↑ (2000) Last Night a DJ Saved My Life, ISBN 978-0-8021-3688-6, p.127: "Its [disco] music grew as much out of the psychedelic experiments... as from... Philadelphia orchestrations"
↑ (2008) The Pirate's Dilemma: How Youth Culture is Reinventing Capitalism, ISBN 978-1-4165-3218-7, p.140: "Disco, which emerged from the psychedelic haze of flower power infused with R&B and social progress that was being cooked up at the Loft ..."
↑ Disco Double Take by The Village Voice: "And the scene's combination of overwhelming sound, trippy lighting, and hallucinogens was indebted to the late-60s psychedelic culture." Retrieved on ngày 29 tháng 11 năm 2008
↑ (2001) American Studies in a Moment of Danger, ISBN 978-0-8166-3948-9, p.145: "It has become general knowledge by now that the fusion of Latin rhythms, Anglo-Caribbean instrumentation, North American black "soul" vocals, and Euro-American melodies gave rise to the disco music"
1 2 (2003) The Drummer's Bible: How to Play Every Drum Style from Afro-Cuban to Zydeco, ISBN 978-1-884365-32-4, p.67: "Disco incorporates stylistic elements of Rock, Funk and the Motown sound while also drawing from Swing, Soca, Merengue and Afro-Cuban styles"
1 2 (2006) A Change is Gonna Come: Music, Race & the Soul of America, ISBN 978-0-472-03147-4, p.207: "A looser, explicitly polyrhythmic attack pushes the blues, gospel, and soul heritage into apparently endless cycle where there is no beginning or end, just an ever-present "now"."
1 2 Shapiro, Peter. "Turn the Beat Around: The Rise and Fall of Disco", Macmillan, 2006. p.204–206: " 'Broadly speaking, the typical New York discotheque DJ is young (between 18 and 30), Italian, and gay,' journalist Vince Lettie declared in 1975...Remarkably, almost all of the important early DJ were of Italian extraction...Italian Americans have played a significant role in America's dance music culture...While Italian Americans mostly from Brooklyn largely created disco from scratch..." .
↑ (2007) The 1970s, ISBN 978-0-313-33919-6, p.203–204: "During the late 1960s various male counterculture groups, most notably gay, but also heterosexual black and Latino, created an alternative to Rockefeller, which was dominated by white—and presumably heterosexual—men. This alternative was disco"
↑ (1998) "The Cambridge History of American Music", ISBN 978-0-521-45429-2, ISBN 978-0-521-45429-2, p.372: "Initially, disco musicians and audiences alike belonged to marginalized communities: women, gay, black, and Latinos"
↑ (2002) "Traces of the Spirit: The Religious Dimensions of Popular Music", ISBN 978-0-8147-9809-6, ISBN 978-0-8147-9809-6, p.117: "New York City was the primary center of disco, and the original audience was primarily gay African Americans and Latinos."
↑ (1976) "Stereo Review", University of Michigan, p.75: "[..] and the result—what has come to be called disco—was clearly the most compelling and influential form of black commercial pop music since the halcyon days of the "Motown Sound" of the middle Sixties."
↑ Khán giả là những người đồng tính nam (đặc biệt là nam giới Mỹ Phi và La Tinh). Đọc thêm: Generalist, David A. (ngày 10 tháng 9 năm 2012). Routledge International Encyclopedia of Queer Culture. Routledge. tr. 153. ISBN9781136761812.
