Disco music would never reach the height of its popularity without the presence of the large dancing movement that popularized this music genre all around the world. It was originally formed in the late 1960s as a reaction to the popularity of Rock music and the stigmatization of alternative music styles which were preferred by the youth. By incorporating the elements of funk, soul, pop and salsa, dance music and dances quickly rose in popularity in North America, reaching the height of power mid-1970s to early 1980s when disco dances in discotheques represented some of the most sought-off forms of entertainment by young men and women from many different backgrounds. Fueled by the musical hits of disco performers such as Donna Summer, Boney M, the Bee Gees, The Trammps, Sylvester, Chic and Gloria Gaynor, and the sudden rise of popularity of several disco-themed Hollywood films (most notably “Saturday Night Fever” from 1977 and “Thank God It’s Friday” from 1978), disco dance evolved into a popular dancing form that is still practiced today. It’s easily recognizable sound (with components such as an eighth and 16th note, “four on the floor” beat, hi-hat pattern, and syncopated electric bass line) managed to capture the imagination of many musical artists, providing inspiration for new popular disco songs many decades after the height of their popularity. These new music hits and associated sub-genres (Euro disco, space disco, nu-disco…) and fusion genres (dance-punk and disco house) enabled disco dance to survive and be practiced even today.
The origin of the disco dance can be first identified in the formation of the specific night clubs – discotheques. They were originally formed in after the early 1940s in Nazi-occupied Paris where their night clubs (called in French discothèque) hosted radio presenters who were often called “disc jockeys” (or in short DJs) who played jazz records during the time when Nazi laws prevented the showcase of live musicians. As years went by, more and more music venues adopted the form of these French night clubs. By 1960 they appeared first in the United States, where they became very popular with music fans of Jazz, Funk, Soul and other alternative music and dance genres, with the term discotheque and disco also referring to the form of a short female dress that fans of these night clubs liked to wear. By the year 1964, the night club term Disco was first popularized in public by the Playboy magazine.
Dance movies in Disco are very situational, with dancers inventing their moves while never stop moving when the music is on. On the large dance floors, dancers could enjoy disco by themselves, in a pair or sometimes enjoy organized music by partaking in a “Bus Stop” line.
Early disco dance formed between 1966 and 1974 in the discotheques in Philadelphia (which became known as “Philadelphia Sound” style of music dance and New York City (most notably in the private parties of celebrated night club The Loft). This early success stories of soul music were quickly replicated across the US, with many musical artists of early to mid-1970s starting to incorporate many disco elements in their work (The Supremes, Jerry Buttler, Jackson 5, Stevie Wonder, The O’Jays and others). By 1971, disco music had hit not only radio airways in a big way, but also television, most notably in the music/dance variety show Soul Train and later on others. Between 1974 and 1977, disco music was accepted by the mainstream audience, with many dance music hits starting to reach number one stop on the Billboard Hot 100 list. Most notable artists from that period that reached No1 spot were The Hues Corporation, Carl Douglas, Gloria Gaynor, The Jackson 5, Donna Summer and The Bee Gees. Between 1977 and 1979 disco music and dancing was truly accepted in the US and Europe, fueled by the tremendous successes of several artists and Saturday Night Fever movie that drove audiences to cinemas, and even inclusion of disco in the works of several notable rock artists.
After the decline of disco music in the early 1980s, disco dancing managed to survive in modern years by practitioners of not only retro fans but also users of aerobic exorcizes, theme parties and dancers in retro-themed nightclubs.
This article was co-authored by Hebert Aguilar. Herbert Aguilar is a Professional Dancer, Choreographer, and the Director of Timba Heat Dance Company. With more than a decade of experience, he specializes in performing and teaching dance styles such as Cuban Salsa, Hip-Hop, and Acrobatics. Hebert has performed at a variety of venues and locations including San Francisco, Washington, Hawaii, and Miami.
There are 10 references cited in this article, which can be found at the bottom of the page.
This article has been viewed 1,078,181 times.
Going to the club and dancing with a girl may seem daunting for some. It’s loud, space is tight, and no one really knows anyone else. But everyone is there to have some fun and let loose — and this is really the secret of dancing with girls at the club. Just be confident, have some fun, and let loose. If you’re willing to put yourself out there a bit, you’ll have a partner in no time.
Professional Dancer & Choreographer Expert Interview. 25 October 2021. Simply put yourself next to her and start talking — you’re already ahead of 90% of the other men.
Professional Dancer & Choreographer Expert Interview. 25 October 2021. A girl may have a boyfriend, want to be with her friends, or just not feel great. Rejection is inevitable, so move on and find someone else.  X Research source
Professional Dancer & Choreographer Expert Interview. 25 October 2021. As you dance, look around for women who are dancing by themselves or in a small group. You don’t want to rush at them, but any women looking for a partner will likely have her eyes up as well.
- If you’re uncomfortable dancing, just sway back and forth with the rhythm of the drums. Lift each arm individually with the beat and keep your joints loose and relaxed. You’ll blend right in.
- If a woman is with a group of friends, dodges eye contact, or seems busy with another man, just move on. Plenty of people go to clubs to find someone to dance with, so don’t waste everyone’s time chasing a girl who doesn’t want the attention.
In the Roblox Wacky Wizards October 1st, 2021 update of the game we were given the Disco Ball to obtain! If you’re hoping to find out how exactly you get this new ingredient, we will walk you through the exact steps you need to take to get it! You will be able to create a bunch of different potions and other fun stuff with this newly added ingredient to the game.
Find more information on this Roblox game in our Wacky Wizards Wiki!
How to get the Disco Ball
Time needed: 5 minutes.
To get the Disco Ball in Wacky Wizards, you will need to complete all of the tasks listed in the Cave Club! This area is located under the waterfall, and you will see a list of tasks in the backroom area. Once you’ve completed them all, you will receive the Disco Ball!
To fill the Drinks Fridge, you will need to have the Witches Brew ingredient. Grab that from your ingredients table and bring it to the drink fridge that is near all of the pink potions.
Repair Smoke Machine
To repair the Smoke Machine, you will need to grab the Chili from your ingredients table. Bring that to the back room where the task board is and place it into the smoke machine to fix it!
Repair Dance Floor
To repair the Dance Floor, you will need to have the Chameleon ingredient. Grab that from your ingredient table, bring it to the club, and click on the dance floor with it in your hand!
To repair the Speakers, you will need to grab the Dynamite ingredient from your ingredient table and tap on the Speakers with it in your hand to fix it!
Grab the Disco Ball
Now just go to the DJ Booth and grab the Disco Ball from above it. Bring it back to your cauldron and start making potions!
Here’s a list of the potions you can currently create with the Disco Ball ingredient:
- 218: Discoman potion – Disco Ball (Become the man of disco)
- 219: FIRE MUH LASER potion – Alien Parasite + Disco Ball (Fire Lasers)
- 220: Techno-viking potion – Giant’s Ear + Disco Ball (Become the Techno Viking)
- 221: Confetti-cannon potion – Gun + Disco Ball (Fire the confetti cannon)
- 222: Neon-body potion – Chameleon + Disco Ball (Become the neon party animal!)
- 223: Disco-head potion – Brain + Disco Ball (Grow a disco head!)
- 224: Disco-body potion – Brain + Disco Ball + You (Become the disco)
- 225: Confettiplosion potion – Dynamite + Disco Ball (Explode into confetti)
- 226: Tail potion – Witches Brew + Disco Ball (Tail)
- 227: Afro potion – Robux + Disco Ball (Get that bling bling afro)
- 228: Rainfro potion – Robux + Disco Ball + Chameleon (Get that bling bling rainbow afro)
- 230: Disco-grenande potion – Chilli + Disco Ball (Disco Grenande)
- 231: Speaker potion – Fairy + Disco Ball (Disco Grenande)
- 232: Slinky potion – Pool Noodle + Disco Ball (Become the Human Slinky)
That’s everything you need to know about finding the Disco Ball in Wacky Wizards! There’s a whole lot of things you can create in this game, so make sure to check out our Wacky Wizards Potions & Recipes List and Ingredients List to learn what you can make.
