. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "\u041F\u043E\u0441\u0442\u0434\u0438\u0441\u043A\u043E (\u0430\u043D\u0433\u043B. post-disco) \u2014 \u0436\u0430\u043D\u0440 \u044D\u043B\u0435\u043A\u0442\u0440\u043E\u043D\u043D\u043E\u0433\u043E \u043F\u0440\u043E\u0433\u0440\u0435\u0441\u0441\u0438\u0432\u043D\u043E\u0433\u043E \u0440\u0438\u0442\u043C-\u043D-\u0431\u043B\u044E\u0437\u0430, \u0432\u043E\u0437\u043D\u0438\u043A\u0448\u0435\u0433\u043E \u0432 \u043A\u043E\u043D\u0446\u0435 1970-\u0445, \u043E\u0434\u043D\u0430\u043A\u043E \u044D\u0442\u043E\u0442 \u0442\u0435\u0440\u043C\u0438\u043D \u0447\u0430\u0449\u0435 \u0438\u0441\u043F\u043E\u043B\u044C\u0437\u0443\u0435\u0442\u0441\u044F \u0434\u043B\u044F \u043E\u043F\u0438\u0441\u0430\u043D\u0438\u044F \u0440\u0430\u0437\u0432\u0438\u0442\u0438\u044F \u043F\u043E\u043F\u0443\u043B\u044F\u0440\u043D\u043E\u0439 \u043C\u0443\u0437\u044B\u043A\u0438 \u0432 1979\u20141986 \u0433\u0433., \u043D\u0430\u0447\u0438\u043D\u0430\u044F \u0441 \u043D\u043E\u0447\u0438 12 \u0438\u044E\u043B\u044F 1979 \u0433\u043E\u0434\u0430, \u043A\u043E\u0442\u043E\u0440\u0430\u044F \u043F\u043E\u043B\u0443\u0447\u0438\u043B\u0430 \u043D\u0430\u0437\u0432\u0430\u043D\u0438\u0435 Disco Demolition Night (\u0440\u0443\u0441. \u041D\u043E\u0447\u044C \u0421\u043D\u043E\u0441\u0430 \u0414\u0438\u0441\u043A\u043E), \u043A\u043E\u0433\u0434\u0430 \u043D\u0435\u043F\u0440\u0438\u044F\u0437\u043D\u044C \u043A \u0434\u0438\u0441\u043A\u043E \u043F\u0440\u0438\u0432\u0435\u043B\u0430 \u043A \u0443\u043D\u0438\u0447\u0442\u043E\u0436\u0435\u043D\u0438\u044E \u0442\u044B\u0441\u044F\u0447 \u043F\u043B\u0430\u0441\u0442\u0438\u043D\u043E\u043A \u043D\u0430 \u0431\u0435\u0439\u0441\u0431\u043E\u043B\u044C\u043D\u043E\u043C \u043F\u043E\u043B\u0435 \u0432 \u0427\u0438\u043A\u0430\u0433\u043E \u0438 \u0437\u0430\u043A\u0430\u043D\u0447\u0438\u0432\u0430\u044F \u043F\u043E\u0432\u0441\u0435\u043C\u0435\u0441\u0442\u043D\u044B\u043C \u043F\u043E\u044F\u0432\u043B\u0435\u043D\u0438\u0435\u043C \u0445\u0430\u0443\u0441-\u043C\u0443\u0437\u044B\u043A\u0438."@ru . . . . . . . . . . . . . . . . . . . . . . . . . . . "P\u00F3s-disco"@pt . . "P\u00F3s-disco (em ingl\u00EAs: post-disco, tamb\u00E9m denominado boogie, synth-funk, ou electro-funk) \u00E9 um termo utilizado para descrever as consequ\u00EAncias da hist\u00F3ria da m\u00FAsica popular por volta de 1979 a 1985, come\u00E7ando de forma imprecisa com uma rea\u00E7\u00E3o sem precedentes contra a m\u00FAsica disco nos Estados Unidos, levando a agita\u00E7\u00E3o civil e um tumulto em Chicago conhecido como Disco Demolition Night (Noite de Demoli\u00E7\u00E3o da Disco) em julho 12 de 1979, e terminando indistintamente com o aparecimento da new wave em 1980, hip hop old-school, euro disco, e foi sucedido por um clube de m\u00FAsica underground chamado hi-NRG, que foi sua continua\u00E7\u00E3o direta. Tamb\u00E9m teve influ\u00EAncia na apari\u00E7\u00E3o da house music no mainstream no final de 1980. A m\u00FAsica disco, durante a sua fase terminal, exibia um car\u00E1ter cada vez mais eletr\u00F4nico que logo serviu como um trampolim para a new wave."