Disco is not just just a music genre but a movement that shaped the ’70s and still echoes through music today. It wasn’t just about catchy beats and funky bass-lines; it was a culture, a space for liberation, and a platform for marginalised communities to thrive. But like all golden eras, it had its rise, peak, and eventually, its decline.
The late ’60s and concretely the first half of 1969 were as crucial a turbulent time not only for LGBTQ+ communities in USA, but because the cultural revolution that was happening around the Woman rights, anti-war Vietnam protest movement and civil rights fight from the black people.
The Stonewall Riots of 1969 weren’t just a flashpoint for the fight for LGBTQ+ rights, they were also a turning point for culture as a whole. The aftermath of Stonewall saw the emergence of LGBTQ-friendly spaces where marginalised communities could express themselves freely.
David Mancuso, also considered the Father of clubbing and foundational figure for the Disco movement, played a pivotal role in shaping this underground disco scene. From his 1st private and iconic party held in New York on the 14 February 1970, at the mythical The Loft, Mancuso introduced a revolutionary approach to clubbing. The focus wasn’t just on dancing—it was about creating a full sensory experience. His sets were long, meticulously curated, and often went deep into soulful and funk-infused grooves, laying the groundwork for what disco would become. The Loft was all about creating community, emphasising inclusivity and a love for music that transcended boundaries.
By 1971 was made legal for people with the same sex to dance in public space and parties started blooming in different neighbourhoods of Manhattan’s district. Clubs became more than just venues—they became sanctuaries, and from these spaces, disco music was born.
The Gallery, led by Nicky Siano, became a crucial part of disco’s rise. Siano’s parties weren’t just about music—they were about creating an atmosphere where people could lose themselves in the beats. The Gallery focused on extended tracks and heavy, hypnotic grooves, allowing the crowd to get lost in the music, fueling the idea of disco as a form of escapism and expression. Nicky Siano’s work solidified disco’s connection with underground communities, particularly those from Black, Latino, and LGBTQ+ backgrounds..
As the ’70s rolled in, disco was no longer confined to basements or clandestine clubs—it burst onto the scene with all the glitter and glamour of New York nightlife. The most infamous venue in the disco era was Studio 54, the club that epitomised the hedonistic lifestyle of the 1970s. Run by Steve Rubell and Ian Schrager, Studio 54 wasn’t just a nightclub—it was a cultural institution. Inside, celebrities and ordinary folks alike danced to the pulsating rhythms of disco under flashing lights and glitzy mirrors.
At the heart of Studio 54’s sound was DJ Larry Levan, who is considered the first DJ figure on music, took disco to another level. Levan wasn’t just spinning records; he was orchestrating a musical journey. His sets were expansive and filled with deep, soulful grooves that created a euphoric, almost spiritual connection between the crowd and the music. Larry Levan’s talent for blending funk, soul, and disco into a seamless experience made Studio 54 the pinnacle of disco culture. His legacy as one of the genre’s most influential figures can’t be overstated—his mixes shaped disco as we know it.
The 1970s were an era defined by iconic artists whose music became synonymous with disco. Female artists blossomed, as their voices worked better on the tracks and it provided a feel of women empowerment, unfolding the Diva’s sense. Donna Summer, considered the “Queen of Disco,” led the charge with her sensual, rhythmic tracks who captured the disco ethos of sensual liberation and hedonism.
Gloria Gaynor and the unapologetic Sylvester became symbols of resilience and empowerment, the Outsiders suddenly became the Insiders and by the end of 70´s, trans people started to be seen in Manhattan’s clubs. The song’s success was a testament to disco’s ability to uplift and inspire in moments of struggle.
Meanwhile, groups like Chic introduced the world to the infectious grooves of Nile Rodgers and Bernard Edwards. Their tracks like “Le Freak” and “Good Times” became dance floor staples, with Chic’s bass-driven, funk-influenced sound epitomising the disco aesthetic.
Disco’s rise would not have been possible without the backing of major record labels like Motown, Atlantic Records, and Sire Records. However, Philadelphia Records and independent records labels like Casablanca or West End Records, played a key roll to to promote Disco becoming a dominant force in the music industry by the mid-1970s.
Radio stations dedicated themselves to spinning disco hits, and record sales soared. Major clubs across the U.S. became packed every weekend, reinforcing disco as not just a musical movement, but a cultural revolution.Disco Fever was a reality.
But Disco wasn’t limited to the U.S.; it became a global phenomenon. In Europe, acts like Gino Soccio, Boney M and ABBA carried disco’s influence, creating hits that transcended borders and ensured the genre’s spread. Even in the UK, where punk rock was also rising, artists like The Bee Gees found mainstream success, most notably with “Saturday Night Fever”—the 1977 soundtrack that defined the disco era and brought it into the cinematic spotlight.
By the late 1970s, disco had reached its peak, but not everyone was on board. Unfortunately, the number of Independent labels multiplied trying to find hit to monetise, instead of reinforce the music development of the genre. That over exaggerated the market and commercialised so massively, that affected the productions’ quality, taking gradually out the true meaning of the Disco movement.
At the same time, the Studio 54 was showing signs of exclusion vs the inclusion, as the original theme of the early days of Disco, which became a target for those who yearned for something edgier or more authentic.
Meanwhile, a backlash started on 1979, by Steve Dahl, a Chicago radio DJ, who organised a now-infamous Disco Demolition Night—a stadium event where disco records were set on fire as part of a protest against the genre’s perceived dominance.The Disco Sucks movement became symbolic of a broader cultural shift.
Besides, the ‘70s punk and rock movements were gaining ground, and for some, disco represented everything they wanted to rebel against. The event at Comiskey Park was both a spectacle and a sign that the tide was turning. Disco didn’t completely disappear, but its reign as a dominant cultural force came to an abrupt end.
While Disco as a genre saw its decline in the early ’80s, its impact can still be felt today. The electronic sounds of house and techno owe much to disco, particularly in the way DJs took extended tracks, looping and building beats in ways that were pioneered by figures like Larry Levan and Ron Hardy. Disco’s emphasis on rhythm, groove, and community has influenced countless genres, from hip-hop to dance-pop.
Disco didn’t get away. The name went away, but the beat , the rhythm, the sound of disco carried on, bringing people for the joy of dance and celebrate the human existence, its diversity and its Freedom.
EXTRA: MUST SEE – DISCO: SOUNDTRACK OF A REVOLUTION
Disco: Soundtrack of a Revolution is a BBC TV mini-series that delves into the transformative history of disco music. Spanning three episodes, the series explores disco’s roots in the Black and LGBTQ+ communities of 1970s New York, its meteoric rise to mainstream success, and its peak during the late ‘70s. Iconic figures like Donna Summer and Sylvester are celebrated, while the series also examines the genre’s downfall amid backlash and commercialisation. Co-produced by PBS and BBC Studios, it highlights disco’s lasting cultural impact