Words: Kristan Caryl
While the sound itself isn’t necessarily new, the term is. And with local dark disco scenes bubbling up on all corners of the globe, this versatile and devilishly fun style has finally come into its own — and looks poised to grow. Kristan Caryl learns more.
Dance music styles come and go quicker than garage tunes in a DJ EZ set. But why do some stick around longer than others? Broadly speaking, house, electro and techno are now in their late 30s. Disco is closer to 50. Sub-genres like tech, deep and minimal are somewhere in between. But there are probably a million micro-genres under those loose umbrella terms that burned brightly only to fade away faster than the crowd when the lights come up.
Over recent years, though, a new sound has emerged, evolved, and taken hold. It’s one that is too dystopian to be called disco, too melancholic for house, and too musical to be techno. It’s called dark disco, and it’s music for strobe lights and smoke machines rather than mirror balls and lasers. It’s rugged and raw, with oriental melodies and chugging grooves, tobacco-stained synths and angular riffs that appeal to biker boys and goth girls.
What dark disco isn’t is the indie-disco or nu-disco of Prins Thomas, Todd Terje or Lindstrøm. It’s a tense, heads-down mish-mash of guitar-heavy sounds and gloomy electronics. It’s also usually slower than original disco, loosely ranging from around 80 to 130 BPM. But importantly, it always remains very danceable.
“For me, the dark disco hymn is ‘ Walk The Night ,’” says Vamparela, one half of Local Suicide , about the Skatt Brothers’ 1979 track, which featured gauzy guitar licks, chunky, mechanical drums, and hip-swinging claps. “I think it’s what happened when the disco era was coming to an end, and new wave started flourishing. The high energy of disco mixed with the melancholy of new wave might have given birth to dark disco.”
“It’s the Mexican nu disco revolution, with amazing artists like Lokier, Iñigo Vontier and Thomass Jackson,” says the notoriously hard-to-define Moscoman, whose Disco Halal label has dealt in plenty of in-between disco and wave sounds. “I imagine it’s the incarnation of Carpenter genre music, but more sluggish with more snares. I guess the Israeli rock scene was very influenced by EBM and IDM and all the waves possible. I guess I’m a descendant of that, and the disco part comes from Michael Jackson.”
It was in Berlin a couple of years ago that someone first described the LA-based, Side UP Works associate Moderna ‘s set as dark disco. She liked it, and now uses it as one of the tags for her Brave New Rave radio show. She reckons EBM, techno, acid, electro and rock all permeate the genre, but that it “still has the elements of a 4/4 disco vibe, which gives it a bit of a lighter, more groove-oriented flare, on top of those more serious sounds.”
Almost everyone mentions Luca V, aka Curses, as a key protagonist of dark disco. He’s heard the term on and off for many years, “but it wasn’t until I played in places like Saint Petersburg, Russia and Ankara, Turkey that people kept emphasising it. To me, the key roots are in early ‘80s EBM and new beat, as well as some psychedelic rock from places like Israel and Russia. These early subgenres, as well as acid, proto-house and electro, were all forms of rebellion against the mainstream disco movement, which I like. There’s something punk about it. It’s more ‘sexy dark’ versus ‘scary dark,’ and I think that works any time, any place.”
On dark disco’s Turkish roots, French veteran Damon Jee agrees. He first heard the term when in Turkey’s capital, Ankara, earlier this year. “But I think it’s more complex. There is a bit of rock and guitar in it, some energy from electroclash, a bit of techno, synth, new wave, cold wave, pop… I think maybe ‘dark, indie disco’ wave would be a more suitable name!”
Jee’s own music draws on everything from New Order to Nine Inch Nails, and Metallica to Rebolledo. “I don’t really have anything in mind when producing. I just want to have fun and make music as if I was on the dance floor. For me, dark disco feels more universal than other electronic genres, so it’s perfect for clubs, festivals, day and night, peaktime or warm up. You can now hear this genre mixed by everyone from Andrew Weatherall to Solomun to Adam Beyer, so it can be played anywhere.” Indeed, Vamparela reckons one of the most important parties for the genre worldwide is A Love From Outer Space, an event run by the late Andrew Weatherall and Sean Johnston. Those two chug-masters leaned toward the expansive and astral ends of the spectrum, with star-gazing melodies and kosmische grooves.
Local Suicide cohort Brax Moody refers to the sounds they make themselves as “techno-disco“ and “cobra wave,” but thinks a fair description is “uplifting gloominess.” And while dark disco is often described with these severe and moody adjectives, Moderna believes the genre works in more than dark, late-night spaces. “There’s a right time and place for every type of music, and knowing when and where is a significant aspect of being a good DJ. But I think dark disco is a diverse sound, so it has flexibility — there’s so much to it. I like to create a feeling of subtle excitement with my music and with my DJ sets. A toughness with a sophisticated style. I love to offer a feeling of restrained atmosphere ready to burst out at a certain moment, but without over-exaggerating it.”
Disco Dance form is extremely popular among the youth across the world.
Disco music can be described as a genre of music which contains the elements of funk, soul, pop and salsa. It started in the US in the mid-1960s, and its popularity rose in the mid-1970s. Initially, it was popular among the American club goers especially gays, African Americans, Latino and psychedelic communities. The term disco was coined from a French word, discotheque, which means library of phonograph records. It is around the same time where the words DJ and disc jockey came into use. One of the reasons why the disco music gained increased popularity was the free-form dancing as well as the loud, overwhelming sound from the live performers.
5. Stylistic Overview and Characteristics –
The disco genre returned dancing to the center of pop music. The disco sound is a mixture o a steady four-on-the-floor beat a 16th note hi-hat pattern with a prominent electric bass line and an eighth note quiver. The background music is usually made of string sections, horns, electric piano and rhythm guitar. Sometimes instruments like the flute and lead guitars are used. Another characteristic of the genre is the use of flashy lights of different colors and use of musical drama. In the mid-1970s, the audience identified themselves with the DJ rather than the music. The sub-genres of disco include; Italo disco, Euro disco, space disco, disco polo, and nu-disco.
4. Origins –
The origin of disco music can be traced back in the early 1970s and emerged out of an urban subculture. Some analysts have asserted that disco is as a result of a reaction against the dominance of the rock music as well as stigmatization of the dance music by the counterculture that emerged during that time. The initial disco-like clubs were held in New York where private parties were held. A city DJ, David Mancuso held private underground house parties and was connected that no police raids were conducted in any of his businesses. He did this to create an ample environment for men to dance together without the fear of police action.
3. Spread and Evolution –
DJ David Mancuso played a pivotal role in development growth and spread of the disco music. In 1970, he established a member’s only club in his residence which attracted a huge number of gays who were being harassed in New York bars by the police. This act made the genre popular among the gay community. In 1974, disco radio show was aired in WPIX- FM. Apart from Mancuso, there was also other DJS who helped in spreading the music genre including; Nicky Siano, Shep Pettibone, Larry Levan, and Walter Gibson. The breakthrough of the disco music came in the late 1970s when disco songs started topping music charts. “Love Train” was the first song to top Billboard Hot 100. In the early 1980s, disco music was becoming very popular globally, and artists who were not primarily disco musicians made some disco songs.
2. Notable Artists –
The most notable disco artists had their career peaks in the 1970s. Topping the list is LaDonna Adrian Gaines who went by the stage name Donna Summer. She was also known as Queen of disco, First Lady of Love, Donna Gaines and Dona Sudano. She was active musically since 1968 to 2012 after she met her death. During her long career, she produced 32 hit songs which earned spots in the US Billboard Hot 100. Some of her hit songs are Lady of the Night, cats without claws, and Crayons which she produced in 2008. A band by the name KC and the Sunshine band was another big thing in the disco industry. It was formed by Harry Wayne Casey in 1973 and is still active to date. Their all time hit song is known as get down tonight. Other artistes include; Bee Gees, the Chic, Gloria Gaynor, and Boney M.
