Disco Song Quotes

Different elevator music was playing since my last visit-that old disco song "Stayin' Alive." A terrifying image flashed through my mind of Apollo in bell-bottom pants and a slinky silk shirt.

We're still so young and desperate for attention...

If movements were a spark every dancer would desire to light up in flames.

Show me a person who found love in his life and did not celebrate it with a dance.

Disco's are tricky. You look a total wally if you dance too early but after one crucial song tips the disco over, you look a sad saddo if you don't.

Getting dumped is never really about getting dumped.' 'What is it about, then?' I ask. 'It's about every rejection you've ever experienced in your entire life. It's about the kids at school who called you names. And the parent who never came back. And the girls who wouldn't dance with you at the disco. And the school girlfriend who wanted to be single when she went to uni. And any criticism at work. When someone says they don't want to be with you, you feel the pain of every single one of those times in life where you felt like you weren't good enough. You live through all of it again.' 'I don't know how to get over it, Mum,' I say. 'At this point I'm so tired of myself. I don't know how to let go of her.' 'You don't let go once. That's your first mistake. You say goodbye over a lifetime. You might not have thought about her for ten years, then you'll hear a song or you'll walk past somewhere you once went together - something will come to the surface that you'd totally forgotten about. And you say another goodbye. You have to be prepared to let go and let go and let go a thousand times.' 'Does it get easier?' 'Much,' she says.

And so, given the musical sensibilities Hatcher treasured in his earthly life, it is hard to exaggerate the severity of his torture at standing naked in his tiny kitchen in Hell as former FBI director J. Edgar Hoover sings a Bee Gees disco song backed by a full studio orchestra and Robin and Maurice.

and tonight we held each other, one last time, like a dance to a slow song on an empty floor, underneath a single disco ball in front of no one at all

There is nothing. Only warm, primordial blackness. Your conscience ferments in it — no larger than a single grain of malt. You don't have to do anything anymore. Ever. Never ever. An inordinate amount of time passes. It is utterly void of struggle. No ex-wives are contained within it [...] The song of death is sweet and endless... But what is this? Somewhere in the sore, bloated *man-meat* around you — a sensation! [...] The limbed and headed machine of pain and undignified suffering is firing up again. It wants to walk the desert. Hurting. Longing. Dancing to disco music.

Sit tight, I'm gonna need you to keep time Come on just snap, snap, snap your fingers for me Good, good now we're making some progress Come on just tap, tap, tap your toes to the beat And I believe this may call for a proper introduction, and well Don't you see, I'm the narrator, and this is just the prologue? Swear to shake it up, if you swear to listen Oh, we're still so young, desperate for attention I aim to be your eyes, trophy boys, trophy wives Swear to shake it up, if you swear to listen Oh, we're still so young, desperate for attention I aim to be your eyes, trophy boys, trophy wives Applause, applause, no wait wait Dear studio audience, I've an announcement to make: It seems the artists these days are not who you think So we'll pick back up on that on another page And I believe this may call for a proper introduction, and well Don't you see, I'm the narrator and this is just the prologue Swear to shake it up, if you swear to listen Oh, we're still so young, desperate for attention I aim to be your eyes, trophy boys, trophy wives Swear to shake it up, if you swear to listen Oh, we're still so young, desperate for attention I aim to be your eyes, trophy boys, trophy wives Swear to shake it up, you swear to listen Swear to shake it up, you swear to listen Swear to shake it up, you swear to listen Swear to shake it up, swear to shake it up Swear to shake it up, if you swear to listen Oh, we're still so young, desperate for attention I aim to be your eyes, trophy boys, trophy wives Swear to shake it up, if you swear to listen Oh, we're still so young, desperate for attention I aim to be your eyes

A history of nightlife!--what an interesting concept. A history of a people, told not through their daily travails and successive political upheavals, but via the changes in their nightly celebrations and unwindings. History is, in this telling, accompanied by a bottle of Malbec, some fine Argentine steak, tango music, dancing, and gossip. It unfolds through and alongside illicit activities that take place in the multitude of discos, dance parlors, and clubs. Its direction, the way people live, is determined on half-lit streets, in bars, and in smoky late-night restaurants. This history is inscribed in songs, on menus, via half-remembered conversations, love affairs, drunken fights, and years of drug abuse.

