Disco’s Influence on Modern Club Culture

Given the rise of the DJ and the revival of club culture following a pandemic hiatus, I felt it was time to express gratitude where it's due – namely, to disco. While house music is often associated with contemporary dance music and club culture, disco laid the foundation for house music. As house pioneer Frankie Knuckles once said, "House music is disco’s revenge." Without disco, house music wouldn’t exist. I aim to provide a brief overview of the rapid rise and fall of disco, doused with themes of liberation and homophobia, aiming to highlight its far-reaching impact on today’s club culture.

WHO IS DISCO?

The sounds of disco music can be traced back to Philadelphia's 60s and 70s R&B and soul, taking life in NYC’s underground LGBTQ+ communities in the early 70s. Disco's energetic, groovy sounds are characterized by repetitive vocals, syncopation, and, most notably, four-on-the-floor beats, providing that essential heartbeat rhythm. However, the focus on the disc jockey (DJ) was developed in the 1950s in Kingston, Jamaica. There, DJs became the focal point of street parties, discovering and playing the hottest new tracks on the loudest speakers. These two turntable systems were popularized in the States in 1955 by early disco DJ pioneer Bob Casey.

The 1960s were a time of rebellion against the establishment. Filled with intense liberation movements surrounding the Vietnam War and segregation, the ‘60s set the stage for the ‘70s to become an era of freedom. After enduring prolonged protests for their rights and facing economic hardship, many LGBTQ+  Black and Latinx individuals in New York City sought refuge from threats to their rights. In the wake of the Stonewall riots in 1969, NYC repealed a law prohibiting two men from dancing together, marking the beginning of a new culture. Disco emerged as a beacon of hope for LGBTQ+ POC, creating a haven for them.

The first NYC discotheque was called The Loft, where young DJ David Mancuso innocently hosted a Valentine's Day party in downtown Manhattan in 1970, unknowingly sparking a cultural movement. Other underground NYC venues began replicating The Loft, including Flamingo, Paradise Garage, and The Gallery, each striving to create an accepting environment dedicated to dance and music. This led to a shift in idolization, moving the focus from radio DJs to club DJs. People started flocking to various clubs based on the DJ’s reputation. The Loft regular David DePino explains this relationship best:

"There is a symbiotic relationship between the DJ and their system… You went to hear what [the DJ] wanted you to, not just what was on the radio, and they wanted you to hear it the way they thought it should be presented, through the systems they developed to do that."

LGBTQ+ and POC were given the space to flourish creatively, whether as DJs, artists, or dancers. After years of struggling in a white male-dominated rock industry, icon Gloria Gaynor found fame in disco. Disco became a refuge for those who weren't accepted in the mainstream to find acceptance underground – that is, before the underground ultimately became mainstream.   

WHY DID SHE FALL?      

In considering the major downfalls of disco, I would be remiss not to mention Studio 54, which opened its doors in the spring of 1977 at the height of the disco era. The club became known as an exclusive party spot for celebrities and exemplified how disco shifted from its underground, inclusive origins to a highbrow, elitist club culture that remains prevalent today. Brimming with sex, drugs, and disco, Studio 54 was the place everyone wanted to be, but few could get in — including many celebrities. (Fun side note: the infamous disco song “Freak Out” was inspired when member Nile Rogers was denied entry to Studio 54.) This exclusivity created a seductive aura around disco, propelling it into the mainstream, where everyone wanted to participate. However, with Studio 54 becoming the face of disco — one marked by overindulgence in drugs and orgies — the genre soon transformed into something far more perverse than its original form. 

1977 was also the year that Saturday Night Fever, starring John Travolta, was released, catapulting disco beyond major cities. Suddenly, everyone and their mother joined the disco craze. It could be found everywhere, including Burger King ads. Every artist aimed for a breakthrough disco hit—it was disco mania. By 1979, disco had become so popular that it was now fashionable to hate it (like Drake).

Rock music is often viewed as the antithesis of disco, a viewpoint that can be culturally understood by looking back at the '60s. Along with the war efforts and the assassination of Martin Luther King Jr., the '60s were a notable peak for rock and roll music. This era is significant, as bands like the Beatles set the stage for what rebellious music should sound like.

