I was stranded in Disco. I went to dozens of darkened places with enough flashing lights to drive the average person mad. I felt lost in the pulse of sheer panic.
I was in Studio 54 one time; it was great. But I'm not a discotheque guy. Sometimes, if I had a new demo, I went to some discotheques to check it out - see how the reactions of the people were. But just to dance, I rarely did that.
Club music taught me so much about myself: having patience or appreciating a different type of way of taking in life. That, to me, is like what 'Off the Wall' is. Or 'I Feel Love' or 'Rock Your Baby' with George McCrae.
I never went to any disco, I didn't know anything about dance.
Disco was like the celebration of music through dance and my God! When you heard the music sometimes it was like, if you don't get up and dance, you aren't human!
Roller-skates and disco are a lot of fun, I'm much too young and stupid to operate a gun.
I'd never dance at school discos, I couldn't believe people could show themselves like that.
There's nothing wrong with wanting to be in a disco band.
When I went to high school, in the late 1970s, disco was in full swing and anyone who was into it dressed the part. I know I did.
Too many of these writers in the music papers, they are misunderstanding everything. The disco sound is not art or anything so serious.
I've been in every disco in the world. I saw a picture of my wife Shakira and I dancing in Studio 54; I didn't even know someone had taken that picture.
I love the Bee Gees, and I love Barry Gibb and Andy Gibb. I listen to them almost every day.
Studio 54 made Halloween in Hollywood look like a PTA meeting.
One thing I turn my back on totally is the unsavory atmosphere at most discos.
Sometimes I have to shut off the omnipresent disco ball and flashing lights that are always in my head. It's a part of maturing, I guess - just learning that it's not just always about a quick, easy fix of getting people to dance.
I bet Maurice Gibb's heart monitor was singing the tune of Stayin' Alive.
I'm obsessed with sparkle for men. It's so funny watching people's reaction to a disco-ball shoe!
When disco came around the first time, there was this real core of progressive thinking and a positive lyrical content - about freedom, the possibilities of love, change and expression.
For my 50th birthday, I got ahold of a new print of 'Saturday Night Fever.' I see it much more as a tough coming-of-age movie than as a disco story.
Disco was brand new then and there were a few jocks that had monstrous sound systems but they wouldn't dare play this kind of music. They would never play a record where only two minutes of the song was all it was worth. They wouldn't buy those types of records.
One disco, one soft ball game, one lost love, one gay pride rally at a time.
The first record I ever danced to in a grown-up disco was Donna Summer's 'A Love Trilogy'. I danced for the full 15 minutes and I thought to myself, 'This is it, this is what it's all about.'
I love Donna Summer, and I love ABBA. I love late '70s disco. I love the Bee Gees. I just love that period of recording.
Really, the '70s and '80s were a blur.
Disco deserved a better name, a beautiful name because it was a beautiful art form. It made the consumer beautiful. The consumer was the star.
