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Sean Doolittle: The all-around All-Star

Nats pitcher, wife on life in D.C., their LGBT advocacy — and whether the team is ready for a gay player

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Sean Doolittle, gay news, Washington Blade

Sean Doolittle (Photo courtesy of MLB)

Ace relief pitcher Sean Doolittle was traded from the Oakland Athletics to the Washington Nationals in July of 2017. He eloped with his then-girlfriend, Eireann Dolan one day after the regular baseball season ended last year. Doolittle was named a 2018 All-Star this week; he was a member of the 2014 MLB All-Star team and this season is rounding out to be one of the best of his career.

Doolittle and Dolan received national attention in 2015 when they purchased hundreds of tickets to the Oakland Athletics Pride Night after the event received backlash from fans. The tickets were donated to local LGBTQ groups and an additional $40,000 was raised.

Sean Doolittle on the field with members of SMYAL at Night Out at the Nationals. (Washington Blade photo by Kevin Majoros)

Local LGBTQ youth leadership and housing program, SMYAL, has caught the attention of Doolittle and Dolan and they donated 52 tickets to the organization for Night OUT at the Nationals last month. Going a step further, they stopped in personally to deliver the tickets at the SMYAL youth program’s headquarters and the SMYAL transitional housing program.

The Washington Blade sat down with the couple inside Nationals Park for a conversation about the LGBTQ community, life in D.C., baseball and music.

Eireann Dolan and Sean Doolittle (Washington Blade photo by Michael Key)

Washington Blade: You’re both active with charitable causes including work with Syrian refugees and military veterans’ mental health and housing. How did you become interested in the LBGTQ community?

Eireann Dolan: I have two moms. But even if I didn’t, I think this is something that’s really important. It’s always been really important, at least in my family. And something that we’ve always valued is the idea of having an accepting place. Having a sense of home. It factors into all the charity work that we do, all of the community work. We work with the UN Refugee Agency, UNHCR. We’re going to have about 30 refugees coming to the game tomorrow night.

Blade: That’s incredible.

Dolan: Yeah, so we’re going to have them on the field and they are veterans who are injured or widowed. We deal with housing for them. Our theme seems to be a sense of home. Making sure people feel welcome. Whether they’re a refugee, whether they’re a veteran returning or transitioning back into civilian life, or whether they’re somebody in the LGBTQ community who maybe hasn’t considered that sports would be a space for them. We want to make sure that they know it is a space for them. They do have a home here and we accept them as they are. It’s always been really important to us.

Blade: And then you stumbled upon SMYAL here in D.C.

Dolan: We did. Well, it kept getting name dropped to us so many times by so many people.

Doolittle: In advance of the Nationals Pride night, we wanted to get involved. We wanted to do something more than catch the first pitch or meet some people on the field before the game. And we love this community, we love being here, and we wanted to give back. And like she said, in some of the meetings we had with the folks here, with the Nats, SMYAL had been referenced several times. We were able to make a couple visits over there before Pride night.

Dolan: That was incredible.

Doolittle: It’s an incredible organization and the holistic approach that they take, helping with everything from housing to leadership to education to helping people become voices in their communities.

Dolan: That was the biggest thing, I think.

Doolittle: And then coming back. They go through the program and then they come back to SMYAL to give back and pay it forward. That was something that we found to be incredibly inspiring. And if, through this process, we can lift their voices up and help tell their stories, that’s what we’re trying to do.

Blade: Do either of you have any thoughts as to why Major League Baseball has never had an openly gay player? There seems to be upper management support, team player support and fan support.

Dolan: There’s a lot of hesitation for any athlete, and baseball particularly, to share a lot of their private life, just full stop. Baseball is a bit more buttoned-up. The players themselves are not marketed in such a way, or they don’t maybe market themselves in such a way that talks about their personal life. You look at basketball, you look at football, you look even at hockey. You know the spouses. You know the families. You know what they do. You know where they’re from. But in baseball, it’s a little bit different. I think that may contribute to it, but that, I don’t think is the answer entirely.

