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Disco's decline in popularity after Disco Demolition Night was rapid. On July 12, 1979, the top six records on the U.S. music charts were disco songs. [112] By September 22, there were no disco songs in the US Top 10 chart, with the exception of Herb Alpert's instrumental "Rise", a smooth jazz composition with some disco overtones. [112]
Regine began playing on two turntables there in 1953. Discos began appearing across Europe and the United States. [5] In the 1950s, American radio DJs appeared live at sock hops and "platter parties" and assumed the role of a human jukebox. They typically played 45-rpm records, featuring hit singles on one turntable while talking between songs.
Also, "The Top 40 Songs of the Disco Era (1974–1979)" aired on Sirius XM "70s on 7" the second weekend of July 2011. As of the weekend of February 11, 2023, the 6am and noon Saturday editions were discontinued and replaced by a single 9 am Saturday airing, with the Sunday airing moved to noon Eastern time.
The 1980s began with new wave dominating the charts, and continued through a new form of silky smooth soul, and ended with a popular glam metal trend dominating mainstream America. Meanwhile, the first glimmer of punk rock's popularity began, and new alternative rock and hardcore found niche markets. Hip hop diversified as a few artists gained ...
Young’s beat drove the most influential disco records and it would be replicated on countless songs. Young’s group, The Trammps would also score a massive hit with 1976’s “Disco Inferno.”
The company emerged as the leading producer (or "assembly line," a reference to its motor-town origins) of black popular music by the early 1960s and marketed its products as "The Motown Sound" or "The Sound of Young America"—which combined elements of soul, funk, disco and R&B. [85] Notable Motown acts include the Four Tops, the Temptations ...
July 12, 1979 -- Disco Demolition Night at Comiskey Park in. ... After Dahl took the field to blow up the records -- as players began warming up for Game 2 -- a handful of fans stormed the field ...
Vaudevillean Mamie Smith records "Crazy Blues" for Okeh Records, the first blues song commercially recorded by an African-American singer, [1] [2] [3] the first blues song recorded at all by an African-American woman, [4] and the first vocal blues recording of any kind, [5] a few months after making the first documented recording by an African-American female singer, [6] "You Can't Keep a Good ...