like Grace Jones and Loleatta Holloway were provided with the opportunity to have their very first gigs at the Gallery, which was a well-liked club by stars such as Patti La Belle, David Bowie and Mick Jagger. In 1977 Nicky Siano was also hired with Richie Cazcor by the infamous Studio 54 in New York as one of the two original resident DJ's. They were hired before the club opened. Nicky stayed for the first two years.



The club owners of the first disco years were soon confronted with a major problem: whether to exclude the masses or to open up the doors of their night spots to them, i.e. should straight people be allowed into the clubs? The most valuable commodity for starting a successful club in the early 70's was a gay mailing list. The straight crowd, especially working-class Italians, would slowly get into the disco scene as well.



In 1974 disco emerged from its underground existence and the discovery of an obscure import by Dave Mancuso, Manu Dibango's "Soul Makossa", jumpstarted the disco star. A lot of #1 pop hits were actually disco records. Months of club play and album sales forced 20th Century to release the instrumental "Love's Theme" from the album "Under The Influence Of Love Unlimited" and Barry White had his first #1 hit. In April "TSOP (The Sound Of Philadelphia)" by MFSB became also #1. Then, in July, it was George McCrae's and The Hues Corporation's turn with their respective hits "Rock Your Baby" and "Rock The Boat.



Philadelphia International played a major role in the earlier days of disco. It was the black label of seventies, just like Motown in the sixties. The company was founded by Kenneth Gamble and Leon Huff. The label became one of the largest black-owned companies in the United States with artsists like M.F.S.B., Billy Paul, the Three Degrees, the O'Jays, Harold Melvin and the Bluenotes (featuring Teddy Pendergrass) and McFadden & Whitehead. The duo gained a reputation as a talented songwriting and producing team. Philadelphia International was established in 1968 when a deal with New York's Sigma Sound Studios (owned by Joe Tarisia) was made. Billy Paul gave Philadelphia International their first hit with "Me and Mrs. Jones", a Grammy Award winner for the Best Male rhythm and blues vocal in 1972. Billy's album "360 Dedrees of Billy Paul" went gold in 1973. The O'Jays, which comprised Eddie Levert, Walter Williams and William Powell, had been together as a group for ten years before scoring their first succesful record with "Backstabbers" in 1972. The album of the same name went gold in 1973. "Backstabbers" was written by Gene McFadden and John Whitehead, who later recorded "Ain't No Stoppin' Us Now". Other hits by the O'Jays were "Ship Ahoy" (1974), "Survival" (1975), "Live in London" and "Gratitude". The group was essential in the disco craze: "Love Train" and "I Love Music" bacame international hits played in discotheques all over the world. Harold Melvin and the Bluenotes were signed to Josie Records, for which they recorded "If You Love Me" in 1957. They eventually signed for Philadelphia in 1971. Back then Teddy Pendergrass was still playing drums for the band. Harold Melvin and the Bluenotes released the gold record "To Be True" in 1975. M.F.S.B. formed in 1968. Their biggest hit was "T.S.O.P. (The Sound of Philadelphia) in 1974. They became the house band for the label and played on numerous hits. Besides, "T.S.O.P. (The Sound of Philadelphia) in 1974 became the theme song for the infamous TV programme Soul Train, replacing "Hot Potatos" by King Curtis. M.F.S.B. was a studio band, which included the likes of Leon Huff and Vince Montana, who later moved to Salsoul Records. Their LP "Love Is The Message" went Gold in 1974. Also, their single "K-Jee" was included in the "Saturday Night Fever" soundtrack. Gamble and Huff went on to become writers and producers for artists like Diana Ross, the Jacksons, Lou Rawls, Jerry Butler, Wilson Pickett, Archie Bell and the Drells and Dusty Springfield. They also wrote "Don't Leave Me This Way", originally recorded by Harold Melvin and the Bluenotes and later performed by Thelma Houston.