Doolittle: I do think there is growing support, like you talked about. I think Major League Baseball’s taken steps towards it. I still think there are steps that need to be made in educating more people. I think as we continue to make it a better space, a more accepting space, we can continue to get rid of all this toxic masculinity bullshit that happens in a locker room.

Blade: Does it happen here with the Nationals?

Doolittle: Of course it happens. It’s performative. Sometimes that’s a guy’s way of psyching themselves up to go play. But I think we’re seeing less and less of it, and it’s fallen by the wayside. We just need to be continuously focused on creating a space that’s accepting. When you’re with these guys in such close proximity over six, eight months over the course of the season, guys should be OK with being themselves. Whether it’s you’re gay or whether it’s a different religion, or you’re from a different country. We have guys in here from how many different countries? How many different religious backgrounds? So I think just continuing that evolution in the clubhouse.

Dolan: That sports era of the ’90s, early 2000s of hyper-masculine, almost borderline toxic masculine, alpha, humiliate your opponent, keep your head down, don’t look like you’re having fun. That’s waning because fans want fun. They like the back flips. They like the personality. And you’ve got guys out there, you’ve got little pockets of people showing their personality.

Blade: Do you think this team is ready for a gay player?

Doolittle: I don’t know. And that’s the thing, I don’t think we’re going to know until that happens. I wish I had a better answer.

Dolan: I think baseball is ready and I think clubhouses know if a guy can help your team, period, the end. Doesn’t matter.

Blade: What’s your take on the NFL’s anthem protest?

Dolan: It’s not an anthem protest, that’s my first thing. They’re not protesting the anthem, they’re protesting the violence against young African-American men, particularly.

Doolittle: I think the NFL’s response was incredibly dangerous and disgusting. You’re punishing guys by policing peaceful protesting. I think it sends a really bad message across the United States.

Dolan: And if you say no politics in sports, then how do you explain flyovers that you do before games? How do you explain all the active recruiting that they do for the military during games? Why are we picking and choosing? When you’re telling young African-American men, “We want to watch you, we want to watch you do this particular thing, but don’t talk,” that just smacks of something that I thought this country had moved past.

Doolittle: I think it could have been a relatively short-lived story with a much better ending if, initially, they had focused their energies on listening and trying to figure out a way to get guys to stand. So when Kaepernick starts kneeling, they start listening to his message. They help him get involved to focus that message into action in the community. And soon enough, we have guys that are proud to stand up for the anthem because they’re helping their communities and bettering people and remedying the situation. And I think, unfortunately, it’s been used as something in this culture war that we’ve seen. These guys have done a lot of incredible work in their communities. They’ve met with government officials, they’ve done a lot of outreach with law enforcement in their communities. They are backing it up with significant action. So I wish everybody felt good enough and proud enough to stand for the anthem without being told that they had to do so.

Blade: Would you go to the White House if the Nats win the World Series?

Doolittle: People have asked me that before, and you don’t get to answer that question unless you win the World Series

Dolan: We’ll talk to you in October.

Blade: As a relief pitcher, you’re either the hero or the goat. How do you deal with that on a daily basis?  Do you have stress techniques?

Doolittle: I’ve gotten a lot better at it over the last couple years. Early in my career, I pitched with a lot of emotion and I put a lot into, like you said, whether you’re the hero or the goat in that scenario. There’s no gray area in that line of work. There’s no, well I thought I executed my pitches really well, I just didn’t get the results I wanted. That’s not a great consolation prize for you or the other 24 guys on your team.

Dolan: And the fans don’t want to hear it.

Doolittle: Yeah, and it’s tough to explain that away. I was very attached to how I was pitching, and if I was getting the job done. If I didn’t get the job done, that was a blow to my self-esteem. Over the last few years, I worked a lot at processing the outings, mentally preparing for the outings, changing the way that I use that energy. I used to pitch with a ton of emotion. Now, I use the energy to hyper focus. I want to calm things down. I want things to be slow and smooth.

