Clubland, A virtual voyage, guided by Holly Brubach, among the clubs that have marked the history of disco music, accompanied by an exclusive vintage selection from the ’70’s and 80’s up until the ’90s. Clothing inspired by the style of club-goers from New York’s Studio 54 to London’s Blitz and Milan’s Plastic.

With a special partnership of Rolling Stone Italia, the magazine that covers  music, politics and culture that has overseen the exclusive editorial content.

Photo by Michael Ochs Archives/Getty Images

Her voice is extraordinary. The kind that gives you chills. And when she says “You can call me Donna”, it’s enough to send shivers along the telephone cord all the way to Milan from Nashville, where she now lives – the almost metallic tone of the long-distance call making her voice even more alluring. There’s one thing I want to ask her, even though it’s a story that’s been written about a thousand times. But I can’t resist the temptation of having her recount in her famous voice the story of the first recording of the track Love to Love Baby. Also because it’s a scene that has become the origin of today’s contemporary dance moves: none of today’s Miss Kittins or Yelles would even exist were it not for that afternoon in a Munich recording studio. “So, I was in the studio with George and the other three sound engineers. We didn’t have the lyrics yet, there was just the idea of the chorus being ‘looooove, love to love you baby’. George had the idea of doing something along the lines of  Je T’Aime… Moi Non Plus by Serge Gainsbourg, and so he asked me to invent some provocative lyrics and try to sing them. I kept saying, ‘no no no, I’m not the right person for this piece’. We went back and forth like that for hours. George would say: ‘It doesn’t matter, let’s just try, invent something and sing it’. I saw the four of them over there and thought, ‘Oh God, I’m in this studio with these four men who are watching me and want me to sing these words…and I’m embarrassed! And so they all turned off the lights, lit a pair of candles, I lay down on the floor in the corner, where they couldn’t see me and I sang the piece, trying to imagine I was Marilyn Monroe.”
Text by Rolling Stone Italia