Harris loved to read and he shared everything he read. He read to whoever happened to be in the room from whatever paper he happened to be making his way through. Ann Landers and the horoscope, of course, headlines, cartoons, Miss Manners, Heloise, the lives of others, in many forms, long articles on astronomy or anthropology, political pieces, op-ed pieces, book reviews, church bazaars, executions, plane crashes, disco artists, whatever caught his interest.

inclined my head toward said friends. One of them, a curvy redhead in a gold skirt that made her look like a disco ball, chose that moment to hop onto the table and shake her ass to the rap song blasting through the speakers. Josh snorted. “Jules? She’s a liability, not help. Stella is as trusting as Ava, and Bridget…well, she has security, but she’s not around as much.

like it. It sounded almost disco, and he gloomily argued that Dylan had been going downhill since Blood on the Tracks. So Hertzfeld moved the needle to the last song on the album, “Dark Eyes,” which was a simple acoustic number featuring Dylan

I’ll imagine it.” She twirled around in front of the gaping maw of a concrete tube. “Do you know the song ‘Dard-e-Disco’ from Om Shanti Om?” “Am I brown?” Om Shanti Om was one of the classic Bollywood films. He’d been forced to watch it countless times. His mother never cooked without a Bollywood film playing on the TV in her kitchen, and the songs from each one were burned into his brain.

I Feel Love,” by Donna Summer, and this had a profound influence on how I perceived music from that point on. Additionally, it led me toward a greater appreciation of disco; Chic were now filed next to the Clash in my album collection. These elements, merged with many other stylistic references, formed the basic blueprint for Duran Duran: the raw energy of punk, disco rhythms, electro pulses, and the panache of glam rock, which was already deeply embedded in our consciousness.

Hey, Ben,” she says, ignoring the rest of us. “You want to dance?” Ben’s cheeks turn the same scarlet as Rosie’s dress. He and Ryder exchange a pointed look while Lucy and I just stand there gawking. “Go on, man,” Ryder says, nudging him. “You look great, Rosie,” he adds. “Nice dress.” She smiles up at him, her blue eyes seeming to glitter beneath the disco-ball lighting. “Thanks. You don’t look so bad yourself.” She glances from Ryder to me and back to Ryder again. “The two of you…You looked good together up there.” “I know, right?” Lucy nods, and I shoot her a “what are you doing?” glare. She ignores it. “Maybe these two should stop the hating and listen to their parents.” An awkward silence follows. Finally, Ben seems to remember why Rosie came over in the first place. “Um, you want to go dance?” “Yeah. I love this song.” Ben nods. “Okay. Catch you guys later.” Rosie’s smile seems genuine as she follows Ben to the dance floor. I hope that means she’s finally figured out what a sweetheart he is. As soon as they’re gone, Lucy lets out a low whistle. “Whoa, did that just happen?” “I think it did,” I say, watching as Rosie wraps her arms around Ben’s neck. She must have said something funny, because he throws his head back and laughs. Lucy shakes her head in amazement. “I swear, it’s like we’re in some kind of alternate universe tonight.” “Well, in that case, how about you and me, Luce?” Mason says with a cocky grin. “Think you can handle me on the dance floor?” “Oh, what the hell?” Lucy says with a shrug. “Why not!” She reaches for Mason’s hand and drags him toward the dance floor but stops a few feet away and turns back to face Ryder and me. “Hey, you two--behave!” In seconds, she and Mason are swallowed by the crowd. “And then there were two,” Ryder says, reaching for my hand. He leans down, his lips near my ear. “Do you have any idea how badly I want to kiss you right now?” he whispers. “Later,” I say with a shiver. It’s not an empty word. It’s a promise. He gives my hand a squeeze. “So…until then, I guess we dance.” “We dance,” I say as a slow song begins to play. Talk about good timing.