Dolan: You’re very Zen.

Doolittle: I think it’s helped me manage a lot of that stress. It’s not always easy, but it’s an occupational hazard.

Blade: Your stats this year are amazing and…..

Dolan: Don’t say them, don’t say them, don’t say them.

Blade: All right. Don’t say them out loud?

Dolan: No. We’re very superstitious.

Blade: Are the stats that shall not be named a result of your comfort level in D.C. or are you doing something different in training?

Doolittle: I feel very comfortable in D.C. We love it here. I changed some things. But a lot of it was behind the scenes. We changed a lot with the arm care program that I have. I dealt with some shoulder injuries in the past, when I was with Oakland, and I missed some time on the disabled list, and I think sometimes, just getting a fresh set of eyes or a new way of explaining things, really helps. And we added some things to that program, to the daily routine. I feel strong. I feel, at this point in the season, even with the work load I’ve had, I feel really good about where my body’s at, and I think when you don’t have to worry every day about, how’s my arm going to feel when you come to the field, you can throw yourself into focusing on your outing and who you might face rather than focusing on trying to get your body ready to pitch. So that’s been a load off my shoulders, pardon the pun.

Dolan: Did you catch the eye roll on the recording? Was it loud enough?

Blade: You had an unusual path to becoming an MLB relief pitcher. You pitched growing up and also played first base at University of Virginia. And then, you were drafted by the Oakland Athletics as an outfielder and a first baseman. Is this where you were supposed to be the whole time? There was a little side path.

Doolittle: I feel like it is. It’s a lot easier for me to say this now, but I’m glad I went through that transition process. There were some really dark times. I missed three full seasons on the disabled list in the minor leagues.

Dolan: So close to getting a call up, too. He was right on the cusp.

Doolittle: And before I got hurt the first time in 2009….

Blade: As a first baseman?

Doolittle: As a first baseman, yeah. It’s totally shifted my perspective on everything. This almost didn’t happen at all. In 2011, I had contacted my agent to go back and try and figure out the process of re-enrolling in college, because I was that far at the end of my rope. And the A’s came to me and said, “Hey, would you like to think about pitching?” I joke that I took the scenic route to the big leagues. It makes me appreciate every day that I get to wear that little logo on the back of my hat that says I’m in the big leagues. It came really close to never happening.

Dolan: There’s something to be said about having experienced adversity and failed. I don’t think I would be with him if he was this super successful player. I don’t think I would have been drawn to him.

Doolittle: Right, you learn a lot of humility, you learn a lot about yourself.

Dolan: Yeah. If you’d been that first round pick that you were, superstar first baseman….

Doolittle: I was the man.

Dolan: You were the man.

Blade: You prefer him damaged?

Dolan: That’s right up my alley. Who else is going to humble him, honestly?

Blade: What are you liking about living in D.C.?

Doolittle: It’s an awesome city. There’s a good energy, there’s a creative energy, it’s very diverse, it’s very accepting. The sense of community, the pride of being from D.C., that’s a thing that we found that I think was really cool. There’s a lot that we like about it.

Dolan: It’s amazing. We love the local bookstores and local record shops. We love just discovering new, cool spots that we can hit up every time we have a spare hour or so.

Blade: What about the excitement of MLB All-Star Week being in the town where you’re now pitching?

Doolittle: I think it’s awesome. I think us players, we’re starting to feel that buzz and that energy surrounding it. I’m excited for the Nationals fans and the organization, because they’ve done everything so first class. There’s a good energy surrounding D.C. sports now, and I think to bring the best players from around baseball here to D.C., that’s going to be really cool.

Blade: Has the Stanley Cup win by the Washington Capitals affected the team in any way?