Cultural significance and legacy
1. Cultural Significance and Legacy –
Although the genre became less influential in the US in the 1990s, it left a huge impact. The minorities in the society such as gays, the black American, and the Hispanics could make it big in the Music industry. The great Sylvester who was a gay became a megastar who could even hire private jets to tour the world. The fashion taste of disco-goers is still felt to the present day. However, t is in this era that drug abuse and promiscuity hit an all-time high.
Spitfire Audio is a British company founded by two film composers looking to revolutionise sampling.
Dance music theory expert Oliver Curry examines how classic disco uses chord inversions and careful placement of instruments to great effect, and explains how the same principles can be applied to virtually any genre.
In this edition of Passing Notes we’re focussing on disco chords, but the lessons we’ll learn don’t just apply to disco (or even, necessarily, just to chords). The classic disco chord sound is not only characterised by the notes used in constructing the chord but also by its voicing and timing – the placement of the chord in the bar and its rhythmic interaction with other elements. It’s these techniques which we’ll examine to understand how they add groove and feel to the chord progression.
Voicing and inversion
The term ‘voicing’ is used to describe the arrangement of the notes within a chord. As with a lot of dance music, the primary chords we hear used in disco tracks are minor and major triads and 7s, which we discussed in this previous Passing Notes.
For a quick example of how different voicings can be applied, we’ve written a simple piano chord progression in the key of C minor: Cm7, Fm7, Abmaj7, Ebmaj7.
In this first example we can see the chords are all constructed in ‘root position’, using the root of the chord as the bass note (played in two octaves), then the 3 rd , 5 th and 7 th in ascending pitch order.
The human ear tends to hear the highest notes in a chord progression as a form of melody. We can see that the top notes of our chords make large jumps, which could make our progression sound a little disjointed.
The solution to this potential problem is to voice the chords differently and use chord inversions. A chord can be said to be inverted when the lowest note isn’t the root (we’re treating the root note an octave down as a separate bass note rather than part of the chord played by the right hand). A simple example would be a C major triad voiced from lowest pitch to highest E, G, C (as opposed to the standard C, E, G). By moving the C up an octave we’ve created an inversion. We also examined this technique in our Breakdown feature on Tensnake’s ‘Coma Cat’.
Below, we’ve voiced the same chord progression differently, inverting chords so that the changes in the perceived melody line don’t stand out so much. This technique is useful whenever a chord progression needs to feel more relaxed, or whenever you want to shift attention away from the implied melody of the chords and onto another instrument or a vocal.
Each chord played comprises the same notes as it did previously, and the chord names are all the same. The difference here is that some notes already playing in the left hand part have been removed from the right hand (i.e. the C and Eb in the first and last chords). Also we can see and hear how the inversion of the second chord, Fm7, allows the F to be the highest note in that chord.
For another example of chord voicing and inversions, let’s look at Sister Sledge’s ‘Lost In Music’ – written by Chic’s Nile Rodgers and Bernard Edwards – to see how this simple technique can help maintain continuity.
This is how the basic piano chords are played in the track’s verses, starting at 1:06:
The chords are Dm7, C, Gm->G, Bbmaj7, C, Dm7. The G chord slides from a minor to major 3 rd , a technique commonly used in jazz, gospel, blues and soul. Note again how the highest notes of each chord form a tighter, closer progression than they would if the chords were formed in the root position. In root position the chords would look and sound like this:
We can hear how the chords played in root position have a loose, disjointed and less natural feel. Voicing the chords to sit in a smaller frequency range also gives other instrumental parts more room in the mix.
Author Oliver Curry
10th May, 2013
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Passing Notes – Sampled Chords
Passing Notes – DAW & Drum Machine Swing
As social distancing guidelines remain in tact, people are amping up their efforts to find fun things to do online. Because people are missing interactions with friends, this often involves video calling on apps like Zoom. Well, you can add one more item to your long list of things you can do on the video conferencing app: dance parties. If you’ve missed hitting the club with your friends, you can throw a Zoom dance party.
When you’re on Zoom, you’re likely sitting at a desk or even in bed or on your couch. Aside from any at-home workouts or walks to the grocery store, you’re probably not moving around much. This is where Zoom dance parties can come into play. Not only will you be able to enjoy time with your friends, but you’ll also find an excuse to move around more.
To throw a Zoom dance party, you want to come up with a great playlist first. Whether you use Apple Music or Spotify, ask your friends for song suggestions and then compile all of them onto a playlist. This is so you don’t spend a lot of time thinking of what songs to play next when your dance party is actually happening.
Once your playlist is set, plan a date and time for your dance party. Even with not many places to go, it’s important to check in with your friends to see when they’ll be available. After getting everyone to agree on a date and time, you can schedule a meeting on Zoom. Go to the Meetings tab located on the left side of your screen of your desktop or on the home screen of your smartphone app. Here, choose Schedule A Meeting and then set up the details of the meeting, including the date, time, and attendees. When you insert your friends’ emails, they’ll each get invitations to the meeting which can be a fun way of making it feel like they’re going to an actual party.
When the date of your dance party rolls around, all everyone has to do is join the meeting. Your friends can do this by checking their emailed invitation. The invitation will have a link that they can click on and join. They also have the option of copying and pasting the Meeting ID written in the email onto the tab to Join A Meeting in the Meeting menu. Once everyone has signed on, you can play the playlist from your computer, and everyone on the call will be able to hear it (just make sure you’re unmuted). The only thing left to do is hit the dance floor.
In the mood for an ambiance closer to that of a club? You can change your Zoom virtual background to a picture of a lounge or a bunch of disco balls by going into your Settings on the Menu tab and selecting Virtual Backgrounds. Here, you can upload Googled images of your own or choose from some of Zoom’s own backdrops of landscapes and landmarks. Party wherever you feel like it!
Having previously pitted key tracks from Britpop, rock, Northern Soul and more against each other, Steve Lamacq celebrated some favourites from disco’s ’70s peak in a dance floor showdown back in September 2017.
To get the glitter ball spinning disco expert Professor Tim Lawrence, from the University of East London and author of dance music history Love Saves the Day, helped us explore 6 ways in which the genre changed the world.
1. It saved dancing
Tim Lawrence says: Disco was one of the most influential cultural and musical movements of the 1970s. It was the platform through which social dancing became a popular phenomena again after fading out at the end of the 1960s. Disco repopularised dancing as a social activity internationally, but it was responsible for introducing a new style of freeform dancing. Prior to disco, all forms of social dancing involved a man and a women dancing with one other.
Often to get into venues you’d need bring a someone of the opposite sex – and even if you managed to get in without one, to go on the dance floor you had to be a couple. Disco broke with this. Disco dancing was the first time people could go onto the dance floor as an individual which allowed for a new form of freedom and expression. With couples dancing you have to avoid dancing on your partner’s toes or whatever, so you can’t focus on the DJ.
However, disco’s new form of dancing also enabled people to experience being part of a crowd for the first time. And this dance floor collective had a strong power over the direction the music took through its reactions. This change had big consequences for not only for what got played, but how people interacted with one another…
Nile Rodgers chats to Mary Anne Hobbs
Mary Anne chats to Nile Rodgers about happiness, Sesame Street, family and the future.
2. It brought about the rise of the DJ
Tim Lawrence says: In 1970, within a week or so of each other, David Mancuso at a private party soon called The Loft and Francis Grasso at discotheque The Sanctuary started to develop this new form of what we now call DJing. It’s the first time that DJs, in a focused and concentrated way, selected music in response to the crowd.
DJ mixing techniques, and the rise of the DJ as a new form of musician, primarily started in New York City in the 1970s. For example, in the UK right up untill the end of the decade DJs would announce the song names between tracks! The New York DJs knew dancers wanted to lose themselves in the records because of the new form of crowd dancing. They developed all these techniques that would enhance that experience. It started with Grasso using a pair of headphones to listen to the incoming record so he could mix the two together and maintain a continuous flow. DJs then started to explore ways of extending records, say by buying two copies of the same single and then mixing them together.
