The full-bodied eroticism that Dyer describes is certainly a Blowing my mind lyrics component of Hi-NRG, alongside the euphoric escape The flirts love and disire the conditions of late capitalism. Calling All Boys. Queue 1. Are you sure you want to continue? Many of Orlando's lyrics describe unrequited love, private despair, personal angst and a truth-seeking perspective. So Untrue. Namespaces Article Talk. As such, his sizeable impact on the history of queer identity in the late twentieth century extends beyond the scope of this essay and indeed deserves one in its own right. New Toy.
Nurse alery. other tracks: The Flirts
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Automatically playing similar songs.
- Stella tells Stanley that she is taking Blanche out for dinner and a show while he has his poker game at the apartment.
- Orlando conceived the idea for The Flirts, wrote the songs, played the instruments, and produced the tracks.
- If you notice your husband or boyfriend looking at and flirting with other women, it can leave you feeling very insecure and make you doubt his feelings towards you.
You And Me. I Wanna Wear Your Ring. Big Boys Don't Cry. Physical Attraction. Just Another Heartache. Surf's Up. Put Your Body In Motion.
Take A Chance On Me. Gimme Your Lovin'. Too Hot To Handle. A Love So Right. So Untrue. Love And Desire. Boy Candy. Roller Coaster. Lover Boy. Ready To Go Steady. A Thing Called Love. On The Beach. Boy Crazy. We Just Want To Dance.
Jungle Rock. After Midnight. Miss You. Opposites Attract. Voulez Vous. Crazy Guy. I Wanna Rock. Island Boy. Dream Boy. Teenage Werewolf. Love Reaction.
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Love and Desire-THE FLIRTS-KKBOX
A few months ago, someone at a party asked me what song I would choose to have played at my funeral. This response was met with wide eyes of incredulity by the heterosexual man who had posed the question, and debate spilled out around us about why I should or should not choose something with more meaning, more depth, more substance.
But I believe meaning can be found in the shallowest of places. Hi-NRG is generally considered to be a shallow place.
It was music for nighttime and nite-clubs, for dancing to, escaping to, for fostering inclusivity. Bobby Orlando grew up in New York State, a teenage boxing sensation who could allegedly do one-finger push-ups. Contemporaneously to the aforementioned Cowley, Orlando carved out his own niche of fast-paced, synth-laden, campy staccato disco that would become known as Hi-NRG. Session musicians recorded the vocals, then a rotating roster of models, dancers and actresses lip-synced the song live: one blonde, one redhead, one brunette.
Different tours and albums had different line-ups, with Orlando himself the only consistent factor. Alongside the mirage of constructed femininity that was The Flirts, Orlando released and produced music under dozens of other names and self-invented bands, most of which had no members other than Orlando himself except for the odd session vocalist. The act of naming, and its transformative potential, was clearly not lost on Orlando.
The adoption of constructed personas, fictitious identities and assumed names is a practise widely adopted within the queer community. It is a form of expression used not only by drag performers, but artists and activists Rosa von Praunheim, Gluck, Claude Cahun, Tom of Finland, to name but a few. Rumour has it that after his music career fizzled out, Orlando became a religious zealot and wrote a book on creationism. I warned you he was problematic.
One suspects that driving this male bravado and hetero-peacocking was an over-compensation of sorts, or even internalised homophobia. The exception, of course, is Divine — the only Orlando act to gender-bend in the more literal way. An actor and drag queen, Divine had developed both a strong public identity and large fanbase by the time he began to collaborate with Orlando in , having starred in several cult hits by filmmaker John Waters, including Pink Flamingos and Female Trouble As such, his sizeable impact on the history of queer identity in the late twentieth century extends beyond the scope of this essay and indeed deserves one in its own right.
Once more, there is realness to be found in artifice. The scenario is too cinematic to be believable. This is music for taking pills and dancing euphorically to, not slow-jamming to before taking someone home. These thwarted expectations of love are pure, swooping, teenage-style catastrophes of the heart. The sentimentality of such Orlando tracks, just like the directness of his more erotic numbers, give us permission to feel the most untempered emotions.
In it, Dyer argues that there are three main characteristics of the disco genre: eroticism, romanticism and materialism. The full-bodied eroticism that Dyer describes is certainly a key component of Hi-NRG, alongside the euphoric escape from the conditions of late capitalism. But in my eyes, this is precisely what makes them so transcendental.
To those of a certain bent, they deliver a pure hit of serotonin to the brain, and their artifice and ephemerality only serve to heighten this connection. Moore, personal communication, July  ibid.