Bernard and I always believed that most pop music fits into the board category called rock and roll. Rock and roll was ever changing, and this art form had different genres of classification for the benefit of consumers, like sections in a library or bookstore. Once any genre-folk, soul, rock or even some jazz-reaches a certain position on the pop charts, it does what’s known in the music business as crossing over, and gets played on the Top Forty stations. That’s the reason so many of us own songs by artists from genre’s we normally wouldn't-their hit songs crossed over into the pop Top Forty mainstream. When a genre repeatedly crosses over and comes to dominate the Top Forty, what had originated as an insurgency becomes the new ruling class. This was the path disco had taken-from the margins where it started, a weird combination of underground gay culture and funk and gospel-singing techniques and, in the case of Chic, Jazz-inflected groovy soul. But it was basically all rock and roll, historically speaking, as far as we were concerned. But the media and the industry pitted us against the Knack-the disco kings in their buppie uniforms verses the scrappy white boys. But we never saw it that way. We thought we were all on the same team, even if our voices and songs followed different idioms. Boy, were we naïve. And boy, did things change.

By chance – but it is not by chance – I open the preface to the Veda of my friend and master and ask whoever will listen to me: What would you save from a house in flames? A precious, irreplaceable manuscript containing a message of salvation for the human race or a small number of people threatened by that fire? The dilemma is real and not only for the writer: how can one only be an ‘intellectual, interested in the truth, or only a ‘spiritual person’ engaged in goodness, when people desperately beg for food and justice? How can one follow a contemplative, philosophical or even religious path when the world requires action, commitment and politics? Vice versa, how can one act to make a better world or an indispensable revolution when what one needs is a serene intuition and a just evaluation? It should be clear to all who share life on our planet that the house in flames is not a fact that involves only one individual. Why was I created? Why, having been saved, do I still exist? How must I live and what can I do? My reader said: If I am not ready to save the manuscript from the fire, if I don’t take my intellectual vocation seriously, placing it before everything else – even at the risk of appearing inhuman –, then I am also incapable of helping people in a more serious and immediate manner. Vice versa, if I am not attentive and ready to save people from a outbreak of fire, which means, if I don’t consider my spiritual calling with total honesty, sacrificing all the rest for it, even my own life, then I will be incapable of saving the manuscript. If I let myself be involved in the solid problems of my times and if I don’t open my home to all of the winds of the world, then whatever I produce from an ivory tower will be sterile and cursed. Also, if I don’t close the doors and windows in order to concentrate on this work, I will not be able to offer anything of value to my neighbour. I hear each book on my shelves shouting in silence: In truth, the manuscript can come out of the flames charred and people burned, but the intensity of one preoccupation has helped me with the other. The dilemma is not to choose the monastery or the disco, Harvard or Chanakyapuri (the Vatican or the Quirinal), tradition or progress, politics or academia, the Church or the State, justice or truth. In a word, reality is not a matter of ‘either...or’, it is not a matter of choosing between spirit and matter, contemplation and action, written message and living persons, East and West, theory and approach or even between divine and human.1 My sense and destiny are inscribed in these words. I am a library, thus I exist in the world and thanks to men who have written, printed, bought and guarded my texts, I exist for them and in their world. I exist also because a man has existed. 1

Jonathan Daniel: I mean, people knew "Sins." That song was so big everywhere. But yeah, I don't think they knew the band as much. I remember Panic! went to see Kanye in Vegas, and Pete asked Kanye if he had met them and Kanye was like, 'No, I didn't see anybody here dressed like the 1800s.' So I think they had some idea . . .

When we ask someone "How old are you?" we are really asking them "What time are you?" We're trying to slap a frame of reference on the person by bringing the past into play. When I find out how old you are, I know what memories you are likely to have. Depending on your age, you may know all about the Marshall Plan, Jackie O., the first moon walk, dial phones, disco, or DOS. I can call this information up in a friendly way, singing old Beatles songs with you. I can bring it back in a hostile way, thinking that you're a fool to have gotten caught up in "flower power." In either case, I'm not seeing you exactly as you are now. I'm judging by what I see as the sum of your past experiences.