I would say, looking at all DJ techniques that exist now, 90 percent of them were developed during 1970s disco. In many ways the disco DJs’ skills went beyond what is used now. They not only created ten hour sets with strong musical arcs – really immersive journeys – but they’d match lyrical content and instrumental sections. It’s an art form we rarely get to hear today.
The DJs were the organic experts of this culture. They were music fans who wanted to play records and barely made a living out of it. They had no training, no conventional musical skills, but developed a very refined and receptive sensibility to the culture they helped to create.
A Pocket Sized History Of Disco : With Tim Lawrence
Professor of the Boogie,Tim Lawrence, guides Lammo through the history of Disco.
3. It inspired social liberation
Tim Lawrence says: It was actually illegal until 1971 in New York City for two men to dance with one another, so the new form of disco dancing in crowds rather than couples had a big impact for New York’s gay scene. However the connection goes much deeper than that. In 1970, partly responding to gay liberation which had been building in the 1960s and reached a symbolic climax in June 1969 with the Stonewall Rebellion, Seymour and Shelly – who owned a series of gay bays in New York’s West Village – bought The Sanctuary, a failing discotheque and re-opened it as a place that welcomed gay men.
It was never exclusively a gay club, but they made it clear they were welcome. And this new crowd changed dynamic of the dance floor. In fact Francis Grasso [the in house DJ at The Sanctury] said his new DJ mixing technique was inspired by this this new crowd. The energy was so high, he started mixing together records so there was no gap. So disco, with its freedom, became a way for gay culture to find an expression.
However, the crowds were very mixed in the early years, so a lot of other groups also found a home within disco too. African Americans, Latino Americans and women – and a mixture of all these identities – all found a way to express themselves within disco. It’s people who in everyday life were marginalised and faced discrimination who underpinned the energy of disco.
For example, a lot of most influential performers are were African American women who developed a really strong relationship with gay audiences. Singers like Grace Jones,Gloria Gaynor, Donna Summer… the list goes on, had lyrics about survival of hardship and emotional resilience that were profoundly appealing to the gay dance crowd.
So disco is a really liberating force and I’d argue that the backlash against disco at the end of the ’70s was in fact an attempt to scapegoat gay men, African Americans and women for the failures of the decade. The people who led that backlash, those in mainstream culture, were the Democrats who switched to voting Republican and brought Reagan to power in 1980s.
4. It showed how indie labels could beat the majors
Tim Lawrence says: By 1978 disco was outselling rock music in America which came as a huge shock to the music establishment, because it was heavily backing rock. When disco broke through it didn’t have any of the major corporations backing it. Initially it was DJs clawing around finding records to play. So independent record labels were crucial for the development of disco.
A label called Sceptre Records was one of the first to spot what was going on in the discotheques so started to commission records specifically for the disco market. Another indie, Salsoul, realised that dancers wanted to own 12 inch singles they made for DJs, so in 1976 they were the first label to release one commercially, which proved a major foundation for dance culture more widely.
So disco was a great moment for demonstrating the nimbleness of indies and their ability to react quickly to the music on the street. It was only at the end of the ’70s that Warners became the first major to open a disco department, and that was only months before the backlash against disco began.
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Things You Will Need
4-6’x6′ pieces of plywood
4-6’x6′ pieces of Plexiglas
144 sq. feet of foam rubber
Counter sink screws
4 different color strobe lights
24′ of carpet tape
Dance parties are not complete without a disco dance floor. Fortunately, you can build one with a few hours of work by following the steps below. All you need is some hardware, old or unused CDs, and strobe lights to create the effect of a 1970’s disco party, and your guests will be able to dance the night away.
Take your four plywood pieces and place them together to form a square. You will see a cross in the center of your square. Carpet tape the seems of the cross, bringing your squares together. Remember to not double tape the center of the cross (tape over the tape) or you will have a bulge in center. Now hasp each end of the cross locking the squares together.
Nail your plywood square onto your roll of foam. Make sure your nails are no longer than the thickness of the plywood and foam combined or your nails will scrape the floor. The foam is used to create a barrier between the floor and your plywood, this way the plywood won’t scrape the floor. It also provides some padding for your guests.
Paint the top of your plywood square black, and then let the paint dry.
Take your old or unused CD’s and superglue them face down so the shiny side of the CD is facing up. You’re doing this to create a reflective surface so that the lights will bounce off of your dance floor. Let your CD’s dry onto the plywood.
Screw your Plexiglas into the plywood over the CDs that you just glued down. This will prevent your CD’s from breaking while people are dancing on your dance floor. The Plexiglas is also flexible and durable. You want to screw in your screws every six inches to ensure that the Plexiglas will stay attached. Don’t forget to add a screw in the center of each Plexiglas square, otherwise, it will bow in the middle and people will trip. You are using counter sink screws because they don’t stick out and won’t trip anyone.
Take your rubber trim and trim around your whole dance floor. You are doing this for a few reasons. One, it will cover the screw tops so people don’t see them. Two, it will create a seamless edge for your guests to walk up on. You have three levels of dance floor. The trim will bring the whole thing together so people don’t see all the layers, just the dance floor you’ve created. There are two ways of applying the rubber trim. One, you can buy self-adhesive trim. Or, you can use epoxy putty to adhere the trim to your layers.
Place the four strobe lights at each corner of your dance floor facing the center of the dance floor. Strobe lights have controls that let you choose how fast the strobe is. Set the strobes at different intensities. As the strobe lights hit the floor, they will light up the CDs and your whole dance floor will have lights dancing all over it.
As we are near the end of our very first topic, the children had the chance to dance like nobody was watching in our very own VIP disco after school. They got to hear some of the songs that they added to our class playlist throughout the half term, sung along to SOS From the Kids and even performed a choreographed dance to Shakira’s WAKA WAKA!
During the day, two very lucky children even had the chance to become Disc Jockeys with DJ Mason! They learnt how to fade tracks in and out and smoothly transition from one song to another. They then took over and did a remarkable job.
It was great seeing the children enjoying themselves so much. Dancing, unwinding and celebrating the end of what has been an action-packed half term to say the least.
A huge thank you to Mr. Mason and Mrs Harris who kindly stayed behind on the last day of the half term to make the disco a success. Thanks to you, the children had a BLAST!
Well done, everybody! Have a great half term.
By Katrina Tenorio | Submitted On August 27, 2010
Who doesn’t know disco? Who hasn’t heard of it? Well, I guess, everybody from all walks of life, may it be young or old knows this dance and dances it well!
When did Disco become a hit? It was in the 70’s when disco hit the club scene. There were films like “Saturday Night Fever” by John Travolta and the famous Studio 54 in NYC. I bet you learned how to dance disco by just watching this movie!
Early disco was about deejays to maintain a rhythm between cuts. They put in some strobe lights, disco balls and their colourful costumes to complete the act. If you think that disco just came out of nowhere, you are wrong. Latin dances such as samba, cha-cha, meringue, tango and mambo pretty much inspired disco. If we talk about classic disco, then you must have heard of “the bump” and “the hustle.” The latter has many variations such as the NYC hustle, considered as the classic one, the Latin hustle; southern California skater influenced street hustle and tango hustle.
What are the steps? How can you learn how to dance disco? Well, disco dance steps share common elements. You have the “Stepping side to side,” typical gap filler in between disco moves. Then there is the “Revolving hands and raising arms, just in time for the beat in a classic disco dance. As inspired by Latin moves, there are moves like the hip and pelvic movement. And disco dancers love the “shoulder tilt up and down” move as they step forward and back.
Disco dancing is much enjoyed with repetitive rhythm to the point of inducing a trance, pretty much like music at the raves and house dance parties of the 1990’s. Disco dancing never entertains dead air, where dancers will have a chance to stop. Disco is about continuity, fluidity of moves. One of the defining groups that said a lot about disco dancing is the BEE GEES! I bet you know of their songs, “Staying Alive!” Then there are these other disco groups such as the Village People who popularized the songs YMCA, Donna Summer and Funkadelic and so many other bands.