@pt . . . . . . . . . . . "* Disco\n* dub\n* electronic\n* hi-NRG\n* P-Funk\n* soul\n* rhythm and blues"@en . . . . . . . . . . . . . . . . "\u30DD\u30B9\u30C8\u30FB\u30C7\u30A3\u30B9\u30B3\uFF08\u82F1\uFF1APost-disco\uFF09\u306F\u30011970\u5E74\u4EE3\u524D\u534A\u304B\u30891980\u5E74\u4EE3\u521D\u982D\u307E\u3067\u6D41\u884C\u3057\u305F\u30C7\u30A3\u30B9\u30B3\u97F3\u697D\u306E\u6D41\u884C\u304C\u53BB\u3063\u305F\u5F8C\u3001\u30C0\u30F3\u30B9\u306B\u95A2\u3059\u308B\u6697\u4E2D\u6A21\u7D22\u3092\u884C\u3063\u3066\u3044\u305F\u6642\u4EE3\u306E\u97F3\u697D\u3067\u3042\u308B\u3002 \u97F3\u697D\u306E\u50BE\u5411\u306F\u3001DJ\u3084\u30D7\u30ED\u30C7\u30E5\u30FC\u30B5\u30FC\u306B\u3088\u3063\u3066\u3001\u30C0\u30F3\u30B9\u30FB\u30DD\u30C3\u30D7\u3084\u30D6\u30AE\u30FC\u3001\u30A4\u30BF\u30ED\u30FB\u30C7\u30A3\u30B9\u30B3\u306B\u8C61\u5FB4\u3055\u308C\u308B\u3088\u3046\u306B\u3001\u3088\u308A\u96FB\u5B50\u5316\u3055\u308C\u3001\u5B9F\u9A13\u7684\u306A\u3082\u306E\u3060\u3063\u305F\u3002\u30C6\u30AF\u30CE\u3068\u30CF\u30A6\u30B9\u306F\u30DD\u30B9\u30C8\u30FB\u30C7\u30A3\u30B9\u30B3\u304B\u3089\u5B9A\u7740\u3057\u305F\u3002 \u30C7\u30A3\u30B9\u30B3\u97F3\u697D\u304B\u3089\u306F\u3001\u30B7\u30F3\u30BB\u30B5\u30A4\u30B6\u30FC\u3067\u4F5C\u3089\u308C\u308B\u30C0\u30F3\u30B9\u7CFB\u306E\u97F3\u697D\u30B8\u30E3\u30F3\u30EB\u306E\u307B\u3068\u3093\u3069\u3059\u3079\u3066\u304C\u6D3E\u751F\u3057\u3066\u884C\u3063\u305F\u304C\u3001\u307E\u3055\u306B\u305D\u306E\u6D3E\u751F\u306E\u6700\u521D\u671F\u306B\u3042\u305F\u308B\u97F3\u697D\u30B8\u30E3\u30F3\u30EB\u3067\u3042\u308B\u3002"@ja . "Post-disco"@it . . . . . . . . . . . . . "Post-disco (also called boogie, synth-funk, or electro-funk) is a term to describe an aftermath in popular music history circa 1979\u20131985, 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. During its dying stage, disco 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,\" took place on the East Coast that \"was neither disco and neither R&B.\" This scene, known as post-disco, 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, the electronic side of disco, dub music techniques, and other genres. Post-disco was typified by New York City music groups like \"D\" Train and Unlimited Touch who followed a more urban approach while others, like Material and ESG, a more experimental one. Post-disco was, like disco, a singles-driven market 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 which was a trend that outlived the dance-pop era. Other musical styles that emerged in the post-disco era include dance-pop, boogie, and Italo disco and led to the development of the early alternative dance, club-centered house and techno music."@en . "Post-disco"@fr . . . . . . . . . "* Boogie\n* Electro-funk"@en . . . . . . . . . "Post disco"@pl . . . . . . . . . . . . . . . . . . . . . "Michael Jackson 1988"@en . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "1980.0"^^ . . . . . . . . . . . . . "Michaeljackson .jpg"@en . . . . . . . . . . . . . . . . . . . . . . . "Post-disco"@en . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "Post disco \u2013 gatunek muzyki elektronicznej powsta\u0142y w Nowym Jorku i innych miastach w latach 80. XX wieku. Wp\u0142yw na powstanie gatunku mia\u0142a muzyka elektroniczna i muzyka eksperymentalna, zw\u0142aszcza dub, disco, R&B, funk, a tak\u017Ce inne gatunki muzyczne. Najwi\u0119kszymi tw\u00F3rcami byli tacy arty\u015Bci jak Evelyn King, D-Train, , , Freeez, Telex, Madonna, czy , Frankie Knuckles, ."@pl . . . . . . . . . . . . . . . . . . . . . . . . "Le post-disco est un genre musical de danse ayant \u00E9merg\u00E9 \u00E0 la fin des ann\u00E9es 1970. Le terme d\u00E9crit un \u00AB s\u00E9isme \u00BB dans l'histoire de la musique populaire entre 1979 et 1988, impr\u00E9cis\u00E9ment lanc\u00E9 lors d'une protestation sans pr\u00E9c\u00E9dent contre la musique disco aux \u00C9tats-Unis, qui m\u00E8nera \u00E0 des interpellations civiles et \u00E0 une \u00E9meute dans la ville de Chicago connue sous le nom de Disco Demolition Night le 12 juillet 1979, et qui prendra indirectement fin pendant l'\u00E9mergence de la musique house \u00E0 la fin des ann\u00E9es 1980. Le disco, \u00E0 sa p\u00E9riode d\u00E9clinante, se caract\u00E9rise par un son de type \u00E9lectronique qui favorisera le d\u00E9veloppement des genres new wave, hip-hop, Euro disco, et suivi par une sc\u00E8ne musicale underground appel\u00E9e hi-NRG, qui en est sa continuit\u00E9 directe."@fr . . . . . . . . "1115957834"^^ . . . . . . . . . . . . . . . . . "Madonna 1990 cropped.jpg"@en . . . . . . . "Per post-disco si intende una variante della disco music emersa lungo la fine degli anni settanta negli Stati Uniti."@it . . . . . . . . . . . . . . . . . "Post-disco (also called boogie, synth-funk, or electro-funk) is a term to describe an aftermath in popular music history circa 1979\u20131985, 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. During its dying stage, disco 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."@en . . . "\u30DD\u30B9\u30C8\u30FB\u30C7\u30A3\u30B9\u30B3"@ja . . "Le post-disco est un genre musical de danse ayant \u00E9merg\u00E9 \u00E0 la fin des ann\u00E9es 1970. Le terme d\u00E9crit un \u00AB s\u00E9isme \u00BB dans l'histoire de la musique populaire entre 1979 et 1988, impr\u00E9cis\u00E9ment lanc\u00E9 lors d'une protestation sans pr\u00E9c\u00E9dent contre la musique disco aux \u00C9tats-Unis, qui m\u00E8nera \u00E0 des interpellations civiles et \u00E0 une \u00E9meute dans la ville de Chicago connue sous le nom de Disco Demolition Night le 12 juillet 1979, et qui prendra indirectement fin pendant l'\u00E9mergence de la musique house \u00E0 la fin des ann\u00E9es 1980. Le disco, \u00E0 sa p\u00E9riode d\u00E9clinante, se caract\u00E9rise par un son de type \u00E9lectronique qui favorisera le d\u00E9veloppement des genres new wave, hip-hop, Euro disco, et suivi par une sc\u00E8ne musicale underground appel\u00E9e hi-NRG, qui en est sa continuit\u00E9 directe. Un mouvement underground du disco, \u00AB d\u00E9pouill\u00E9 \u00BB, et \u00AB radicalement diff\u00E9rent \u00BB prend place sur la c\u00F4te Est des \u00C9tats-Unis et \u00AB ne ressemble ni \u00E0 du disco ni \u00E0 du R&B. \u00BB Cette sc\u00E8ne connue sous le nom de post-disco, en \u00E9mergence \u00E0 New York, est initialement men\u00E9 par des artistes urban partiellement en r\u00E9action \u00E0 la sur-commercialisation et \u00E0 l'\u00E9croulement artistique de la culture disco. Il se d\u00E9veloppe \u00E0 partir du rhythm and blues et perfectionn\u00E9 par Parliament-Funkadelic, le c\u00F4t\u00E9 \u00E9lectronique du disco, les techniques du dub, et d'autres genres. Le post-disco est adopt\u00E9 par des groupes musicaux comme \u00AB D \u00BB Train et Unlimited Touch qui suivent une approche plus urban tandis que d'autres, comme Material et ESG adoptent une approche plus exp\u00E9rimentale. D'autres styles ayant \u00E9merg\u00E9 dans le post-disco sont la dance-pop, le et l'Italo disco qui m\u00E8nera au d\u00E9veloppement de la dance alternative, la house et la techno."@fr . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "Post-Disco ist heute eine Bezeichnung, die in der ersten H\u00E4lfte der 1980er Jahre f\u00FCr die Disco-Bewegung verwendet wurde. Sie entwickelte sich Ende der 1970er Jahre aus verschiedenen Einfl\u00FCssen des Dub, Funk, Synthie-Pop, Experimentalmusik und Jazz und hat wiederum Musikstile wie Italo Disco, Electro Funk, Dance-Pop oder Housemusik stark gepr\u00E4gt oder beeinflusst. Die Besetzung einer Postdiscoband besteht \u00FCblicherweise aus Synthesizer, Gesang, Keyboard mit Sampler und Sequencer sowie Schlaginstrumenten wie Schlagtrommel, Schlagzeug oder Drumcomputer. Typische Post-Disco-Vertreter waren bzw. sind Arthur Baker, Larry Levan, Shep Pettibone, Freeez, Imagination, Evelyn King, The Whispers, Kano, Skyy, Nick Straker Band, Telex, Was (Not Was), und Arthur Russell."@de . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "\u041F\u043E\u0441\u0442\u0434\u0438\u0441\u043A\u043E (\u0430\u043D\u0433\u043B. post-disco) \u2014 \u0436\u0430\u043D\u0440 \u044D\u043B\u0435\u043A\u0442\u0440\u043E\u043D\u043D\u043E\u0433\u043E \u043F\u0440\u043E\u0433\u0440\u0435\u0441\u0441\u0438\u0432\u043D\u043E\u0433\u043E \u0440\u0438\u0442\u043C-\u043D-\u0431\u043B\u044E\u0437\u0430, \u0432\u043E\u0437\u043D\u0438\u043A\u0448\u0435\u0433\u043E \u0432 \u043A\u043E\u043D\u0446\u0435 1970-\u0445, \u043E\u0434\u043D\u0430\u043A\u043E \u044D\u0442\u043E\u0442 \u0442\u0435\u0440\u043C\u0438\u043D \u0447\u0430\u0449\u0435 \u0438\u0441\u043F\u043E\u043B\u044C\u0437\u0443\u0435\u0442\u0441\u044F \u0434\u043B\u044F \u043E\u043F\u0438\u0441\u0430\u043D\u0438\u044F \u0440\u0430\u0437\u0432\u0438\u0442\u0438\u044F \u043F\u043E\u043F\u0443\u043B\u044F\u0440\u043D\u043E\u0439 \u043C\u0443\u0437\u044B\u043A\u0438 \u0432 1979\u20141986 \u0433\u0433., \u043D\u0430\u0447\u0438\u043D\u0430\u044F \u0441 \u043D\u043E\u0447\u0438 12 \u0438\u044E\u043B\u044F 1979 \u0433\u043E\u0434\u0430, \u043A\u043E\u0442\u043E\u0440\u0430\u044F \u043F\u043E\u043B\u0443\u0447\u0438\u043B\u0430 \u043D\u0430\u0437\u0432\u0430\u043D\u0438\u0435 Disco Demolition Night (\u0440\u0443\u0441. \u041D\u043E\u0447\u044C \u0421\u043D\u043E\u0441\u0430 \u0414\u0438\u0441\u043A\u043E), \u043A\u043E\u0433\u0434\u0430 \u043D\u0435\u043F\u0440\u0438\u044F\u0437\u043D\u044C \u043A \u0434\u0438\u0441\u043A\u043E \u043F\u0440\u0438\u0432\u0435\u043B\u0430 \u043A \u0443\u043D\u0438\u0447\u0442\u043E\u0436\u0435\u043D\u0438\u044E \u0442\u044B\u0441\u044F\u0447 \u043F\u043B\u0430\u0441\u0442\u0438\u043D\u043E\u043A \u043D\u0430 \u0431\u0435\u0439\u0441\u0431\u043E\u043B\u044C\u043D\u043E\u043C \u043F\u043E\u043B\u0435 \u0432 \u0427\u0438\u043A\u0430\u0433\u043E \u0438 \u0437\u0430\u043A\u0430\u043D\u0447\u0438\u0432\u0430\u044F \u043F\u043E\u0432\u0441\u0435\u043C\u0435\u0441\u0442\u043D\u044B\u043C \u043F\u043E\u044F\u0432\u043B\u0435\u043D\u0438\u0435\u043C \u0445\u0430\u0443\u0441-\u043C\u0443\u0437\u044B\u043A\u0438. \u041D\u0430 \u043F\u043E\u0441\u043B\u0435\u0434\u043D\u0438\u0445 \u044D\u0442\u0430\u043F\u0430\u0445 \u0441\u0432\u043E\u0435\u0433\u043E \u0441\u0443\u0449\u0435\u0441\u0442\u0432\u043E\u0432\u0430\u043D\u0438\u044F \u0434\u0438\u0441\u043A\u043E \u0441\u0442\u0430\u043B \u043F\u0440\u043E\u044F\u0432\u043B\u044F\u0442\u044C \u0432\u0441\u0435 \u0431\u043E\u043B\u0435\u0435 \u0438 \u0431\u043E\u043B\u0435\u0435 \u044D\u043B\u0435\u043A\u0442\u0440\u043E\u043D\u043D\u044B\u0439 \u0445\u0430\u0440\u0430\u043A\u0442\u0435\u0440, \u043A\u043E\u0442\u043E\u0440\u044B\u0439 \u0441\u0442\u0430\u043B \u043E\u0441\u043D\u043E\u0432\u043E\u0439 \u0434\u043B\u044F Hi-NRG, , \u0438\u0442\u0430\u043B\u043E-\u0434\u0438\u0441\u043A\u043E, \u0431\u0443\u0433\u0438, \u0444\u0430\u043D\u043A. \u041A\u0440\u043E\u043C\u0435 \u0442\u043E\u0433\u043E, \u043D\u0435\u043A\u043E\u0442\u043E\u0440\u044B\u0435 \u0432\u0430\u0440\u0438\u0430\u043D\u0442\u044B \u043F\u043E\u0441\u0442\u0434\u0438\u0441\u043A\u043E \u0432\u043A\u043B\u044E\u0447\u0430\u044E\u0442 \u0434\u044D\u043D\u0441-\u043F\u043E\u043F \u0438 \u0440\u0430\u043D\u043D\u0438\u0439 \u0430\u043B\u044C\u0442-\u0434\u044D\u043D\u0441. \u041D\u0430 \u0412\u043E\u0441\u0442\u043E\u0447\u043D\u043E\u043C \u043F\u043E\u0431\u0435\u0440\u0435\u0436\u044C\u0435 \u0441\u0443\u0449\u0435\u0441\u0442\u0432\u043E\u0432\u0430\u043B\u043E \u0430\u043D\u0434\u0435\u0433\u0440\u0430\u0443\u043D\u0434\u043D\u043E\u0435 \u0434\u0432\u0438\u0436\u0435\u043D\u0438\u0435, \u00AB\u0443\u0440\u0435\u0437\u0430\u043D\u043D\u043E\u0435\u00BB \u0438 \u0434\u0435\u043C\u043E\u043D\u0441\u0442\u0440\u0438\u0440\u0443\u044E\u0449\u0435\u0435 \u00AB\u0440\u0430\u0434\u0438\u043A\u0430\u043B\u044C\u043D\u043E\u0435 \u0440\u0430\u0437\u043B\u0438\u0447\u0438\u0435 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"Madonna 1990"@en . . . . . . . . . . . . . . . . . . . . . . "Per post-disco si intende una variante della disco music emersa lungo la fine degli anni settanta negli Stati Uniti."@it . . . "Post-disco"@en . . . . "13371576"^^ . . "El post-disco tambi\u00E9n conocido como Synth-Funk hace referencia a un movimiento en las postrimer\u00EDas de la m\u00FAsica disco y un g\u00E9nero temprano de la m\u00FAsica electr\u00F3nica de baile caracterizado por el uso prominente de instrumentos electr\u00F3nicos (como sintetizadores, secuenciadores y cajas de ritmos). M\u00E1s espec\u00EDficamente, es un per\u00EDodo de la historia del pop que comienza con el declive de la m\u00FAsica disco en Estados Unidos a finales de los a\u00F1os 1970 y termina con la popularizaci\u00F3n de la m\u00FAsica house en la segunda mitad de los 80.