While Bob was busy with Clara’s recording, his modular had just notched another first in the world: it sired the genre of electronic dance music. “I Feel Love,” a hypnotic, seductive single by Donna Summer, the “Queen of Disco,” had cast the Moog in a central role. Soon after the song’s release in July 1977 it went to No. 1 in the UK, climbing to No. 6 in the U.S., and then perched atop charts internationally, eventually making the “top songs of all time” lists of magazines and critics worldwide. Donna Summer and her collaborator, composer Giorgio Moroder, had pushed the boundaries of disco permanently into the electronic sphere with this single song.

Screenplay is a company that provides music videos to businesses. Music and video screens are such common attractions in city businesses that court sexual minorities that many of them subscribe to this service. Via disc-based or direct-to-system download, Screenplay subscribers pay for access to a service called “VJ Pro,” where they choose from different genres of music videos that loosely resemble radio formats: HitsVision, a Top 40 mix that promises subscribers “nothing but the hits from every source”; DanceVision, featuring “exclusive remixes, hard to find imports and popular mainstream hits and everything in between designed expressly for the fast paced dance environment”; UrbanVision, a rhythm and blues/hip-hop hybrid that purports “to be all inclusive”; RockVision, rock music featuring songs “from Classic . . . to Disco, New Wave to Old School”; CountryVision, “an upbeat mix of current hits and classic favorites”; and LatinVision, “designed specifically for the sophisticated Latin dance crowd that demands only the hottest and best in tropical, Caribbean, merengue dance and Latin pop.”48 Many gay bars subscribe to ClubVision, which features a mix of “techno, trance and euro-flavored . . . tracks.”49 For dance-themed bars, this subscription features “an extended autoplay feature and individual chapter stops for single track selection.

Close your eyes. Let a smile as big bright and bold as a disco chorus blaze across your face. Fall in love with the universe and everything in it. See yourself for one moment as the subject of every love song ever written. And as she drifts to sleep beside you, start a brand new song.

I ventured into the dimly lit darkness towards the blaring disco music and crowded dance floor. The enclosure reeked of poppers (alkyl nitrites), a recreational drug often used by gay men to heighten their sexual arousal. The club was hopping with the latest disco hits from the popular disco queen of 70s, Donna Summer. Half-naked and almost naked men were crowding the dance floor, grinding their perspiring bodies against each other in a sensual and sexual trancelike state. Men in various stages of foreplay were gyrating their muscular and sinewy bodies against each other in preparation for impulsive back-room romps. After taking to the dance floor for a couple of songs, I embarked on an exploration journey towards the back of the house. It was difficult to make out the abundance of naked bodies loathering in the dark in various stages of copulation. When I ventured into a large room with a sling in the middle, I heard a familiar, high-pitched groaning voice. It was a voice I had heard several years ago in class at the Bahriji School. It was a soprano voice that I could never get out of my head. Surrounding the voice was a queue of mesomorphically built men, waiting their turn to satisfy their sexual desires on an equally muscular hunk lying on the suspended, swinging sling. The man’s legs were spread above his torso. They were strapped to either sides of the hanging chains and so were his wrists, tied securely above his head. Although the ‘bottom’ was blindfolded with a black kerchief, I instantly recognized him as none other than the famous supermodel, Rick Samuels.

LOW PRESENTS BOWIE AT THIRTY, IN ALL HIS CONTRADICTIONS: artist, hedonist, introvert, astral traveler, sexual tourist, depressive, con man, charmer, liar. Low, released in January 1977, was a new beginning for Bowie, kicking off what is forever revered as his “Berlin trilogy,” despite the fact that Low was mostly recorded in France. Side 1 consists of seven fragments, some manic synth pop songs, some just chilly atmospherics. Side 2 has four brooding electronic instrumentals. Both sides glisten with ideas: listening to Low, you hear Kraftwerk and Neu, maybe some Ramones, loads of Abba and disco. But Low flows together as an intensely emotional whole, as he moves through some serious psychic wreckage. For the first time since he became a star,