You might not be a real dancer, you may find dancing as a challenge, but you can never say no to DISCO! So start learning the moves and feeling the grooves and join a class on how to dance disco!
Disco is also in my dancing blood! how to dance disco!
Sarfraz Manzoor, a married, mortgaged, fortysomething father, had spent too long off the dancefloor – it was time to get his groove back
We bet that he looks good on the dancefloor. Photograph: Felix Clay
We bet that he looks good on the dancefloor. Photograph: Felix Clay
I ‘m in a high-ceilinged studio space with whitewashed floors and bright lighting. This place doesn’t look much like a nightclub and there’s no party atmosphere, but I have come to dance, or at least to take part in an Introduction to Dance class: I want to find out if there is any hope for me.
Actually, I don’t think I’m a terrible dancer. There was a time in my 20s when I would go clubbing without fail every week and it didn’t take much to lure me on to the dancefloor. Dancing gave me the opportunity to totally lose myself; for someone like me who doesn’t drink or do drugs it wasn’t just intensely pleasurable – it also felt necessary. Today I am a middle-aged, married, mortgaged, fortysomething father. My opportunities for dancing have diminished, as has my confidence.
Tania, our instructor, takes us through our first moves. I hadn’t realised until now how much of my dancing style was arm-based – random pointing played a crucial role in my technique. I also realise how little I was moving my legs and especially my upper body. It’s almost as if I wasn’t allowing myself to respond instinctively to the music and the beat.
Tania stresses the importance of relaxing the chest. She shows us how to crumple and twist our middle section by breaking it into different areas – the upper chest, stomach and hips – and trying to move one part without affecting the others. I am even asked to do something called a ripple. It’s the sort of move I imagine pole dancers learn during their training, and indeed when done well it looks as if your body is undulating in musical ecstasy. It doesn’t quite look like that when I do it.
Having to isolate different moves and focus on the chest, then shoulders and neck, makes me appreciate that my style of dancing is stiff rather than fluid – more Ian Curtis than Curtis Mayfield – and the way to improve that is to focus on the core rather than the limbs.
Tania’s promise, or warning, that the class would be funky, meant the anodyne hip hop music we were dancing to wasn’t anything I would usually subject myself to and the moves that suited the music- sudden drops with legs apart, tapping the inside and outside of one’s shoes as you shake your lower leg- weren’t things I could imagine doing while listening to Joy Division: good dancing demands good music.
I stare at myself in the huge mirrors, dancing to hip hop music – suddenly dropping down with legs apart or shaking my lower legs – and at first I feel self-conscious. It’s hard not to enviously glance at the others as they morph into Michael Jackson and Beyoncé.
By the end of the class I am totally exhausted and just a little bit exhilarated. The most important lesson I have learned isn’t any particular dance move, although that helps, but just that it is so freeing to have an outlet to dance where for an hour and a half I am not thinking about work or family or Twitter: just about how good it is to move your body to the music.
That weekend, in the safety of my living room I put on some music – Pulp’s Disco 2000 – and have a dance with my wife, Bridget, and our two-year-old daughter, Laila. As I dance, I notice how much more aware I am of my body. Dancing well is about good music and good moves but it is also about realising that no one is ever too old to dance, and that the dancefloor needn’t have a glitter ball – it can even have a dining table.
In one way it is rather ridiculous, the three of us dancing amid the toys and books, and yet in another it is perfect.”Won’t it be strange when we’re all fully grown,” sings Jarvis Cocker, and Bridget and I sing along with him. I don’t wave my arms quite so much, my chest feels looser, my confidence is back, and no one is laughing at me.
Sarfraz took an Absolute Beginners class with City Academy, London
What I learned Sarfraz’s top tips
1 Be confident Remind yourself you’re never too old to dance.
2 Avoid the sudden drop with legs apart You’re not Miley Cyrus. Also worth avoiding any move that may bring to mind the zombies in the Thriller video.
3 It’s OK to close your eyes It’s almost certainly not cool but it feels good to me.
4. Choose music that suits your mood Saying that, I would counsel sitting out the Village People’s YMCA.
5. Don’t worry about where you dance Otherwise you’ll never do it – the kitchen will do.
Take it further
At a class
Frame has to be London’s most fun dance studio. It hosts Classic Music Videos classes so you can channel your inner Jacko, Madonna or TLC.
On a course
Is it a while since your dancing heyday? The Northern Ballet’s Keep Dancing course is for those aged over 55 who have never danced, or are a bit out of practice.Enrol for the whole course or drop in.
At a festival
The Glasto Latino tent is back. Take lessons by day to live music from one of Cuba’s best “son” bands (fusion of Spanish and African music), then flaunt your new moves at night.
Solitaire – 100% Free to Play Online
Mirrored balls and disco music set the tone for disco dances, an alternative to 1950s style sock hops. Dressing for a 1980s disco dance brings back the fashion trends of that decade. Everything was big. Big hair, big jewelry and big shoulder pads were all popular in the 1980s. Recreating these styles today for an 80s disco dance may mean a quick visit to a resale clothing store or adapting existing clothes with a few 80s style accessories. Men can be styling too. They just need to think tight shirts and borrow a few gold necklaces from their wives or girlfriends.
How to Dress for a 1980s Disco Dance
Find dresses or blouses with big shoulder pads. The oversized shoulder pad style has been out of fashion for a couple of decades. If shirts or dresses with the football player look cannot be found, making minor alterations to a silk blouse will do the trick. Shoulder pads can be purchased at any fabric store. Use safety pins to attach the pads to the blouse or dress.
Wear tight, shiny clothes. Gold lame and other metallic colored fabrics will add glitz to a 1980s disco dance outfit. Sequined clothes provide the glitter that was popular in the 1980s dance scene. Women can wear shiny, spandex pants with a big, sparkling top. Men can wear a silk shirt with the top three buttons unbuttoned.
Accessorize with a big belt. Big belts in colored leather or fabric cinched around the waist were a popular fashion accessory. Also, big pieces of costume jewelry round out the 1980s disco look. Think clunky faux gold necklaces with matching earrings.
Tease, curl or frizz your hair. Big hair was the trend in the 1980s. To tease hair, use a fine tooth comb. Start from the ends of the hair and comb upward toward the scalp. Permanents, which were the rage back then, can be recreated with hot curlers or a curling iron and plenty of hairspray. A crimping iron will also achieve the perm look.
Apply fake fingernails painted in bright colors. Long fingernails with fire red nail polish will add a small touch to the 1980s look. 1980s fashion dictated flash and color. So pour on the make up with plenty of eye shadow, blush and red lipstick. Fake eyelashes also help with the look.
Dress like a 1980s icon. Any 1980s disco dance should play a list of Madonna 1980s tunes. Dress as Madonna during her “Material Girl” phase. Wear black spandex pants with white lace gloves and big bulky jewelry. For men, try the “Miami Vice” look. Two day beard stubble and a tight tee shirt under a linen sports jacket is reminiscent of that popular 1980s television show.
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How to dance disco in Finnish
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How to dance disco in Finnish
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By Computer Music ( Computer Music ) published 20 September 17
The music theory behind that classic ‘70s sound
With its metronomic 4/4 beats, synth basslines and electronic percussion, disco evolved throughout the 1970s, eventually becoming the forerunner of house. It was disco that most successfully married the new sonic possibilities of the synthesizer to the traditional sounds of strings and brass, sustaining the use of orchestral instruments in pop until synths finally took over completely in the new wave explosion of the early ‘80s.
Disco embraced orchestral instruments, with bands such as Earth, Wind & Fire using strings in particular to great effect.
Two of the greatest exponents of this technique were Nile Rodgers and Bernard Edwards, the production masterminds behind Chic, Sister Sledge and many other disco classics. Making prominent use of soulful major and minor seventh chords, they hit on the perfect blend of slick 4/4
grooves, funky, extended minor guitar chords (such as Bbm11 or Abm9), clever basslines and great pop string arrangements that ultimately came to epitomise the sound of the disco era.