Doolittle: We definitely followed it as a team. Before or after our games, whenever the Caps were playing, the TVs in the clubhouse were on. We were following it on our phones, or any chance we could, we were watching the game. We were all in, and I think it was great for us because they gave us the blueprint. They showed us how it’s done. They’ve had a similar storyline. They’ve had to answer a lot of the same questions we’ve had to answer after having really successful, regular seasons, but not making the deep run into the playoffs. They’ve had to answer the questions, is this the year you get over the hump? How are you guys going to break through?

So to see them do it, and to see them break through and not stop, and keep going. It was really fun. And when they came here, that was the biggest thing that they said. It was really cool to share that experience, just for a little bit, with the Cup, in the locker room and on the field.

Even though it’s a different sport, that energy, you can feel it. We’ve had Champagne celebrations before, and once you get a taste of that, you want more. And that’s really motivating, to have another team in your city bring in a trophy like that.

Dolan: And to see the parade and the reaction from the fan base. This is a sports city. And I don’t think people give it enough credit for being the sports city that it is. It was a nice taste.

Blade: Sean, you are a Star Wars fan and your Twitter handle is Obi-Sean Kenobi. Was the Solo movie a win or lose for you? Did you go in costume?

Doolittle: I loved it and we didn’t go in costume this time. We were in Miami, so we were on the road. But we did see it opening night.

Dolan: It was really hot there; a Chewbacca costume would have been difficult.

Doolittle: Yeah. And I don’t know if I can pull off a Princess Leia bikini.

Dolan: Not to say we haven’t tried. There’s your cover picture.

Blade: What’s on your music playlist right now?

Doolittle: I’m a metalhead. I was raised on the sounds of Black Sabbath and Ozzy, AC/DC and Metallica, and my love for it grew from there. When we were kids, we would be going to a Little League game. I’d be nine years old and we were rolling up in the minivan, blasting Black Sabbath.

Dolan: Oh, bad, bad. Love it.

Doolittle: There’s a band from Texas called Power Trip. They’re new but their sound is very ’80s thrash, which I really dig. There’s another band call Chemist. It’s called doom metal. It’s a lot slower and they have some good stuff. I really only listen to it when I’m at the field. When we’re at home, it’s a lot more mellow.

Dolan: We’re pretty eclectic at home. It’s not all metal for us. We like a lot of the new Nashville sound. I’m not a huge country fan, but Sturgill Simpson and….

Doolittle: Jason Isbell.

Dolan: And Colter Wall, yeah. A lot of that is really good. And I love hardcore gangster rap, honestly. I’m not going to lie, it’s my weakness. When he’s pitching, I put on noise canceling headphones and blast gangster rap. Tupac or Biggie, and it works. It calms my nerves because there’s something about it.

Blade: There are nerves for you while he’s pitching?

Dolan: I don’t watch, no. I haven’t watched him pitch live in years. I’m too superstitious.

Blade: Give me a quirk about the other person that makes you laugh.

Doolittle: Oh my god.

Dolan: He has a tactile thing about mesh.

Doolittle: It’s very soft.

Dolan: He likes to touch mesh.

Doolittle: Quirks that make me laugh….

Dolan: Careful, careful.

Doolittle: Well the aforementioned noise canceling headphones, she likes them so much that she’s taken to wearing them in the shower.

Dolan: They’re large speakers and I have three separate shower caps.

Doolittle: She took 45 minutes in the bathroom recently and I was like, what is going on? I was knocking on the door. She didn’t hear me.

Dolan: I bought a deep conditioner mask. Listen, this hair doesn’t get like this on its own.

Blade: Sean, we need to get you to practice. Let’s grab a photo first.

Dolan: Cool.

Doolittle: Oh, cool.

Dolan: All right. Don’t forget your dry cleaning, Sean. We want that front and center in frame.

