Post-disco (also called boogie, synth-funk, or electro-funk[1][2]) is a term to describe an aftermath in popular music history circa 1979–1985, imprecisely beginning with an unprecedented backlash against disco music in the United States, leading to civil unrest and a riot in Chicago known as the Disco Demolition Night on July 12, 1979, and indistinctly ending with the mainstream appearance of new wave in 1980.[3] Disco during its dying stage displayed an increasingly electronic character that soon served as a stepping stone to new wave, old-school hip hop, euro disco, and was succeeded by an underground club music called hi-NRG, which was its direct continuation.

An underground movement of disco music, which was simultaneously "stripped-down" and featured "radically different sounds,"[4] took place on the East Coast that "was neither disco and neither R&B."[5] This scene, known as post-disco,[nb 1] catering to New York metropolitan area, was initially led by urban contemporary artists partially in response to the over-commercialization and artistic downfall of disco culture. Developed from the rhythm and blues sound as perfected by Parliament-Funkadelic,[8] the electronic side of disco, dub music techniques, and other genres. Post-disco was typified by New York City music groups like "D" Train[5] and Unlimited Touch[5] who followed a more urban approach while others, like Material[9] and ESG,[10] a more experimental one. Post-disco was, like disco, a singles-driven market[4] controlled mostly by independent record companies that generated a cross-over chart success all through the early-to-mid 1980s. Most creative control was in the hands of record producers and club DJs[4] which was a trend that outlived the dance-pop era.

Other musical styles that emerged in the post-disco era include dance-pop,[11][12] boogie,[4] and Italo disco and led to the development of the early alternative dance,[4] club-centered house[11][13][14][15] and techno music.[14][16][17][18][19]

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