[Disco Not Disco 2 Rar
Rancul Ratha
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Spatial patterning of neural stem cell populations is a powerful mechanism by which to generate neuronal diversity. In the developing Drosophila medulla, the symmetrically dividing neuroepithelial cells of the outer proliferation center crescent are spatially patterned by the nonoverlapping expression of 3 transcription factors: Vsx1 in the center, Optix in the adjacent arms, and Rx in the tips. These spatial genes compartmentalize the outer proliferation center and, together with the temporal patterning of neuroblasts, act to diversify medulla neuronal fates. The observation that the dorsal and ventral halves of the outer proliferation center also grow as distinct compartments, together with the fact that a subset of neuronal types is generated from only one half of the crescent, suggests that additional transcription factors spatially pattern the outer proliferation center along the dorsal-ventral axis. Here, we identify the spalt (salm and salr) and disco (disco and disco-r) genes as the dorsal-ventral patterning transcription factors of the outer proliferation center. Spalt and Disco are differentially expressed in the dorsal and ventral outer proliferation center from the embryo through to the third instar larva, where they cross-repress each other to form a sharp dorsal-ventral boundary. We show that hedgehog is necessary for Disco expression in the embryonic optic placode and that disco is subsequently required for the development of the ventral outer proliferation center and its neuronal progeny. We further demonstrate that this dorsal-ventral patterning axis acts independently of Vsx1-Optix-Rx and thus propose that Spalt and Disco represent a third outer proliferation center patterning axis that may act to further diversify medulla fates.
Disco is a genre of dance music and a subculture that emerged in the 1970s from the United States' urban nightlife scene. Its sound is typified by four-on-the-floor beats, syncopated basslines, string sections, brass and horns, electric piano, synthesizers, and electric rhythm guitars.
Disco started as a mixture of music from venues popular among African-Americans, Hispanic/Latino Americans, gay Americans, and Italian Americans[5] in Philadelphia and New York City during the late 1960s to early 1970s. Disco can be seen as a reaction by the 1960s counterculture to both the dominance of rock music and the stigmatization of dance music at the time. Several dance styles were developed during the period of 70s disco's popularity in the United States, including "the Bump", "the Hustle", "the Watergate", and "the Busstop".[6]
In the course of the 1970s, disco music was developed further, mainly by artists from the United States and Europe. Well-known artists included the Bee Gees, ABBA, Donna Summer, Gloria Gaynor, Giorgio Moroder, Baccara, The Jacksons, Michael Jackson, Boney M., Earth Wind & Fire, Chaka Khan, Chic, KC and the Sunshine Band, Thelma Houston, Sister Sledge, Sylvester, The Trammps, Barry White, Diana Ross, Kool & the Gang, and the Village People.[7][8] While performers garnered public attention, record producers working behind the scenes played an important role in developing the genre. By the late 1970s, most major U.S. cities had thriving disco club scenes, and DJs would mix dance records at clubs such as Studio 54 in Manhattan, a venue popular among celebrities. Nightclub-goers often wore expensive, extravagant outfits, consisting predominantly of loose, flowing pants or dresses for ease of movement while dancing. There was also a thriving drug subculture in the disco scene, particularly for drugs that would enhance the experience of dancing to the loud music and the flashing lights, such as cocaine and quaaludes, the latter being so common in disco subculture that they were nicknamed "disco biscuits". Disco clubs were also associated with promiscuity as a reflection of the sexual revolution of this era in popular history. Films such as Saturday Night Fever (1977) and Thank God It's Friday (1978) contributed to disco's mainstream popularity.
Disco declined as a major trend in popular music in the United States following the infamous Disco Demolition Night on July 12, 1979, and it continued to sharply decline in popularity in the U.S. during the early 1980s; however, it remained popular in Italy and some European countries throughout the 1980s, and during this time also started becoming trendy in places elsewhere including India[9] and the Middle East,[10] where aspects of disco were blended with regional folk styles such as ghazals and belly dancing. Disco would eventually become a key influence in the development of electronic dance music, house music, hip hop, new wave, dance-punk, and post-disco. The style has had several revivals since the 1990s, and the influence of disco remains strong across American and European pop music. A revival has been underway since the early 2010s, coming to great popularity in the early 2020s. Albums that have contributed to this revival include Confessions on a Dance Floor, Random Access Memories, Future Nostalgia, and Kylie Minogue's album itself titled Disco.[11][12][13][14]
The term "disco" is shorthand for the word discothque, a French word for "library of phonograph records" derived from "bibliothque". The word "discotheque" had the same meaning in English in the 1950s. "Discothque" became used in French for a type of nightclub in Paris, after they had resorted to playing records during the Nazi occupation in the early 1940s. Some clubs used it as their proper name. In 1960, it was also used to describe a Parisian nightclub in an English magazine.