Sean Doolittle and Eireann Dolan (Washington Blade photo by Michael Key)

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Queery: Meet artist, performer John Levengood

Modern creative talks nightlife, coming out, and his personal queer heroes

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John Levengood (Blade photo by Michael Key)

John Levengood (he/him) describes himself as a modern creative with a wide‑ranging toolkit. He blends music, technology, civic duty, and a sharp sense of wit into a cohesive artistic identity. Known primarily as a recording artist and performer, he’s also a self‑taught music producer and software engineer who embodies a generation of creators who build their own lanes rather than wait for one to appear.

Levengood, 32, who is single and identifies as gay and queer, is best known as a recording artist who has performed at Pride festivals across the country, including the main stages of World Pride DC, Central Arkansas Pride, and Charlotte Pride.

“Locally in the DMV, I’m known for turning heads at nightlife venues with my eye-catching sense of style. When I go out, I don’t try to blend in. I hope I inspire people to be themselves and have the courage to stand out,” he says.

He’s also known for hosting karaoke at Freddie’s Beach Bar in Arlington, Va., on Thursday nights. “I like to create a space where people feel comfortable expressing themselves, building community, and showcasing their talents.”

He also creates social media content from my performances and do interviews at LGBTQ+ bars and theatres in the DMV. Follow the Arlington resident @johnlevengood.

How long have you been out and who was the hardest person to tell?

I have been fully out of the closet since 2019. My parents were the hardest people to tell because my family has always been my rock and at the time I couldn’t imagine a world without them. Their reactions were extremely positive and supportive so I had nothing to fear all along.
I remember sitting on the couch with my mom, dad, and sister in our hotel room in New Orleans during our winter vacation and being so nervous to tell them. After I finally mustered up the nerve and made the proclamation, I realized my dad had already fallen asleep on the couch. My mom promised to tell him when he woke up.

Whos your LGBTQ hero?

My LGBTQ heroes are Harvey Milk for paving the way for gays in politics and Elton John for being a pioneer for the fabulous and authentic. My local heroes in the DMV are Howard Hicks, manager of Green Lantern, and Tony Rivenbark, manager of Freddie’s Beach Bar. Both of them are essential to creating spaces where I’ve felt welcome and safe since moving to the DMV.

Whats Washingtons best nightspot, past or present?

Trade tops the list for me because of the dance floor and outdoor space. It’s so nice to get a break from the music every once and a while to be able to have a conversation.

We live in challenging times. How do you cope?

I’m still figuring this out. What is working right now is writing music and spending time with family and friends. I’ve also been spending less time on social media going to the gym at least three times a week.

What streaming show are you binging?

After “Traitors” Season 4 ended, I was in a bit of a show hole, but “Stumble” has me in a laughing loop right now. The writing is so witty.

What do you wish youd known at 18?

At 18, I wish I would have known how liberating it is to come out of the closet. It would have been nice to know some winning lottery numbers as well.

What are your friends messaging about in your most recent group chat?

We are planning our next trip to New York City. If you can believe it, I visited NYC for the first time in 2025 for Pride and I’ve been back every quarter since. Growing up in the country, I was subconsciously primed to be scared of the city. But my mind has been blown. I can’t wait to go back.

Why Washington?

It’s the closest metropolitan area to my family, but not too close. I love the museums, the diversity, the history, and the proximity to the beach and mountains. It’s also nice to live in a city with public transportation.

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Project GLOW celebrates LGBTQ acts

D.C.’s electronic music festival set for May 30-31

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A scene from last year’s Project GLOW. (Photo courtesy organizers)

Aging RFK Stadium has come down, but the RFK grounds are still getting lit up. Welcome back to the stage Project GLOW, D.C.’s homegrown electronic festival, on May 30-31. Back for its fifth year on these musically inclined acres, Project GLOW returns with an even more diverse lineup, and one that continues to celebrate LGBTQ antecedents, attendees, and acts.

Project GLOW 2026 headliners include house and techno star Mau P, progressive house legend Eric Prydz, hard-techno favorite Sara Landry, and bass acts Excision b2b Sullivan King, among the lineup of trance, bass, house, techno, dubstep, and others for the fifth anniversary year.