Disco music was criticized as apolitical and vapid by rock enthusiasts. It appeared to create an environment where listeners could “disassociate” from real-world issues rather than being active agents of change. This perception became especially problematic for the survival of disco as it entered the mainstream charts, leading to the sidelining of rock music.

In July of 1979, radio DJ Steve Dahl promoted and constructed a public demonstration against disco during a baseball game in Chicago. Dahl, a rock enthusiast whose station had recently shifted to disco, advertised 98-cent baseball tickets in exchange for a disco record. Thousands of rock fans, part of the "disco sucks" movement, rushed onto the field during halftime to burn thousands of "disco records" (notably, many were just records made by Black artists and not actually disco). Disco demolition night is often referred to as the night disco died. Disco did not align with rock and rollers' expectations of what music should be, becoming a threat not only to their musical values but also to their values of American culture and fame. As young white straight males took to public demonstrations to challenge the legitimacy of the contributions from gay Black and Latino artists, disco was pushed back underground. However, it didn't die.

WHERE IS SHE NOW?

Despite the emerging AIDS epidemic in the early 1980s and the visceral rejection exemplified by Disco Demolition Night, disco resurfaced, rebranding as something a little bit more experimental and a little bit more suave. Disco transformed itself into house music. Frankie Knuckles, recognized as the Godfather of House, opened the first house music club, The Warehouse, in Chicago in 1983. Aware of the cultural disdain for disco, DJs began experimenting with other genres while still maintaining the fundamental elements of disco. By the late '80s and early '90s, electronic dance music dominated the scene, leading to the rise in popularity of rave culture.

Disco established many fundamental music principles that continue to shape club culture today. It shifted a heavy focus to rhythm, specifically the iconic Four-on-the-floor beat. This steady pulse is utilized by numerous artists across various genres, ranging from Gwen Stefani to Nirvana. Disco also helped popularize synthesizers and electronic instruments, which rose to prominence during the height of disco and are prevalent in nearly all music genres, particularly in the electronic dance scene. Another significant innovation from the disco era was the seamless transition between tracks. The Disco Bible, created by Tom L. Lewis in 1977, is a collection of disco songs categorized by Beats Per Minute (BPM) and became a crucial tool for DJs when switching tracks. The first album to successfully employ this seamless transition from one song to another was Gloria Gaynor's “Never Can Say Goodbye,” an element many artists aspire to achieve in their work today. Disco challenged the expectations of who could take center stage and created a space for that to happen. It was a major contributor to the development of the club scene, as these notorious dance clubs became venues where DJs could take the spotlight, fostering an atmosphere rich in music, dance, and community.

Disco is a story of rebellion. Although rock enthusiasts might define it as apolitical, disco created a space for the marginalized and provided them with avenues for creative recognition. Disco was about building community and coming together, even when their communities were being targeted. Disco stands out to me as one of the boldest and most vibrant movements in culture and music. She deserves more recognition than we give her. Thanks for reading, and thank you, Disco.

Got Dancing Fever? This playlist curated by Fiona McMeekin might be just the medicine you need! Give it a listen below:

Works Cited

Head, Record. “The Evolution of the DJ | DJ History.” Record Head, 14 Dec. 2021, recordhead.biz/evolution-of-the-dj/.

Maiolo, Alex. “The Disco Soundsystems That Birthed Modern Dance Music.” Reverb.com, 8 June 2020, reverb.com/news/the-disco-soundsystems-that-birthed-modern-dance-music. Accessed 5 Feb. 2025.

Sierra, Ashlee. “All about Disco Music: History & Todays Influence.” PBS, 25 June 2024, www.pbs.org/articles/the-dazzling-daring-history-of-disco.

Stuff You Should Know. “Spotify.” Spotify.com, 2025, open.spotify.com/episode/0uq8Ukg7BQ835U49kj5a0x?si=4804646a14524fdb. Accessed 5 Feb. 2025.

“When Disco Ruled the World (DISCO DocuMENTARY).” YouTube, 5 Dec. 2015, www.youtube.com/watch?v=8YgPG8Ikg2g.