Let’s explore how major and minor sevenths can help you to create that classic disco sound.
Step 1: The minor seventh chord is disco’s best friend, as we’ll demonstrate in this mini-sketch, which contains a suitably disco-licious rhythm track of drums and bass. We’re going to add some Rhodes electric piano chords, starting with Cm7. To make this chord, start by creating a regular C minor chord, inserting the notes C, Eb and G.
Step 2: A minor seventh consists of a minor triad with an added flattened seventh degree. This means that we take the seventh note in the major scale, lower it by one semitone and add it to the chord. The seventh degree of the C major scale is B, so we flatten this to Bb – three semitones up from G – and tag it onto our existing C minor chord to get C, Eb, G and Bb – Cm7!
Step 3: A major seventh consists of a major triad with an added seventh degree of the major scale. So let’s insert an Abmaj7 over the Ab bass note in bar 3. Following our major chord formula, we pick Ab as the root note, add C, and then Eb. Next we add the seventh degree of the A major scale – G, to make Ab-C-Eb-G – Abmaj7.
Step 4: Let’s conclude with a Gm7 in bar 4. The minor seventh formula is 1, b3, 5, b7, so with G as our root note this time, we get G, Bb, D, F – Gm7. So far, we’ve merely been blocking out the chords, placing them on the downbeat, but to make things a little more disco, we could use a pattern like the one shown here to fit with the rhythm of the drums and bass parts.
Kiss your social distance blues goodbye. Your living room is about to become a party!
For Distance Disco you’ll need:
your best dance moves 💃🏾
your coolest outfit 👩🏼🎤🕺🏾👨🏿🎤🕺🏾
your computer + webcam 💻
BYO drinks 🍸
Distance Disco is a digital matchmaking dance party: find the person dancing to the same song!
Public dance floor
Join one of our public events.
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Distance Disco works best with the Chrome, Edge or Safari webbrowser.
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What people are saying
“This is the most amount of people I’ve seen in 21 days. I felt like I went out and connected with the outside world!”
“Dancing in times of distress has always been my go-to remedy. Being able to spread the love with so many others is keeping my spirit up!”
“It’s different from other online discos. The synchronicity of dancing with your dance partner, someone you found amongst a bigger group, makes it exciting”
With support from AFK, IDFA DocLab and Jitsi
With much appreciated help of our beta testers + Elien, Anita, Joyce & Coco.
MEET NORMAN GARSCHKE.
How would you describe the development of the very groove-oriented disco genre from its origins in the funk and soul music?
– Disco developed from influences of funk, soul and R’n’B music of the mid/late 1960s. During the early 1970s, more and more danceable variations of songs of those genres with simplified bass and snare drum patterns were played at private parties and in the night-clubs of Manhattan. From there, the disco movement started its successful conquest throughout the world, not only as a musical genre but also as a lifestyle that comprised fashion and style. The music itself developed from the very early stages of the so called “Philly Sound”, which took on a more danceable approach to the late Motown soul sound. Gradually, it transformed to very slick and technical sounding productions with a strong focus on the danceable drum-groove, syncopated rhythm-guitars and bass – but also on massive string arrangements and harmonic elements.
Sometimes, the very nature of the groove in a disco track is to keep it static and avoid too much variation. How did you approach this special characteristic for the content of this drum MIDI pack?
– The classic grooves of disco indeed seem to have not too much variety, but maybe this is because we often tend to focus only on the patterns of the bass and snare drums. It’s true that most of the times we hear the typical four on the floor, but if you take a closer listen to all these great grooves, you will quickly realize that the real magic lies in the hi-hat patterns. Especially the hi-hat notes are very often not clearly played as straight or shuffled sixteenth notes, but magically oscillate between those timings. In my mind, this is the key to produce this very special and typical hypnotic feeling and groove. My approach for the pack was to first set up a long list of the most influential songs of the genre. Since most disco grooves are derived from funk and soul in the first place, I also wanted to take it a step further and break out of the usual bass and snare disco patterns to combine the hi-hat ideas with more syncopated patterns are still danceable and groovy enough to work as variations in a disco track. By doing that, the possible variations are endless and every single groove of this huge collection can be very useful on its own for a song idea for anything from classic funk, soul and disco to more modern adaptations of disco and mainstream pop.
What’s your personal connection to disco?
– I was born in the mid-1970s, so actually right on the peak of the disco era. I remember my parents playing all the classic records. The sound of bands like Chic, The Bee Gees, ABBA, Donna Summer, KC & The Sunshine Band were the natural soundtrack to my early childhood. As I started to learn to play the drums, the disco movement developed further into the more electronic genres of the early ‘80s, but these musical styles adapted a lot of the feeling and playing of the original disco grooves which now were programed on the early drum machines, so the connection was still there. Soon I also got very much interested in funk and soul music and eventually started to explore the musical origins that led to disco, so I started to approach this music again from the other side of the historic timeline.
The grooves of disco developed more or less directly from the late funk and soul era. How important has that been for the further development of popular music and can we still find traces in today’s music?
– Oh yes, disco has been a huge influence on the further development of the music of the early ‘80s and the rise of all genres of electronic music. You should definitely try to use the Disco Grooves MIDI with the more electronic EZX expansions for EZdrummer 2! If you play the grooves through for example the Number 1 Hits EZX, the Pop! EZX, or the Hip-Hop! EZX, you quickly will find yourself creating the perfect foundation for songs in the sound of early ‘80s. If we go along even further on the timeline towards the present day, you find the musical principles of the original disco grooves in all house, nu-funk and of course the modern dance and pop music (Daft Punk, Jamiroquai, Justin Timberlake, Pharell Williams etc.). So, these grooves are not limited to the music of the mid 1970s at all, they are very fresh and relevant still to this day.
If you were asked to pick your top-5 disco songs, what would the be and why?
– That’s really difficult, as always when you get asked to narrow something down to a very small selection. There are so many influential and great songs of that era, but I’d say: “Night Fever” by The Bee Gees – this is simply a role-model song for the whole Disco movement and music.
“That’s the Way (I like it)” by KC & The Sunshine Band – listen to the feel on the HH, it’s a very unique and characteristic micro-groove in itself, HH magic!
“Upside Down” by Diana Ross – very nice variation of the 4-to-the-floor BD pattern, extremely funky and danceable.
“Dancing Queen” by ABBA – great songwriting and again a very unique and characteristic treatment of the HH. The micro-timing of the HH pattern makes this groove by ABBA drummer Ola Brunkert roll and sound like magic.
“Cosmic Girl” by Jamiroquai – a great example of a modern and more recent Disco/Funk adaption, awesome groove!
Forget soulless superclubs and enter the wonderful world of do-it-yourself clubbing
Illustration: Tom Clohosy Cole
Illustration: Tom Clohosy Cole
Last modified on Thu 22 Feb 2018 10.46 GMT
T he perfect night out is hard to come by. Even in London, the glittering metropolis catering to every hedonistic whim, you can’t always rely on someone else to run a night that plays the very specific kind of music you’ve been craving. The only solution is to put on your own.
In an idle exchange on Twitter, my friend Sammy and I discussed our favourite breakup songs – not the weepy Un-Break My Heart sort, but the Screw You Pal, I’m Amazing power-anthem kind. As we moved from tweets to email, we agreed that this would make a great night out. Neither of us had ever put on a club night before but you should never let having no idea what you’re doing put you off doing things. And thus U Suck was born.
1 Build your playlist
We started by creating a huge, sprawling playlist in which we dumped every breakup anthem we could think of. No genre was off limits, so we had everything from Fleetwood Mac to Daphne and Celeste in there, and we had some long and intricately worded email chains about what counts as a breakup song – should we play TLC’s No Scrubs? Reader, we played it. Choosing the songs we wanted to play was a bit like making a mixtape – it needed to flow from genre to genre without being too jarring, and we had to be sure to save plenty of big hits for later on in the night.
