Giorgio Moroder
From Here To Eternity

...So, then…

Chapter 1. The year of grace 1977. It's the disco music era, and people enjoy bouncing to the rhythm of music on colored tiles under spinning silver balls, possibly with cotton stuffed in the underwear for the male individuals… . Mmmmhh… . No, that's not it. So…..

Chapter 1. Year of grace 1977. Following in the footsteps of Tony Manero's historic walk on a shiny American morning, people worldwide spend the entire week biting their hands in anticipation of Saturday night, the night of excess and dancing adrenaline, where everything is allowed, and no one is themselves… . No… Not even like that… . So, as we were saying…

Chapter 1. Year of grace 1977. It's not so simple to describe the crowd with teased hair and flashy clothes that floats cheerfully to the rhythm of intense funk, echoing, rubbery, and colorful, on the walls of Studio 54, the temple of every excess and nights covered in glitter… … … No… this is cliché, we can do better… Let's start from the top, then, let's see…

Chapter 1. Year of grace 1977. In full period of cultural and musical transition, old memories are destined to be temporarily put aside for new legends. Everything seems much simpler, it only takes a dance floor and problems fade away, regardless of how fleeting and silly this all is or will be. The important thing is to be here, now. Everyone aboard this neon glittery ship without a pilot, some to unleash new selves, some to play it cool, some to grope, some to sway their fringe and sideburns amid pearls of sweat and smiles. It might not last forever, but "That's the way I like it!" Here we are out of this world, and for one night, that's alright. There's not much to understand. That was good enough.

Among all the figures of what was an undoubtedly fascinating and epochal period, namely the disco music world of the late '70s, a mandatory mention must be made of good old Giorgio Moroder. The historic "From Here to Eternity" is just one of his many well-executed works. A very prolific and creative artist, he went from his early singles in the late '60s to a love for Kraftwerk and minimalist electronics; then from the discovery of Donna Summer and participating in the new disco-music phenomenon in the '70s to creating soundtracks for historical films such as "Flash Dance", "The NeverEnding Story", "Scarface", and "Top Gun". As well as music for the Los Angeles '84 and Seoul '88 Olympics. Wow, this guy with a mustache has done a lot! Certainly worth rediscovering. Absolutely. Even starting with this album. It's not an absolute masterpiece, but it's an album of about thirty minutes that's energetic from start to finish, without falling flat, and it's a real pleasure to listen to. With a big smile on the face and a foot ready to tap like a fool. The music is a mix of disco music, electronics, synth, and bouncy keyboards. Let's say music that's at times more intelligent than average, at least for the genre. With a couple of catchy and very pleasant refrains, there's no denying that. There's no denying… .

Prologue: October 1977, Saturday night, at 1:08 a.m., in a nightclub lost who knows where. Elwood Yellow and Johnny Caldarrosta have just hidden the beat-up bicycle they arrived on behind the bushes. After meticulously cleaning themselves up, with particular attention to the edges of the bell-bottom white pants and the hem of the black shirt sticking out from the light linen jacket, they walk with a determined but relaxed step through the dark parking lot … . Their Jesus gold chains glimmer in the dim light, and finally, there they are, appearing near the illuminated entrance… …

Track 1: From Here to Eternity. El and Johnny know the entrance to the venue is one of the most important parts of the night. In the background, a track is already thumping, the night of delirium has already begun. The two exchange glances, nodding their heads, exchanging a slight smile. Their feet cross the entrance door. Lights! Color! Funk! Wow! And there they are, our heroes: El executes an excellent bouncing entrance with the right leg and arm lowered and winking ("Puerto Rican Limp Walk") while Johnny opts for the classic laid-back walk with an included groin grab ("Cool Old Fox Walk"). A memorable scene, folks, from here to eternity!

Track 2: Faster Than the Speed of Love. A couple of girls have already cast a glance at them, but the two know well how to act. Just a quick look at the chicks, flashing bright teeth, thanks to polish lent by their old friend Theodore "The BallShit" Brown. Then a textbook shift of gaze towards the bar, determined and cool. As if to say: we have other things to do now.