The DJ and the producers became the stars of the new movement. Tom Moulton introduced a major innovation: he literally invented the 12". Legend has it that the giant single was discovered by coincidence, i.e. one day, as Tom wanted to have an acetate of his latest mix pressed, the technician told him that he had run out of 7" singles. So Moulton asked if he could have the song on a 12" disc. The result was amazing! The tracks of the small singles were too close together to have high quality sound reproduction. His creative idea carried to the publication of the first commercial 12": "Ten Percent" by Double Exposure on Salsoul. The song became one of the best-selling 12" of the history of dance music! Salsoul was founded in 1975 by Joe and Ken Cayre with the collaboration of Latin American musician Joe Bataan. The idea was to melt Latin American rhythms with R&B. Originally the 12" was only a promotional tool for the DJ, but Salsoul was determined to release it on the music market. Some years earlier Tom Moulton had begun to mix two 45 singles of the same song in order to create longer versions, but finally the public could also purchase his mixes on vynil.



Before collaborating with Salsoul, Moulton worked in promotion for Scepter Records and mixed for DCA Productions. In 1974 he mixed Gloria Gaynor's first album "Never Can Say Goodbye", which featured a side-long medley of three long songs segued together. Tom Moulton's pioneering ideas started a new industry of remixing and producing records with great impact on the clubgoers.



Tom Moulton completely restructured records by setting up hooks and repeating the best parts, greatly amplifying the original scheme of the song. He mixed and remixed famous disco stars like Andrea True and the Trammps. The Trammps' amazing mix "Disco Inferno" was born when he was compensating for a console that was set up wrong and once again, almost by a mere coincidence, he created a masterpiece. Also, he made great records like "Instant Replay" by Dan Hartman and "Doctor Love" by First Choice sound even better.



As the years were passing, the new music style made more adepts across the dance floors all over the world and a batch of new hits was produced. By the mid-70's Europeans had also jumped on the fad and started issuing disco music: Donna Summer's 17-minute-long "Love to love you baby" produced by Giorgio Moroder definetely consacrated disco as a worldwide phenomenum. Disco became a major influence on society and in late 1977 the "Saturday Night Fever" movie was released and turned disco music into a burgeoning fashion. Some months before two very influential discotheques had also opened their doors in the Big Apple: Paradise Garage and Studio 54.



The Paradise Garage was the spot where underground disco kept ist core, while act like the Village People or the Bee Gees as well as "Saturday Night Fever" were becoming popular all over the globe. Also, the Garage was the exact opposite of Studio 54, where stars and celebrities would go in order to draw attention. In this clubs VIPS would dance mixed with other mortals without beeing bothered by anybody. Dancing at the Garage was like finding oneself in a fairy tale. Author Albert Goldman wrote in his famous 1978's book "Disco" that upon entering the club you felt "like in a Kafka novel". The Paradise Garage was located on 84 King Street in Soho in a former garage. Larry Levan was its DJ from Day One and Michael Brody its manager. They both were inspired by another club 143 Read Street (1974 - 1976). Brody borrowed money from his friends, but he soon realized that the place was huge and, for a while, he continued running it as a parking garage leaving a small part of the premises for the parties. The club opened in spring 1977. Eventually Brody kept on expanding the dancing area and the official opening took place in January 1978. He organized a big party and invited lots of personalities. The event proved a fiasco and was deserted by most VIPs. The fact that the club was mainly frequented by black and hispanic gays allowed Larry Levan to play the music he favoured.



Studio 54 was opened in April 1977, just off Broadway, at 254 W. 54th Street, Manhattan, New York. The club was owned by Steve Rubbel and Ian Schrager, who were previously active in the gastronomy field. Bouncer Mark Benecke made sure that the right people would be let in. This did not mean that you needed to be a VIP in order to make it through the doors of Studio 54. The crowd was a concotion of actors, average people and personalities. Some examples? Michael Jackson, Truman Capote, Andy Warhol, Calvin Klein, Brooke Shields, Bianca Jagger, etc. Even former US president Jimmy Carter went to the Studio and confessed to have spent an unforgettable night. It was the admission procedure that made this club so famous. In fact, some people were willing to do anything in order to get in: but only a few managed it. Studio 54 was similar to a fairy tale, with a range of characters selected for each night's grand party. Celebrities posed for the paparazzi, often disappearing from sight into the famous basement of the club, where the best parties used to take place. The so called "gray people" were turned away by Steve Rubbel. Gaining entry into Studio 54 became an almost spiritual quest for many, longing to be part of the "beautiful crowd". Even Cher was turned away from the exclusive club one night! Celebrity status itself did not guarantee entry at all.