President & CEO Pete Kalamoutsos — born and raised in D.C. — founded Club GLOW in 1999. In 2020, GLOW entered into a partnership with global entertainment company Insomniac Events to produce live events like Project GLOW, which kicked off in 2022.

As in past years, Project GLOW not only makes space, but is intentionally inclusive of the LGBTQ community, one of its most dedicated fan bases. The festival’s LGBTQ-focused Secret Garden stage blooms again — a more intimate dance area that stands on the strength of DJs and musicians who draw from the LGBTQ community. D.C.’s LGBTQ nightlife mastermind Ed Bailey is the creative mind behind Secret Garden again. He joined Project GLOW in 2023.

“Kalamoustos says that “he’s proud of his partnership with Ed Bailey, along with Capital Pride and [nightlife producer] Jake Resnikow. It’s amazing to collaborate with Bailey at the Secret Garden stage, especially after the curated lineup we worked on at Pride last year.”

The Secret Garden will be a bit different from other stages: Eternal (“At the Eternal stage, time stands still. Lose yourself in the dance of past, present, and future, surrendering to the eternal rhythm of the universe”) and Pulse (“Feel the rhythm of the beat pulse through your veins as the heartbeat of the crowd synchronizes into one. Here, every moment vibrates with life as it guides you through a new dimension of euphoria”). The Secret Garden stage is in the round, surrounded by 16 shipping containers. The containers play canvas to muralists from around the world, who are coming in to paint them in a vibrant garden-style vibe. “We gave this stage some extra love with this layout,” K says, “ we finally cracked the code.”

K says that this will be the biggest lineup yet for the Secret Garden, featuring Nicole Moudaber b2b Chasewest, Riordan b2b Bullet Tooth, Ranger Trucco, Cassian, Eli & Fur, Cosmic Gate and Hayla. The stage is also the largest yet, featuring an expanded dance floor and 360-degree viewing.

Across all stages, K says that his goal for the fifth anniversary is “More art and fan interactive experience, more like a festival, strive to be like a Tomorrowland, as budget grows to add more experience.” Last year’s Project GLOW alone drew 40,000 attendees over two days.

K, however, was not satisfied with one festival this spring. GLOW recently announced a “pop-up” one-day event. Teaming up with Black Book Records, GLOW is set to throw a first-of-its-kind dance-music takeover of Pennsylvania Avenue, N.W., headlined by electronic music star Chris Lake. Set for April 18, this euphoric block party will feature bass and vibes blocks from the White House. Organizers expect as many as 10,000 fans to attend. Beyond music, there will be food, activations, and plenty of other activities taking place around 6th St and Pennsylvania Ave NW – a location familiar to many in the LGBTQ community, as this sits squarely inside the blocks of the Capital Pride party that takes place in DC every June.

Over the past two decades, Club GLOW has produced thousands of events, from club nights to large-scale festivals including Project GLOW, Moonrise Festival, and more. Club GLOW also operates Echostage.

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New book celebrates 1970s dance music icons

‘A Night at the Disco’ features interviews with Donna Summer, Debbie Harry, more

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Christian John Wikane will appear at book signing events in D.C. and Baltimore next week.

If you’re a fan of 1970s-era dance music, don’t miss the irresistible new book by Christian John Wikane and Alice Harris, “A Night at the Disco,” which revisits more than 90 interviews conducted with some of the biggest names in pop culture. 

“A Night at the Disco” (ACC Art Books) was published on March 24, and distributed by Simon & Schuster. It celebrates more than 100 artists who sparked a phenomenon in dance music from 1970-1979 and features excerpts from interviews with everyone from Donna Summer to Debbie Harry. 