Track 3: Lost Angeles. The bartender is a man. They can relax their gaze and stop the facial paralysis displayed a moment ago. El orders an "Isaac Hayes's Pissing", John goes for a classic "Blue Bollock". They know they must sip carefully the few bucks they have; so, having paid 14 dollars for the drinks, they mentally calculate the remaining money, discreetly rummaging in their pockets. El quickly makes a gesture of eight with his fingers to his friend. John responds with a very slim four. For those who can read lips, it's clear that they mutter a word that refers to solid organic waste.

Track 4: Utopia - Me Giorgio. For a correct "cool" drink, there are three points to follow: POINT 1: turn briskly with the back to the counter to observe the venue in its entirety; POINT 2: swiftly bring the glass to the mouth, yet showing maximum relaxation, with one eyebrow raised higher than the other; POINT 3: slightly nodding to the music, take a swift sip, paying careful attention to the teeth, and drink half the glass. The scene is executed to perfection, John even indulges with a finger snap with the other hand. Textbook. Next to them, two guys are not as skilled: the first makes a mistake at point 1, hitting his elbow on the counter and spilling the glass on the floor, the second breaks all three points, turning horribly mechanically and awkwardly, not raising an eyebrow and eventually smashing the glass on his teeth, in a pool of blood. All the cool guys in the place look down on them, as if to say: "Pfui! Rookie idiots…"

Track 5: From Here to Eternity (Reprise).. The track of their entrance to the club has just restarted. El and John down their drinks, and slowly and bouncing, with a cigarette in their mouth, head towards the carpet of colored tiles: the dance floor, or the "ring of life", as once defined by Ted “Magic Ass” Yellow, El’s cousin, in a very successful night of dancing hookup. The entry onto the floor must be even more methodical than the entrance to the venue, and even the slightest mistake is costly for the entire night. El throws himself into the fray with a simple double spin and tightly locked feet ("Gentleman's Blender Step"), while John enters with the typical "Smoking Flamingo Step", cigarette in mouth and small hops on one foot. Not complicated entries, but very effective. For now, it's just about getting warm, after all.

Track 6: First Hand Experience in Second Hand Love. The floor is a flurry of squeals, twirls, and lights. And experienced dancers are not lacking. On the left side of the floor, right now, Nick "The Madness" and Mark Meatball III are showing off with steps at the edge of what's allowed; on the right side, Jamal "The Big One" Jackson, an impeccable black dancer and lady-killer, is easily recognizable; nearby, by logic, are the sisters Anna "Big Apples" and Louise "Rat Hair", as well as the friendly but very insidious Eugene "HairyLady" Thompson. Keeping a safe distance from the latter, El and John now begin to get busy: glance at the free dames and slow approach towards them. It doesn't matter if they don't seem interested. They will be soon. You can't escape a skilled and eclectic dancer…

Track 7: I'm Left, You're Right, She's Gone. Some minutes have passed, and El and John already have their hands wrapped around two girls. Hands obviously very, very busy. To pick them up, simple moves like "The Sarcastic Chinese" and "The Cat-a-pult" sufficed. The evening was easier than expected… To keep the atmosphere hot, however, much more difficult steps are starting to be unveiled one after the other: hand on the forehead and the other on the belly, body trembling, and a final backward somersault ("Sunday Laxative Step"); one dives onto the floor, sliding on the belly, while the other climbs with feet on his back and a cigarette in the nose ("The Surfer"); running from one end to another on knees and a final spin on the upper incisors ("Who Hard Wins Step"). Even dangerous steps like "Corporate Picnic", "Eye Dropper" (banned in Montana and in the province of Prato), and "Garibaldi Twist" (passed on to Johnny by a relentless Calabrian uncle) are attempted.

Track 8: Too Hot to Handle.. El and John are now off the floor with the girls. Named Mary and Chiquita, let's say a good five and a half out of ten they surely deserve. The two offer something to drink to the girls; then it's time to skedaddle, they say, to go watch the sunrise. The girls buy it. They head towards the exit and, despite it being 4:18 in the night, their walk is still fresh and in tune with the music, albeit with underarm sweat stains. After throwing a knowing glance at the bartender (who seems to say: "Who are the hell are you?!") and a couple of acquaintances (who show them a knife), our group definitively leaves the venue behind, leaving behind what was and, obviously, what will be again in a week. You can bet on it, folks.

On the floor, meanwhile, a very young Antoniodeste is struggling with the "Peperonata Step", later modified in 1978 to the "Ringo Starr Step", and further improved later into the "Gynecologist Step". Rightfully banned by law since 1981. But that's another story.