\u200B\u200BMuy popular en las pistas de baile, estilos caracter\u00EDsticos de este g\u00E9nero fueron el boogie, el italo disco y el dance alternativo inicial.\u200B"@es . . "* Dance-pop\n* house\n* techno\n* trance"@en . . . . . . . "\u041F\u043E\u0441\u0442\u0434\u0438\u0441\u043A\u043E"@ru . "60420"^^ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "120"^^ . . . . . "Post-disco"@es . . . . . . . . . . . . . . . . . . . "Post-disco"@el . . 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"* Italo disco\n* dance-rock\n* dance-punk\n* boogie\n* alternative dance"@en . . . . . . . . . . . . . . . . . . . . . "Post-Disco"@de . . . . . . . "Post disco \u2013 gatunek muzyki elektronicznej powsta\u0142y w Nowym Jorku i innych miastach w latach 80. XX wieku. Wp\u0142yw na powstanie gatunku mia\u0142a muzyka elektroniczna i muzyka eksperymentalna, zw\u0142aszcza dub, disco, R&B, funk, a tak\u017Ce inne gatunki muzyczne. Najwi\u0119kszymi tw\u00F3rcami byli tacy arty\u015Bci jak Evelyn King, D-Train, , , Freeez, Telex, Madonna, czy , Frankie Knuckles, ."@pl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "Post-disco"@en . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "\u03A9\u03C2 \u03A0\u03BF\u03C3\u03C4 \u03BD\u03C4\u03AF\u03C3\u03BA\u03BF (\u03B1\u03B3\u03B3\u03BB\u03B9\u03BA\u03AC: Post-disco) \u03C7\u03B1\u03C1\u03B1\u03BA\u03C4\u03B7\u03C1\u03AF\u03B6\u03B5\u03C4\u03B1\u03B9 \u03AD\u03BD\u03B1 \u03BC\u03BF\u03C5\u03C3\u03B9\u03BA\u03CC \u03B5\u03AF\u03B4\u03BF\u03C2 \u03C0\u03BF\u03C5 \u03C0\u03C1\u03C9\u03C4\u03BF\u03B5\u03BC\u03C6\u03B1\u03BD\u03AF\u03C3\u03C4\u03B7\u03BA\u03B5 \u03C3\u03C4\u03B1 \u03C4\u03AD\u03BB\u03B7 \u03C4\u03B7\u03C2 \u03B4\u03B5\u03BA\u03B1\u03B5\u03C4\u03AF\u03B1\u03C2 \u03C4\u03BF\u03C5 1970. \u039F \u03CC\u03C1\u03BF\u03C2 \u03C0\u03B5\u03C1\u03B9\u03B3\u03C1\u03AC\u03C6\u03B5\u03B9 \u03AD\u03BD\u03B1 \u03BA\u03AF\u03BD\u03B7\u03BC\u03B1 \u03C3\u03C4\u03B7\u03BD \u03B9\u03C3\u03C4\u03BF\u03C1\u03AF\u03B1 \u03C4\u03B7\u03C2 \u03BC\u03BF\u03C5\u03C3\u03B9\u03BA\u03AE\u03C2 \u03C0\u03BF\u03C5 \u03BE\u03B5\u03BA\u03AF\u03BD\u03B7\u03C3\u03B5 \u03B1\u03C0\u03CC \u03BC\u03B9\u03B1 \u03C0\u03C1\u03C9\u03C4\u03BF\u03C6\u03B1\u03BD\u03AE \u03B1\u03BD\u03C4\u03AF\u03B4\u03C1\u03B1\u03C3\u03B7 \u03B5\u03BD\u03B1\u03BD\u03C4\u03AF\u03BF\u03BD \u03C4\u03B7\u03C2 \u03BD\u03C4\u03AF\u03C3\u03BA\u03BF \u03C3\u03C4\u03B9\u03C2 \u0397\u03BD\u03C9\u03BC\u03AD\u03BD\u03B5\u03C2 \u03A0\u03BF\u03BB\u03B9\u03C4\u03B5\u03AF\u03B5\u03C2, \u03B7 \u03BF\u03C0\u03BF\u03AF\u03B1 \u03BF\u03B4\u03AE\u03B3\u03B7\u03C3\u03B5 \u03C3\u03B5 \u03B5\u03BE\u03AD\u03B3\u03B5\u03C1\u03C3\u03B7 \u03C3\u03C4\u03BF \u03A3\u03B9\u03BA\u03AC\u03B3\u03BF, \u03B1\u03BA\u03BF\u03BB\u03BF\u03C5\u03B8\u03BF\u03CD\u03BC\u03B5\u03BD\u03B7 \u03B1\u03C0\u03CC \u03B1\u03C3\u03C4\u03B9\u03BA\u03AD\u03C2 \u03C3\u03C5\u03BB\u03BB\u03AE\u03C8\u03B5\u03B9\u03C2, \u03B3\u03BD\u03C9\u03C3\u03C4\u03AE \u03BA\u03B1\u03B9 \u03C9\u03C2 \u039D\u03CD\u03C7\u03C4\u03B1 \u039A\u03B1\u03C4\u03B5\u03B4\u03AC\u03C6\u03B9\u03C3\u03B7\u03C2 \u03C4\u03B7\u03C2 \u039D\u03C4\u03AF\u03C3\u03BA\u03BF, 12 \u0399\u03BF\u03C5\u03BB\u03AF\u03BF\u03C5 1979. \u03A7\u03B9\u03BB\u03B9\u03AC\u03B4\u03B5\u03C2 \u03BD\u03C4\u03AF\u03C3\u03BA\u03BF \u03AC\u03BB\u03BC\u03C0\u03BF\u03C5\u03BC \u03B1\u03BD\u03B1\u03C4\u03B9\u03BD\u03AC\u03C7\u03C4\u03B7\u03BA\u03B1\u03BD \u03B5\u03BA\u03B5\u03AF\u03BD\u03B7 \u03C4\u03B7 \u03BD\u03CD\u03C7\u03C4\u03B1. \u0397 \u03B1\u03BD\u03C4\u03AF\u03B4\u03C1\u03B1\u03C3\u03B7 \u03C4\u03B5\u03BB\u03B5\u03AF\u03C9\u03C3\u03B5 \u03AD\u03BC\u03BC\u03B5\u03C3\u03B1 \u03BC\u03B5 \u03C4\u03B7\u03BD \u03B5\u03BC\u03C6\u03AC\u03BD\u03B9\u03C3\u03B7 \u03C4\u03B7\u03C2 \u03C3\u03C4\u03B9\u03C2 \u03B1\u03C1\u03C7\u03AD\u03C2 \u03C4\u03B7\u03C2 \u03B4\u03B5\u03BA\u03B1\u03B5\u03C4\u03AF\u03B1\u03C2 \u03C4\u03BF\u03C5 1980. \u039A\u03B1\u03C4\u03AC \u03C4\u03B7 \u03B4\u03B9\u03AC\u03C1\u03BA\u03B5\u03B9\u03B1 \u03C4\u03B7\u03C2 \u03C0\u03B1\u03C1\u03B1\u03BA\u03BC\u03AE\u03C2 \u03C4\u03B7\u03C2, \u03B7 \u03BD\u03C4\u03AF\u03C3\u03BA\u03BF \u03AD\u03B4\u03B5\u03B9\u03BE\u03B5 \u03AD\u03BD\u03B1\u03BD \u03BF\u03BB\u03BF\u03AD\u03BD\u03B1 \u03BA\u03B1\u03B9 \u03C0\u03B9\u03BF \u03B7\u03BB\u03B5\u03BA\u03C4\u03C1\u03BF\u03BD\u03B9\u03BA\u03CC \u03C7\u03B1\u03C1\u03B1\u03BA\u03C4\u03AE\u03C1\u03B1 \u03C0\u03BF\u03C5 \u03C3\u03CD\u03BD\u03C4\u03BF\u03BC\u03B1 \u03B5\u03C5\u03BD\u03CC\u03B7\u03C3\u03B5 \u03C4\u03B7\u03BD \u03B1\u03BD\u03AC\u03C0\u03C4\u03C5\u03BE\u03B7 \u03B4\u03B9\u03B1\u03C6\u03CC\u03C1\u03C9\u03BD \u03BC\u03BF\u03C5\u03C3\u03B9\u03BA\u03CE\u03BD \u03B5\u03B9\u03B4\u03CE\u03BD, \u03CC\u03C0\u03C9\u03C2 old-school hip hop, new wave \u03BA\u03B1\u03B9 eurodisco, \u03BA\u03B1\u03B9 \u03B1\u03BA\u03BF\u03BB\u03BF\u03C5\u03B8\u03B5\u03AF\u03C4\u03B1\u03B9 \u03B1\u03C0\u03CC \u03BC\u03B9\u03B1 \u03C5\u03C0\u03CC\u03B3\u03B5\u03B9\u03B1 \u03BC\u03BF\u03C5\u03C3\u03B9\u03BA\u03AE \u03C3\u03BA\u03B7\u03BD\u03AE \u03C0\u03BF\u03C5 \u03BF\u03BD\u03BF\u03BC\u03AC\u03B6\u03B5"@el . . . "\u30DD\u30B9\u30C8\u30FB\u30C7\u30A3\u30B9\u30B3\uFF08\u82F1\uFF1APost-disco\uFF09\u306F\u30011970\u5E74\u4EE3\u524D\u534A\u304B\u30891980\u5E74\u4EE3\u521D\u982D\u307E\u3067\u6D41\u884C\u3057\u305F\u30C7\u30A3\u30B9\u30B3\u97F3\u697D\u306E\u6D41\u884C\u304C\u53BB\u3063\u305F\u5F8C\u3001\u30C0\u30F3\u30B9\u306B\u95A2\u3059\u308B\u6697\u4E2D\u6A21\u7D22\u3092\u884C\u3063\u3066\u3044\u305F\u6642\u4EE3\u306E\u97F3\u697D\u3067\u3042\u308B\u3002 \u97F3\u697D\u306E\u50BE\u5411\u306F\u3001DJ\u3084\u30D7\u30ED\u30C7\u30E5\u30FC\u30B5\u30FC\u306B\u3088\u3063\u3066\u3001\u30C0\u30F3\u30B9\u30FB\u30DD\u30C3\u30D7\u3084\u30D6\u30AE\u30FC\u3001\u30A4\u30BF\u30ED\u30FB\u30C7\u30A3\u30B9\u30B3\u306B\u8C61\u5FB4\u3055\u308C\u308B\u3088\u3046\u306B\u3001\u3088\u308A\u96FB\u5B50\u5316\u3055\u308C\u3001\u5B9F\u9A13\u7684\u306A\u3082\u306E\u3060\u3063\u305F\u3002\u30C6\u30AF\u30CE\u3068\u30CF\u30A6\u30B9\u306F\u30DD\u30B9\u30C8\u30FB\u30C7\u30A3\u30B9\u30B3\u304B\u3089\u5B9A\u7740\u3057\u305F\u3002 \u30C7\u30A3\u30B9\u30B3\u97F3\u697D\u304B\u3089\u306F\u3001\u30B7\u30F3\u30BB\u30B5\u30A4\u30B6\u30FC\u3067\u4F5C\u3089\u308C\u308B\u30C0\u30F3\u30B9\u7CFB\u306E\u97F3\u697D\u30B8\u30E3\u30F3\u30EB\u306E\u307B\u3068\u3093\u3069\u3059\u3079\u3066\u304C\u6D3E\u751F\u3057\u3066\u884C\u3063\u305F\u304C\u3001\u307E\u3055\u306B\u305D\u306E\u6D3E\u751F\u306E\u6700\u521D\u671F\u306B\u3042\u305F\u308B\u97F3\u697D\u30B8\u30E3\u30F3\u30EB\u3067\u3042\u308B\u3002"@ja . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "Post-Disco ist heute eine Bezeichnung, die in der ersten H\u00E4lfte der 1980er Jahre f\u00FCr die Disco-Bewegung verwendet wurde. Sie entwickelte sich Ende der 1970er Jahre aus verschiedenen Einfl\u00FCssen des Dub, Funk, Synthie-Pop, Experimentalmusik und Jazz und hat wiederum Musikstile wie Italo Disco, Electro Funk, Dance-Pop oder Housemusik stark gepr\u00E4gt oder beeinflusst. Die Besetzung einer Postdiscoband besteht \u00FCblicherweise aus Synthesizer, Gesang, Keyboard mit Sampler und Sequencer sowie Schlaginstrumenten wie Schlagtrommel, Schlagzeug oder Drumcomputer."@de . "El post-disco tambi\u00E9n conocido como Synth-Funk hace referencia a un movimiento en las postrimer\u00EDas de la m\u00FAsica disco y un g\u00E9nero temprano de la m\u00FAsica electr\u00F3nica de baile caracterizado por el uso prominente de instrumentos electr\u00F3nicos (como sintetizadores, secuenciadores y cajas de ritmos). M\u00E1s espec\u00EDficamente, es un per\u00EDodo de la historia del pop que comienza con el declive de la m\u00FAsica disco en Estados Unidos a finales de los a\u00F1os 1970 y termina con la popularizaci\u00F3n de la m\u00FAsica house en la segunda mitad de los 80.\u200B\u200BMuy popular en las pistas de baile, estilos caracter\u00EDsticos de este g\u00E9nero fueron el boogie, el italo disco y el dance alternativo inicial.\u200B El dance-pop, el house y el techno tienen sus ra\u00EDces en el post-disco.\u200B\u200B\u200B\u200B\u200B\u200B Influidos por Parliament-Funkadelic, Kashif, Quincy Jones, Mtume, Evelyn \"Champagne\" King y otros, los representantes de este g\u00E9nero, entre los que se encuentran figuras de la talla de Michael Jackson o Madonna, dejaron una fuerte impronta en la d\u00E9cada de 1980."@es . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "Michael Jackson and Madonna are the most successful artists of post-disco."@en . . . "* New wave\n* post-punk"@en . . . . . . . . . . . . . . . . . . . . . . . . . . "P\u00F3s-disco (em ingl\u00EAs: post-disco, tamb\u00E9m denominado boogie, synth-funk, ou electro-funk) \u00E9 um termo utilizado para descrever as consequ\u00EAncias da hist\u00F3ria da m\u00FAsica popular por volta de 1979 a 1985, come\u00E7ando de forma imprecisa com uma rea\u00E7\u00E3o sem precedentes contra a m\u00FAsica disco nos Estados Unidos, levando a agita\u00E7\u00E3o civil e um tumulto em Chicago conhecido como Disco Demolition Night (Noite de Demoli\u00E7\u00E3o da Disco) em julho 12 de 1979, e terminando indistintamente com o aparecimento da new wave em 1980, hip hop old-school, euro disco, e foi sucedido por um clube de m\u00FAsica underground chamado hi-NRG, que foi sua continua\u00E7\u00E3o direta. Tamb\u00E9m teve influ\u00EAncia na apari\u00E7\u00E3o da house music no mainstream no final de 1980."@pt . . . . . . . . . . . . .