This book explores some of disco\u2019s other lives which thrived between the 1970s and the 1980s, from oil-boom Nigeria to socialist Czechoslovakia, from post-colonial India to war-torn Lebanon.\u00a0It charts the translation of disco as a cultural form into musical, geo-political, ideological and sociological landscapes that fall outside of its original conditions of production and reception, capturing the variety of scenes, contexts and reasons for which disco took on diverse dimensions in its global journey.\u00a0With its deep repercussions in visual culture, gender politics, and successive forms of popular music, art, fashion and style, disco as a musical genre and dance culture is exemplary of how a subversive, marginal scene \u2013 that of queer and Black New York undergrounds in the early 1970s \u2013 turned into a mainstream cultural industry.\u00a0As it exploded, atomised and travelled, disco served a number of different agendas; its aesthetic rootedness in ideas of pleasure, transgression and escapism and its formal malleability, constructed around a four-on-the-floor beat, allowed it to permeate a variety of local scenes for whom the meaning of disco shifted, sometimes in unexpected and radical ways.<\/p>\n\n\n\n
– Develops research which decolonises disco to shedd light on scenes unexplored in Anglophone scholarship<\/p>\n\n\n\n
– Establishes a crucial link between the \u2018field\u2019 of popular music studies and the \u2019scenes\u2019 of its production<\/p>\n\n\n\n
\u00a0– Offers a range of interdisciplinary and international perspectives suited to academic and non-specialised audiences<\/p>\n\n\n\n
Reviews<\/strong><\/p>\n\n\n\n This book is a critical and necessary contribution to disco studies and to popular music studies more broadly. The volume will find an avid readership among researchers and students in popular music studies and among practitioners and aficionados of disco itself.<\/p>\n\n\n\n \u2014 Arabella Stanger<\/strong>, University of Sussex, UK<\/p>\n\n\n\n Table of contents<\/strong><\/p>\n\n\n\n Introduction: Disco Heterotopias\u2014Other Places, Other Spaces, Other Lives<\/p>\n\n\n\n Flora Pitrolo, Marko Zubak<\/strong><\/p>\n\n\n\n Montreal, Funkytown: Two Decades of Disco History<\/p>\n\n\n\n Will Straw<\/strong><\/p>\n\n\n\n Dancin\u2019 Days: Disco Flashes in 1970s Brazil<\/p>\n\n\n\n Ivan Paolo de Paris Fontanari<\/strong><\/p>\n\n\n\n Gimmick! Italo Disco, Copy and Consumption<\/p>\n\n\n\n Flora Pitrolo<\/strong><\/p>\n\n\n\n Japanese Disco as Pseudo-International Music<\/p>\n\n\n\n Yusuke Wajima<\/strong><\/p>\n\n\n\n Disco, Dancing, Globalization and Class in 1980s Hindi Cinema<\/p>\n\n\n\n Gregory D. Booth<\/strong><\/p>\n\n\n\n Dancing Desire, Dancing Revolution: Sexuality and the Politics of Disco in China Since the 1980s<\/p>\n\n\n\n Qian Wang<\/strong><\/p>\n\n\n\n Non-stop, I Want to Live Non-stop: The Role of Disco in Late Socialist Czechoslovakia<\/p>\n\n\n\n Jakub Machek<\/strong><\/p>\n\n\n\n Yugoslav Disco: The Forgotten Sound of Late Socialism<\/p>\n\n\n\n Marko Zubak<\/strong><\/p>\n\n\n\n The Lebanese Music Experiment: Disco and Nightlife During the Civil War<\/p>\n\n\n\n Natalie Shooter, Ernesto Chahoud<\/strong><\/p>\n\n\n\n Disco and Discontent in Nigeria: A Conversation<\/p>\n\n\n\n Uchenna C. Ikonne, Flora Pitrolo, Marko Zubak<\/strong><\/p>\n\n\n\n Outer Space, Futurism, and the Quest for Disco Utopia<\/p>\n\n\n\n Ken McLeod<\/strong><\/p>\n\n\n\n Epilogue: Decolonising Disco\u2014Counterculture, Postindustrial Creativity, the 1970s Dance Floor and Disco<\/p>\n\n\n\n Tim Lawrence<\/strong><\/p>\n\n\n\n About the editors<\/strong><\/p>\n\n\n\n Flora Pitrolo<\/strong> is a Lecturer at Birkbeck, University of London, UK, and Syracuse University London. Her work investigates alternative European performance and music cultures of the 1980s, with a special focus on Italy. She publishes both as a scholar and as a journalist, and is active as a DJ and producer in various archival and experimental music scenes. <\/p>\n\n\n\n
\n\n\n\n
\n\n\n\n
\n\n\n\n
\n\n\n\n
\n\n\n\n
\n\n\n\n
\n\n\n\n
\n\n\n\n
\n\n\n\n
\n\n\n\n
\n\n\n\n
\n\n\n\n
\n\n\n\n
\n\n\n\n
\n\n\n\n