The record industry was now busy churning out disco productions: Chic's "Le Freak", Sister Sledge's "He's The Greatest Dancer", Disco-Tex & The Sex-O-Lettes' "Get Dancin'", Rose Royce's "Car Wash", Sister Sledge's "We Are Family", Bell & James' "Livin' It Up [Friday Night]", Wild Cherry's "Play That Funky Music", The Trammps' "Disco Inferno", Silver Convention's "Fly, Robin, Fly", Tavares' "It Only Takes A Minute", Musique's "In The Bush", Inner Life's "I'm Caught Up (In A One Night Love Affair)", Andrea True Connection's "More, More, More"), Lipps Inc.'s "Funkytown", just tomention some examples.



By the late 70's everybody was aware of the force of disco and rock acts like Kiss ("I Was Made For Lovin' You"), Cher ("Take Me Home"), Rod Stewart ("Da Ya Think I'm Sexy?") and even the Rolling Stones ("Miss You") tried to revitalize their careers by cashing in on the new fad. Except a couple of good examples like the ones just mentioned above, most of these records really "sucked".



By 1979 some people were openly attacking disco. Not only did they dislike the music, but they also stupidly thought that the position of the straight white male was in danger. There was nothing else to do: kill disco! The slogan of this movement, "Disco Sucks!", was thus introduced. The turning point came in July 1979 during the "Disco Demolition" rally in Chicago's Comiskey Park. Radio DJ Steve Dahl invited people to bring their disco records to the stadium. The clymax was represented by blowing up a huge pile of disco records. The records would be burned between doubleheader games with the White Sox and the Detroit Tigers. Accompanied by the "Disco Sucks!” chant, most of the records weren’t burned though, they sailed through the stands during the game, causing a riot. The 'Disco Sucks' campaign was a white, macho reaction against gay liberation and black pride more as well as a musical reaction against disco. DJ Steve Dahl (back then workin for WLUP ) is credited by many for having ended the disco era.



By 1980, disco had become a taboo word. So people were referring to this style as dance and not disco any more. Radio stations that had played the music all day long switched back to their old formats. Nevertheless, disco survived. As already mentioned, the Paradise Garage was going stronger than ever and this genre went underground again. A new disco club, the Saint, opened in 1980. Labels like Prelude, West End and Salsoul were still very successful. However, another major problem was dooming on disco and its fans: AIDS, a virus that caused the death of many artists, producers, stars, etc.



In spite of claiming many lives, AIDS did not prevent talented DJ's and producers from creating new and exciting sounds based on disco. DJ's Frankie Knuckles in Chicago and Larry Levan and Tony Humphries in New York/New Jersey were about to give birth to house and garage music; while Grandmaster Flash was giving his contribution to the quick mix theory and hip hop. Hi-NRG was also borrowing many elements from disco and, at the same time, the Latino kids were getting into Latin freestyle. Disco didn't die: it simply evolved into something new!

[ol'skinflint]

great disco, and most importantly, a great night (or even morning or afternoon) in a discotheque or a magical disco party was like being lifted out of your body and into a wonderful space where everyone not only got along but became one with the music, atmosphere and each other. Total strangers suddenly became like close relatives...it was like an electrified room full of people in a swirling mass of music inspired ecstasy. I never experienced anything like it before and I haven't since. Even if the music returns to its former popularity, it still won't be the same. Sure feel sorry for people too young to have experienced it.

[FranceJoliFan]

To me, disco was all about hitting that "sweet spot." It was music that was danceable, had great hooks, sweet vocals, and clever instrumentation.

