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!
My father ran a famous L.A. nightclub complete with roller-rink - Flippers - in the early Eighties which was the West Coast's answer to Studio 54.
We played at a club called, the Elbow Room. Don Carlos, the nightclub owner, was very hip and a very important person who made a big impact on my life.
There was one part of my life where I would go out every night. Ha-ha, if I missed going out to the club, it was the end of the world. I still like to go out, I love to hear music, I love to dance.
I go to the club just like a normal person. I might go to the studio, but I go everywhere like a normal person would.
Leigh [Bowery] obviously loved having me in the club because I would attract media, and he loved and lived for his column inches.
Maybe because I have spent too much of my life in rock clubs. I don't really go to parties anymore either. I'll usually be in the bus by 11:30 after a show.
There isn’t a nightclub in the world that you can sit in for a long time unless you can at least buy some liquor and get drunk. Or unless you’re with some girl that really knocks you out.
Leigh [Bowery] would make up stories about people committing suicide or going on hunger strikes because they were refused entry at the door.
Strip clubs are great places to meet interesting people you only wanna know for about 40 minutes.
I suppose all of those New Romantic clubs were quite up their own asses in a way. Well, Taboo was up its own ass in a different way, but not in terms of rules.
One minute you could be getting a smoke in the alley on the Lower East Side with your friends, having drinks and dancing on tables in a popular nightclub. And the next minute, you could be dead.
Leigh [Bowery] would create fake guest lists and put the most ridiculous names on them - Joan Collins, or really naff soap stars who would never grace the door of Taboo.
The key of the success of Studio 54 is that it’s a dictatorship at the door and a democracy on the dance floor.
I had my schooling right there in the Cotton Club.
If you put this in the context of Detroit in '64 or '65, the economy was booming. Everybody had jobs and there was a whole nightclub culture where bands could work.
Disco boy, no one understands, but thank the lord you still got hands.
I love David Bowie and Cher and Diana Ross. I wanted to follow in their footsteps. So I set out to do that in a rock-'n'-roll band in Atlanta, Georgia. That led me to nightclubs and to the sort of Andy Warhol experience of creating a personality.
Nightclubs are a small-revenue business that go through pretty fast popularity cycles.
My father said, Bring along your best girl. This is something you say to a pimp!
Work in nightclubs was interesting. There were interesting people and places, but by and large, the commercial music experience.
I'm a vulgar lounge entertainer, I don't need to wear a tie.
You didn't hear Yello until later in the night in the bondage clubs. Things would start getting crazy and that's when you'd hear Yello. It was bad.
Disco existed before we were all born and will exist afterwards. It is a ritual - it is a celebration - and it is the same kind of music that we call disco or rock'n'roll or a whole list of names that we can call it. Call it what you will, nothing will change the fact that certain kinds of music will make you want to celebrate or party.
I never did anything for free. Other than dancing in clubs. I give that away for nothing.