The Oxford English Dictionary defines Discotheque as "A dance hall, nightclub, or similar venue where recorded music is played for dancing, typically equipped with a large dance floor, an elaborate system of flashing coloured lights, and a powerful amplified sound system. ". Its earliest example is use as the name of a particular venue in 1952, and other examples date from 1960 onwards. The entry is annotated as "Now somewhat dated".[15] It defines Disco as "A genre of strongly rhythmical pop music mainly intended for dancing in nightclubs and particularly popular in the mid to late 1970s.", with use from 1975 onwards, describing the origin of the word as a shortened form of discotheque.[16] a
In the summer of 1964, a short sleeveless dress called the "discotheque dress" was briefly very popular in the United States. The earliest known use for the abbreviated form "disco" described this dress and has been found in The Salt Lake Tribune on July 12, 1964; Playboy magazine used it in September of the same year to describe Los Angeles nightclubs.[17]
Vince Aletti was one of the first to describe disco as a sound or a music genre. He wrote the feature article "Discotheque Rock Paaaaarty" that appeared in Rolling Stone magazine in September 1973.[18][19][20]
The music typically layered soaring, often-reverberated vocals, often doubled by horns,[citation needed] over a background "pad" of electric pianos and "chicken-scratch" rhythm guitars played on an electric guitar. Lead guitar features less frequently in disco than in rock. "The "rooster scratch" sound is achieved by lightly pressing the guitar strings against the fretboard and then quickly releasing them just enough to get a slightly muted poker [sound] while constantly strumming very close to the bridge."[21] Other backing keyboard instruments include the piano, electric organ (during early years), string synthesizers, and electromechanical keyboards such as the Fender Rhodes electric piano, Wurlitzer electric piano, and Hohner Clavinet. Donna Summer's 1977 song "I Feel Love", produced by Giorgio Moroder with a prominent Moog synthesizer on the beat, was one of the first disco tracks to use the synthesizer.[22]
The rhythm is laid down by prominent, syncopated basslines (with heavy use of broken octaves, that is, octaves with the notes sounded one after the other) played on the bass guitar and by drummers using a drum kit, African/Latin percussion, and electronic drums such as Simmons and Roland drum modules. Philly dance and Salsoul disco the sound was enriched with solo lines and harmony parts played by a variety of orchestral instruments, such as violin, viola, cello, trumpet, saxophone, trombone, flugelhorn, French horn, English horn, oboe, flute, timpani and synth strings, string section or a full string orchestra.[citation needed]
Most disco songs have a steady four-on-the-floor beat set by a bass drum, a quaver or semi-quaver hi-hat pattern with an open hissing hi-hat on the off-beat, and a heavy, syncopated bass line.[23][24] A recording error in the 1975 song "Bad Luck" by Harold Melvin & the Blue Notes where Earl Young's hi-hat was too loud in the recording is said to have established loud hi-hats in disco.[23] Other Latin rhythms such as the rhumba, the samba, and the cha-cha-cha are also found in disco recordings, and Latin polyrhythms, such as a rhumba beat layered over a merengue, are commonplace. The quaver pattern is often supported by other instruments such as the rhythm guitar and may be implied rather than explicitly present.
Songs often use syncopation, which is the accenting of unexpected beats. In general, the difference between disco, or any dance song, and a rock or popular song is that in dance music the bass drum hits four to the floor, at least once a beat (which in 4/4 time is 4 beats per measure).[citation needed] Disco is further characterized by a 16th note division of the quarter notes as shown in the second drum pattern below, after a typical rock drum pattern.
The orchestral sound usually known as "disco sound" relies heavily on string sections and horns playing linear phrases, in unison with the soaring, often reverberated vocals or playing instrumental fills, while electric pianos and chicken-scratch guitars create the background "pad" sound defining the harmony progression. Typically, all of the doubling of parts and use of additional instruments creates a rich "wall of sound". There are, however, more minimalist flavors of disco with reduced, transparent instrumentation.
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