Lost City Books (2467 18th St., N.W.) will welcome author Christian John Wikane for a book signing and conversation about “A Night at the Disco” on Thursday, April 16 at 6 p.m. Details at lostcitybookstore.com. Bird in Hand Coffee & Books in Baltimore (11 E. 33rd St.) )will also host a Q&A with the author on Wednesday, April 15 at 6 p.m. Details at theivybookshop.com.

Below is an excerpt from “A Night at the Disco.” 

“I’ll let in anyone who looks like they’ll make things fun.” Steve Rubell is guiding a New York Times reporter through Studio 54 as resident DJ Richie Kaczor dazzles the crowd with records by CHIC, Odyssey, and T-Connection. “Disco, that’s where the happy people go,” The Trammps sing as dancers spin and twirl underneath tubes of flashing lights. Seven months since Rubell and co-owner Ian Schrager opened Studio 54 in April 1977, it’s welcomed untold numbers of “happy people” … at least those lucky enough to pass through the doors. 

“We were part of the chosen few,” says André De Shields, who immortalized the title role in The Wiz on Broadway at the time. “We could show up at Studio 54 and the doorman at the velvet stanchion would look over everyone and point to us from The Wiz to come in, that kind of thing.” As the lead vocalist in the GRAMMY-nominated Dr. Buzzard’s Original Savannah Band, whose debut modernized big band sophistication for the discothèques, Cory Daye had carte blanche in the club. “The energy was like a New Year’s Eve party every night,” she says. “I would go up to the mezzanine and watch the mechanical light pillars go up and down, metallic confetti falling from the ceiling, the spoon and the moon. I was so fascinated and enamored by it. 

“When a certain song came on, the people would just rush to the dance floor. There was no contact dancing — the hustle was pretty much on its way out — but it was just an amazing experience to see all the cultures together. It was a fusion of cultures, which described my life and my band, so I was right at home there.”

“Studio 54 was the place,” adds Linda Clifford. “Crazy parties. If you could think it, you would see it. It was like a circus. Just an amazing place to be. I worked 54 so many times. It was like a second home to me. The people there treated me so well. The crowd always seemed to enjoy my show. I always had a good time with them. That was the most important thing: making sure that they had fun.”

Well before Studio 54 opened, disco had become a business juggernaut. “A four billion dollar market and still growing,” Billboard announced in February 1977, with dance music offering more variety than ever. “There is no longer a single, readily identifiable disco beat, but a kaleidoscope of sounds that are melodic and danceable,” Tom Moulton told the magazine. In the clubs, records by veteran artists like Stevie Wonder and the Bee Gees were mixed in with a range of new acts like Grace Jones, Boney M., and The Ritchie Family, while everyone from ABBA to Marvin Gaye scored number one pop hits with songs that had club-centric storylines.

Beyond the charts, disco itself remained as idiosyncratic as ever, especially on several productions by Laurin Rinder and W. Michael Lewis, whose studio creations, El Coco (“Let’s Get It Together,” “Cocomotion”) and Le Pamplemousse (“Le Spank”), joined their own “Lust” from Seven Deadly Sins (1977) among the most tantalizing releases on AVI Records. Rinder & Lewis also produced acts for the newly hatched Butterfly Records in Los Angeles, where Saint Tropez (“On a Rien à Perdre”) and Tuxedo Junction (“Moonlight Serenade”) reflected the duo’s high gloss sound, spanning everything from European sophistication to a more literal translation of the ’40s sensibilities popularized by Dr. Buzzard’s Original Savannah Band.

12-inch singles had also grown as the preferred format to approximate the club music experience at home. Nearly a year after Atlantic Records introduced its series of promotional 12-inch singles for DJs, New York-based Salsoul Records released the industry’s first commercially available 12-inch single, “Ten Percent” by Double Exposure, in May 1976. A year later, T.K. Records was the first label to certify a gold record for a 12-inch single when Peter Brown’s “Do You Wanna Get Funky With Me” tallied one million sales.— Christian John Wikane

(From “A Night at the Disco” by Alice Harris & Christian John Wikane. Published by ACC Art Books.)

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