2 Find a venue
Don’t expect to email Fabric and be dropping Rihanna MP3s for the gurning masses by Saturday night. We set our sights low but even East London’s dive bars and hipster hangouts oscillated between “Great idea, how about January 2017?” and being too cool to answer our emails.
It’s safe to say DIY club nights are not the way to make a quick buck. Most venues ask for a deposit that they refund once the bar takes a certain amount of money. After that, you get a percentage of the money they make but if your guests don’t drink enough you lose the deposit. One venue in King’s Cross bucked the trend by offering to pay us to put the night on. “Are you sure?” I asked the bar manager, for some reason trying to talk him out of giving us money. “We don’t really know what we’re doing.” He didn’t seem to mind. We had a venue. We had a date. We had a name and a 157-song playlist of tracks to go with it. All we needed now was for some people to come.
3 Get the word out
As soon as you have a date and venue, set up a Facebook event and invite everyone you know. Tweet the link every other day, post songs you’ll be playing and ask for requests in advance so people feel involved. We pitched the night to as many London listing sites as we could. Having a hook for U Suck really helped get people interested, as did the beautiful artwork one of Sammy’s friends did for us. Pay an illustration student or artistically inclined friend to put together a design that works for posters, flyers, your Facebook event page header and your Twitter profile picture. It makes you look like you know what you’re doing.
4 Setting up
Armed with a laptop, an iPad, a couple of posters and some Blu-Tack, we ducked into the “DJ booth” (which turned out to be a table behind a piano) and surveyed the set-up. Right. This mixing desk thingy looks impressive. We’ve got a few wires here. Um. How do we … what’s the way to … um … where do we plug … ah. We had forgotten to find out how to DJ.
We didn’t want to admit we had no idea what we were doing so we Googled madly, phoned friends and eventually figured it out – but not before seriously considering calling the whole thing off. My best advice is this: ask someone to show you how to DJ before you get there. If you’re playing songs off laptops or CDs and not attempting anything that requires any kind of actual skill, it’s basically just a case of moving the sliders up and down so the right song is playing through the speakers at the right time. That didn’t stop me causing a few clanging silences, but a sheepish grin seemed to get everyone back on side.
5 The big night
The night began at 8pm. By 8.20pm none of our friends had shown up and we’d driven a whole table of strangers out of the bar. We were feeling nervous. By 9.30pm the room was full of excited people, and by 10pm they actually started dancing. It seemed like they were having fun. More incredibly, Sammy and I were having fun – hell, even the bar manager looked like he was having fun.
We learned a lot from that first night, like how to deal with people requesting Jamiroquai (“No”); that people don’t care for pop punk; and that gay guys really love Ashlee Simpson. Standing behind the decks as a room full of people belted out the chorus to Kelly Clarkson’s Since U Been Gone, I got a tiny glimpse of what it feels like to be a pop star (it feels amazing).
Sammy and I grinned madly and marvelled at the fact that we had made this happen. And, if you ignore the bit when we thought about slipping out the back and leaving the country forever, it wasn’t even that hard.
Jazz dance throws the rule book out the window. Adapted from African American styles of dance in the late 1800s, jazz dancing focuses more on expression than it does on rigid choreography and routines. African ritual and celebratory dances from the 17th century are the foundation of the jazz style we know today.
Howcast makes it easy to learn how to jazz dance with an extensive video tutorial library taught by professional instructors and choreographers. Our free video lessons are great for both beginners and advanced dancers! With easy to follow and simple instructions, you’ll be dancing in no time.
Named after the famous harbor city in South Carolina, The Charleston had peaked in popularity between 1926 and 1927. It burst into mainstream pop culture when it appeared in the Broadway show “Runnin’ Wild.”
Today’s version of the Charleston is highly versatile, as it can be performed solo, with a partner, or with a group. The style lends itself well to improvisation and creativity too! Even when performed solo, The Charleston remains a social dance, as it is still often danced with groups in Lindy Hop and Swing communities.
The primary step pattern resembles a natural walking movement but is performed in a fixed place. Dancers swing their arms backward and forward—moving the opposite leg along with the arm. For instance, as the right arm pivots forward, the left leg moves forward. Point your feet at an angle as you extend your legs.
Between the 1920s and 1940s, Jazz music took on a new face: swing. From this popular new genre of music came the swing dance. This period is even known as the Swing Era, which tells you how popular this dance was!
There are many variations of swing dancing, including the Lindy Hop, Balboa, Collegiate Shag, The Charleston, and more. Most of these dances were influenced by African American and jazz culture.
Swing dancing paved the way for Disco, Country Line Dancing, and Hip Hop. There are still groups today that practice social swing dancing, and there are many special events held around the dance style. Learn how to swing dance with our free video tutorials!
East Coast Swing
A genre of swing, east coast swing was developed by dance studios in the 1940s and heavily based on the Lindy Hop. The instructors who created the style felt that the Lindy Hop was a bit too advanced for their beginner students, so they made necessary adjustments to make it more suitable for all levels. As east coast swing was designed to be easy to pick up for beginners, it’s a great style of Traditional Jazz dance for anyone to learn!
East Coast Swing goes by many different names, depending on the region. Eastern Swing, East Coast Lindy, American Swing, Lindy, Single Swing, Triple Swing, and Jitterbug. Compared to the West Coast Swing, the East Coast Swing is a more rotational dance style, whereas the West version is a slotted dance. They are both performed in a social setting.
Depending on the particular instructor and region, the basic single step of the East Coast Swing is either “rock step, step, step” or “step, step, rock step.” Either way, the rock step starts on the downbeat. Let’s get swinging!
Inspired by the African American style of jazz in the United States during the 1940s, jive became a popular mainstream dance style. Influenced by the early forms of swing dancing and the jitterbug, it’s a Latin style of ballroom dance that has a lively feel to it.
Jive is compared to Rock n’ Roll Dance, but unlike Rock n’ Roll, it includes a syncopated chassé in the choreography. Jive includes a few specific dances, like swing boogie, the boogie woogie, and more.
Danced in pairs, the male partner will lead the basic six-step count. It consists of a rock step on counts one and two–with the left foot moving back and the right foot replacing. Chassé to the left on counts three and four and then to the right on counts five and six. Now your jiving!
Perhaps one of the most iconic and instantly recognizable styles of dance, tap dancing became extremely popular during the Vaudeville era. Dancers use shoes with tiny percussive instruments on the bottom, to create rhythm while performing. Tap is both a solo and a social dance style.
Tap dance has many cultural influences, including Spanish, Irish jigs, traditional African, and English clog dancing. It’s not precisely known when Tap Dancing was created, as there is evidence of its origins in both the 1700s and the mid-1800s.
Performers highly improvise during a tap dance routine. It can be danced to the rhythm of a song, but it can also be performed a cappella without music, which is unique to this style of dance.
Along with ballet and other jazz dancing forms, tap is one of the most taught styles in dance schools and classes. It’s fun and entertaining for everyone to learn, it teaches improvisation and discipline, and it helps students develop their rhythm—especially if they’re performing a cappella.
Can’t Stop Dancing?
We hope you’re having fun with video series on how to jazz dance! For even more great dance tutorials, check out our main How to Dance page, or discover new styles in our guide on the most popular types of dance.
Grab big rewards from DJ Bunny’s hidden nightclub.
Zombies need to party too. Hidden in the Mauer Der Toten map, players can teleport to a crazy 80s nightclub with dancing zombies and a sadistic plush bunny DJing. You just need to find all six parts of the bunny’s body to teleport there — and there are some big rewards to claim. This isn’t an easy Easter egg like the one in Firebase Z — you’ll have to fight a horde of zombies in a very enclosed space, and defeat a Mangler mini-boss before you’re allowed to claim a random reward. There are three mystery doors, and depending on what you pick, you’ll get a different prize for each one. Check out the full guide below for screenshots and text tutorials explaining exactly how to reach this weird hidden area.