I also think of it as producer-driven music. More often than not, you would buy a record because it was produced by Giorgio Moroder, Boris Midney, Patrick Adams, etc. Not because you recognized the singer.

And disco was glamorous. But it rode a fine line between sophisticated and tacky. But even the tacky was fun! I bought a lot of records just for the outrageous covers (Blackwell, The Models, Lightning, Nightlife Unlimited, Noel, U.N., African Suite, Lime, etc.) Disco was a non-stop Mardi Gras. Colorful, outrageous. But with some genuine creativity behind it.

It was sexual too. And it was interesting to see how far the music would push the sex angle. But even with a song like "In The Bush" it felt fun and innocent. And even Musique's "Love Massage" didn't seem so pornographic because it was so over the top. People made this music knowing it was a bit campy ("More, more, more. How do you like it? How do you like it?) Unlike gangsta rap which uses sex as a weapon.

I like the Studio 54 ideal. Having to compete. Thinking that if you loooked good enough, or dressed outrageously enough you could get in the nightclub and rub shoulders with celebrities. And the flip-side, if you were Jackie Kennedy, or a socialite in a sequin gown and fur coat, you could watch two men in jockstraps french kissing on the dancefloor. But whether you thought you were trading up or slumming, the disco experience was titillating.

[Dayna]

When I think of disco so many things come to mind..
Not just the fabulous pulsating music or the great producers and artists
To me it was sanctuary..Like The hunchback of Norte Dame in the bell tower.
I could be whoever I wanted to be and not worry about anything or anyone..
as could everyone else..at least in the clubs I worked,in the late 70's and early 80's.
The only pressure was to look good and give a fashion show.. and that came easy for me. I remember when the Dj played He's The Greatest Dancer by Sister Sledge everyone would be dancing and when they sang Halston , Gucci, Fiorucci..everyone would touch articles of clothing that was of that designer.. of course most would lie.. haha.. and that became a ritual and part of the dance.
It was about the possiblilities the night held..They were endless...The friends and bonds that disco created.. everyone was bound by the love of this great music and the message in the music was all about peace and love.It was an era that will never be matched. If I could use one word to sum it up it would be "Magical"

[RetroRuss]

Originally Posted by graeme

what makes Disco disco? what was it like to be around when it reached it's hieght in the 70's?

The more I read here the more I'm convinced the London Disco scene was different to everywhere else. I also think that every major city had a different 'flavour' of 'feel'. I was clubbing from the age of 16 (1976) to about 22 (1982). The atmosphere at times in the London clubs, especially The Embassy Club, Legends & for a brief time Maunkberrys was like nothing I had experienced (or indeed have experienced before). I was a middle class, average kid from the suburbs, mixing with the rich, famous, outrageous and ordinary. It was like a drug, not just the music, but the atmosphere, the hedonism, the 'feel' - it took you away from reality, without the need to get out of it on drugs (and there were plenty of those too!). Being a young 'boy', I was pursued, not just by gay men but plenty of women looking to seduce someone young...being straight it was great for me. I was a good dancer and after a few drinks would lose my inhibitions and start dancing - attracting the eye of one of these women - play the innocent, coy, inexperienced youngster and eventually have my wicked way!
Anyway, the music was always a mixture of funky, Euro, soulful Disco. I miss the whole thing and have fond memories but life moves on.

[Dayna]

Originally Posted by Headlamp

- attracting the eye of one of these women - play the innocent, coy, inexperienced youngster and eventually have my wicked way!
.

You lil Devil you~!!! haha... I was 16 in1976 too..Wouldnt change it for anything..

[kim58]

Once again I find myself almost echoing Headlamps words. I did my clubbing between 75 and 82. As soon as I walked through the club door I was gone. To a certain extent, my mates, alcohol and women (at least till the erection section!) faded into insignificance as I was truly lost in music. I find it really hard to describe this feeling to my kids, who are really into their music and club scene - but it ain't like ours was. Nostalgia ain't what it used to be!