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Post-disco

Post-disco
Stylistic origins
Cultural originsLate 1970s — early 1980s
Derivative forms
Subgenres
Other topics

Post-disco is a term and genre to describe an aftermath in popular music history circa 1979–1986, imprecisely beginning with the backlash against disco music in the United States, leading to civil unrest and a riot in Chicago known as the Disco Demolition Night on July 12, 1979, and indistinctly ending with the mainstream appearance of new wave in 1980.[1][contradictory] During its dying stage, disco displayed an increasingly electronic character that soon served as a stepping stone to new wave, old-school hip hop, Euro disco, and was succeeded by an underground club music called hi-NRG, which was its direct continuation.

An underground movement of disco music, which was simultaneously "stripped-down" and featured "radically different sounds,"[2] took place on the East Coast that "was neither disco and neither R&B."[3] This scene, known as post-disco,[nb 1] catering to the New York metropolitan area, was initially led by urban contemporary artists partially in response to the perceived over-commercialization and artistic downfall of disco culture. It was developed from the rhythm and blues sound exemplified by Parliament-Funkadelic,[6] the electronic side of disco, dub music techniques, and other genres. Post-disco was typified by New York City music groups like "D" Train[3] and Unlimited Touch[3] who followed a more urban approach while others, like Material[7] and ESG,[8] followed a more experimental one. Post-disco was, like disco, a singles-driven market[2] controlled mostly by independent record companies that generated a cross-over chart success all through the early-to-mid 1980s. Most creative control was in the hands of record producers and club DJs[2] which was a trend that outlived the dance-pop era.

The term post-disco is often conflated with individual styles of its era, such as boogie,[2][9] synth-funk, or electro-funk.[10] Other musical styles that emerged in the post-disco era include dance-pop[11][12] and Italo disco, and the genre led to the development of the early alternative dance,[2] club-centered house[11][13][14][15] and techno music.[14][16][17][18][19]

  1. ^ Reynolds, Simon (2009) Grunge's Long Shadow - In praise of "in-between" periods in pop history (Slate, MUSIC BOX). Retrieved on 2-2-2009"
  2. ^ a b c d e "Post-Disco Music Genre Overview". AllMusic. Retrieved 2023-03-01.
  3. ^ a b c Kellman, Andy. "Unlimited Touch" artist biography. Retrieved 2014-10-01
  4. ^ Rodgers, Nile (2011). Le Freak: An Upside Down Story of Family, Disco, and Destiny. Random House LLC. p. 42. ISBN 978-0679644033. By now 'dance' was a loaded word for me. The Disco Sucks backlash had given me a post-traumatic-stress–like disorder, and I'd vowed not to write any songs with that word in them for a long time. I was shamed out of using a word—'dance'.
  5. ^ Goldschmitt, Kariann Elaine (2004). Foreign bodies: innovation, repetition, and corporeality in electronic dance music (Digitized 13 Sep 2010). University of California, San Diego. p. 256. ISBN 0-8153-1880-4.
  6. ^ Cite error: The named reference Parliament was invoked but never defined (see the help page).
  7. ^ "Material - Biography, Albums, Streaming Links - AllMusic". AllMusic. Retrieved 1 February 2018.
  8. ^ "ESG - Biography, Albums, Streaming Links". AllMusic. Retrieved 1 February 2018.
  9. ^ Reynolds, Simon (2011-05-03). "Name it on the 'boogie' – the genre tag that won't sit still (2011)". The Guardian. London. Retrieved September 14, 2011.
  10. ^ "DJ Spinna: The Boogie Back: Post Disco Club Jams, PopMatters". PopMatters. 2010-01-18. Retrieved 2023-03-01.
  11. ^ a b "The 100 Greatest Dance Songs – Feature". Slantmagazine.com. Retrieved 1 February 2018.
  12. ^ Smay, David & Cooper, Kim (2001). Bubblegum Music Is the Naked Truth: The Dark History of Prepubescent Pop, from the Banana Splits to Britney Spears: "... think about Stock-Aitken-Waterman and Kylie Minogue. Dance pop, that's what they call it now — Post-Disco, post-new wave and incorporating elements of both." Feral House: Publisher, p. 327. ISBN 0-922915-69-5.
  13. ^ Haggerty, George E. (2000). Gay Histories and Cultures: An Encyclopedia. Taylor & Francis. p. 256. ISBN 0-8153-1880-4. House music is a form of post-disco dance music made popular in the mid-1980s in Chicago clubs ..."
  14. ^ a b Demers, Joanna (2006). "Dancing Machines: 'Dance Dance Revolution', Cybernetic Dance, and Musical Taste". Popular Music. 25 (3). Cambridge University Press: 25, 401–414. doi:10.1017/S0261143006001012. S2CID 162637991. "In terms of its song repertoire, DDR is rooted in disco and post-disco forms such as techno and house. But DDR can be read as the ultimate postmodern dance experience because the game displays various forms of dance imagery without stylistic or historical continuity (Harvey 1990, p. 62, ...)
  15. ^ Riley, Marcus & Trotter, Lee Ann (Apr 1, 2014) Chicago House Music Legend Frankie Knuckles Dead at 59 WMAQ-TV. NBCUniversal. Retrieved 2014-04-24
  16. ^ Campbell, Michael (2008). Popular Music in America. Cengage Learning. p. 352. ISBN 978-0-495-50530-3. Glossary: techno – post-disco dance music in which most or all of the sounds are electronically generated
  17. ^ AllMusic - explore music ... House: "House music grew out of the post-disco dance club culture of the early '80s." Retrieved on 12-27-2009
  18. ^ St. John, Graham George Michael, (2004), Rave Culture and Religion, p. 50, ISBN 0-415-31449-6, " [sic] house music. As a post-disco party music, house features a repetitive 4/4 beat and a speed of 120 or more beats per minute ..."
  19. ^ "Though it makes sense to classify any form of dance music made since disco as post-disco, each successive movement has had its own characteristics to make it significantly different from the initial post-disco era, whether it's dance-pop or techno or trance." — Allmusic


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