More Black Ops Cold War Zombies: Mauer Der Toten Guides:
Disco Nightclub Easter Egg | Secret Location Guide
To enter the Disco Nightclub — a secret underground dance club with grooving zombies and a weird evil bunny DJing — you need to find six bunny plush parts. If you reach the club, you’ll get a chance at three rewards like free Juggernug. There are three mystery doors, and depending on which you open, you’ll get a special reward.
To collect bunny parts, you just need to hold [Interact] while looking at the item. The items are all different parts of the Bunny Plush. They’re blue, white, and a little bloody!
- Bunny Plush Locations:
- Part #1: Bar – On the corner seat, just to the left of the perk machine, there’s a bunny part.
- Part #2: Grocery Store – On the end of the white shelf, under the “50%” sign.
- Part #3: Hotel Room 304 – On the desk with the green tabletop and light, near the wrecked wall.
- Part #4: Alley – In the alley at the bottom of the Garment Factory building, look in the corner with the stacked tires.
- Part #5: Department Store – Accessed from West Berlin Street, use the zipline to reach this upper-level store. The bunny part is in the display case directly forward after you zip up.
- Part #6: Sewer Access – At the bottom of the stairs from the Ghost Station door, on the ground near a carboard box.
Find all six parts in any order, and you’ll instantly teleport straight into the Zombie Disco! Be prepared, because you’ll have to fight a wave of zombies and a Mangler before you’re allowed to claim your prizes. I highly recommend grabbing a Pack-a-Punch gun before teleporting in. If you’re ready, then this is a worthwhile spot to get some free upgrades.
More Black Ops Cold War Die Maschine guides:
Entertainment | September 24, 2021
“Dancing Queen” by ABBA hits the mark so perfectly that Queen Elizabeth once said, “I always try to dance when this song comes on because I am the Queen and I like to dance.” That desire to disco helped ABBA reach the number 1 spot in the following countries: Australia, South Africa, Belgium, Canada, Germany, Brazil, the United Kingdom, the US, Ireland, Mexico, the Netherlands, New Zealand, Norway, and Rhodesia!
The ladies of ABBA (youtube)
Written by Bjorn Ulvaeus and Benny Andersson and their manager Stig Anderson, the trio drew inspiration from George McCrae’s disco banger “Rock Your Baby” and the drums from the album ‘Gumbo’ by Dr. John. The single sold over 3 million copies worldwide and pushed ABBA to new heights of fame.
A Hit From Jump
Very rarely do musicians know they have a hit on their hands. People’s music tastes are very subjective and a song’s success can come down to a myriad of factors. For instance, if “Dancing Queen” actually debuted under its original title “Boogaloo”, it probably wouldn’t have persisted as the classic it is today. Despite the terrible working title, the group immediately understood that “Dancing Queen” would become something special.
Reportedly, when Benny first played the song’s backing track, Frida burst into tears! As she told the Guardian, “And that was before me and Agnetha had even sung on it!. “I knew it was absolutely the best song ABBA had ever done.”
Holding On To Gold
So if you knew you held a winning lotto ticket, how long would you wait to cash it in? Amazingly, ABBA held on to “Dancing Queen” for almost a year before dropping it as a single. That was after spending over six months perfecting it! The wait was due in part to the studio which felt “Fernando” was the stronger song, demanding it anchor their album “Arrival.”
While “Fernando” did reach number 13 on Billboard’s Hot 100, it never reached the iconic heights of “Dancing Queen.” U2 even covered the song on their tour in ‘92. Bono held a tremendous amount of respect for them saying, “ABBA has a purer joy to their music and that’s what makes them extraordinary.”
Despite its incredible popularity, a few misinterpretations exist regarding the song. According to one survey, 22% of people mishear the lyrics of “Dancing Queen.” Nearly a quarter of people hear “See that girl, watch her scream, kicking the dancing queen” rather than “See that girl, watch that scene, diggin’ the dancing queen.”
Also, the words “Night is young and the music’s high” are not a veiled reference to drug use or getting high off the music. To them, it just meant the music was loud. Who knows what the public could have read into the omitted verse, “Baby, baby, you’re out of sight/hey, you’re looking alright tonight/when you come to the party/listen to the guys/they’ve got the look in their eyes. “
Funnily enough, Queen Elizabeth wasn’t the only royal to love “Dancing Queen.” Queen Silvia of Sweden not only requested the group play it at her wedding to King Carl XVI Gustaf but also at her 50th birthday party! Benny Andersson remains incredibly proud of the song, undaunted by the cheesiness of the disco era.
“We always thought we did good stuff, nothing cheesy about that. We did exactly what we wanted to do. Now what you refer to as what could be cheesy must have to do with lyrics, not the music as such. And I’ve never been involved in writing lyrics, I only care for the music itself and as long as the lyrics sit together with the music nicely. I don’t care if it’s called Mamma Mia or Fernando or Dancing Queen, as long as it goes along with the melody.
Berlin to ban dancing in clubs amid Covid-19 rise in Germany
Following the sharp rise of COVID-19 cases in Germany, the Berlin Senate has just announced that dancing will be banned at clubs in the German capital from Wednesday the 8th of December, 2021. With the decision coming at a time where a new variant of the virus is causing further lockdown’s and stricter restrictions around Europe, the German government opted for a ruling where clubs must close in states where the infection rate exceeds 350 new infections per 100,000 people.
With a current rate of roughly 361, Berlin is the latest state to be imposed with such restrictions, adding a further burden to the city’s live entertainment sector. The closure of clubs and bars in Berlin is yet to come in effect due to ongoing legal proceedings, however, restrictions on capacity and social distancing measures are once again introduced. As the ban will be enforced in the upcoming week, clubs will remain open this weekend at 50% capacity, and at the current time no end date has been proposed for the upcoming ban of dancing.
These latest rulings have also come at a time where other major states in the country have seen a sharp rise of COVID-19 cases, with the closure of clubs in Bavaria being a prime example. With the pandemic impacting the live industry in more ways than one, this never ending cycle has once more led to uncertainty and despair for the locals and their businesses, further indicating the need for more productive solutions when it comes to not only the well-being of a nation, but also for the fair treatment towards live sector establishments.
About the Author / Ouranios Savva
26-year-old dance music enthusiast from Kos, Greece. Find me at a rave/festival around the world.
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Turn your living room into a disco dance hall with attention paid to lighting, a rented disco ball and the right mood set by food, drink and costumes. Hire or recruit a DJ, and the music will put guests in the dance party groove, which will help your guests feel like they are at a dance club.
Remove all the furniture from the room. Set up a DJ table in one corner and set up a table for food and another to act as a bar. Set some folding chairs around the perimeter of the room; leave the center open for dancing.
Place black lights and strobe lights around the room. These will bring a dance or disco feeling to the room. Contact a party rental shop and rent a disco ball to hang from the ceiling. The strobe lights will interact with the ball and add sparkle.
Paint a large sheet of plywood a dark color such as navy or purple, then decorate it with a dance-party theme. Some ideas include splattering it with paint, adding graffiti or silver stars and a disco ball. Set this up near the entrance to the party and recruit someone to take a picture of the guests against it as they come in.
Hang shimmering gold and silver streamers from the ceiling over the dance floor. They’ll catch the strobe and black lights. Hand out glow lights to guests as they come in so that their dancing becomes part of the lighting as well.
Set the food table with finger foods that can be eaten with little fuss. Chicken wings, crudites and pizza are good choices. If your party is for minors, make nonalcoholic versions of classic party drinks such as margaritas and Shirley Temples. For adults, serve wine and beer as well as mixed drinks as room allows.
Buy a stash of classic ’70s disco wear, such as glittery hats and boas, and pass them out to your guests as they come in to help set the mood.
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Selo: Atlantic – 0-86083
Formato: Vinyl, 12″, 33 RPM
Data de lan�amento: 1990
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Mais informa��es sobre este produto: Princessa – How To Dance
|A)||How To Dance -Ambient NY Mix||5:53|
|B1)||How To Dance -Tribal Club Mix||6:19|
|B2)||How To Dance -Extended Radio Version||4:37|