A lot of kids came out at the Warehouse. They found themselves there, and they met their lovers there. Saturday night is what they lived for. They knew they were going to have a good time because that was all they ever had. Nothing else mattered. When you’re young these things leave an indelible impression.
Frankie Knuckles, quoted in Tim Lawrence’s Love Saves the Day
Thank God we had signed a deal to produce Diana Ross before the ‘Disco Sucks’ backlash in 1979 shut down our lives. People don’t realize that the life span of Chic was really just three years. We had a little big of payback during that whole ‘Disco Sucks’ thing—that year the Pittsburgh Pirates won the World Series, their song was ‘We Are Family.’ So while one stadium was being burned and ravaged, the other was celebrating with disco … White working-class Midwest fans looked at this hedonistic culture dominated by ethnics and women and gay people leading lives that were completely over the top—these guys working at the Ford factory or wherever were like, We’ve gotta work like this and you don’t have to work and go to Studio 54 and party?

A brief aside: Dev Hynes (Blood Orange) is sometimes criticized as not ‘R&B’ enough by some music writers—these writers often cite Dev’s previous work in rock band Test Icicles as indicative of some illegitimacy of intention. But Dev’s songwriting trademark—his supposed weakness—is rooted in this exact thing, the weighting of syllables. Unlike most R&B, Dev writes songs where the melody has no syncopation; they sound like hymns. Boring, perhaps, to you, but other people (myself included) hear a glorious religious calm, a stateliness.

Similarly, think about Black Sabbath’s ‘Paranoid,’ where almost every note is off the beat. ‘FI-nished with my woman cause sheeee WOULDn’t help meeeee WITH myyyy LIFE.’ It’s kind of a bad melody, no? Doesn’t suit the lyrics at all, has an vaguely ESL vibe, weighted all wrong. But the song is called ‘Paranoid’ and he is singing about how you should enjoy life and how he wishes he could do the same but it’s too late. It suits the material, works great.

Owen Pallett casually drops this gem in a great Slate article in which he uses music theory to explain the omnipresence of Katy Perry’s “Teenage Dream.” (via marathonpacks)

love this

(via theremixbaby)

"Boring, perhaps, to you" <3 Owen