American Entertainment 1978: New York Night Fever

Chapter 98 Defining Style

With a captivating introduction from host Murph Griffin, the Spiders took the stage first. Powerful electronic synthesizer music instantly filled the studio.

Zik stood in the aisle on the side of the stage, waiting for their performance to end.

Through the gaps, you can see that Casablanca really went all out this time, almost replicating the decor of New York's top disco spot, Studio 54, in a 1:1 fashion.

A giant mirrored disco ball refracted fragmented light spots, a circular neon light strip swirled endlessly, the wraparound dance floor was filled with atmosphere-setting staff, the bar booths were clearly divided, and there was even a professional DJ booth. The accompanying sound and lighting equipment were all top-of-the-line, rendering the entire stage a dreamlike spectacle.

Standing next to Zeke, Susan proudly introduced, "This is probably the most expensive temporary set in the history of stand-up comedy. Even Sullivan has never spent this much money. It would be a shame to dismantle this set; it's practically a permanent facility."

Zik subconsciously reached out and tapped the gleaming metal stand next to him. It was cool to the touch and solidly made. He thought to himself, "This thing is disposable? Casablanca is really rich and powerful."

Sweet dreams are made of this...

"Who am I to disagree?"

"I travel the world and the seven seas...

Amanda sang live throughout the entire performance, displaying a steady stage presence and showcasing her talent. The performance went smoothly and was met with continuous applause.

Then, Moff Griffin introduced Zik to the stage.

Once seated on the sofa, Zik followed Tino's instructions throughout, maintaining a humble demeanor and occasionally cracking a well-placed joke to lighten the mood.

When discussing the meaning of the song, he also took the opportunity to dispel a rumor: "Some people think this song is about sex or SM, but that's not true at all. It's actually my cold observation of some industry malpractices."

"What exactly do you mean?" Mof asked with interest.

"It's probably because the essence of dreams is emptiness, and ideals are often vulnerable in the face of reality. But this is just my personal opinion, and it's not very mature." As he spoke, Zeke glanced casually at the audience and saw Judy sitting between Stacy and Christie, who was smiling and applauding him.

"The style of your disco piece is completely different from mainstream disco, even from your debut work, 'YMCA'."

It also goes against the grain. It's like electronic disco, but the underlying tone is cynical and pessimistic. Yet, the chorus's rhythm and the "movin' on" hide a stubbornness that persists even in the face of nothingness. How would you define this new style?

Mof pressed on, saying that he was indeed talented, and although he wasn't a professional musician, he clearly had a wide range of interests.

This question hit the nail on the head, and Zik spoke eloquently: "If I were to define our music, I think it could be categorized as New Wave. It breaks free from the rigid framework of traditional music, possessing both the smooth, catchy rhythms and atmosphere of disco, adapting to contemporary stages and popular aesthetics, while retaining the clean, crisp texture and independent attitude of rock."

"You mean your style is a fusion of disco and rock?" This surprised Mof.

It's not surprising that Murphy reacted this way, since rock and disco are currently in a binary opposition. The general public, music critics, and mainstream charts have formed a simple dichotomy of either/or, and styles such as country, folk, and soul have been marginalized, making it difficult for them to become mainstream tracks on their own.

Amanda chimed in, "We were a rock band before we got the record deal, and we'll continue to try our hand at rock music."

"That's a bit daring. Aren't you afraid of being attacked?" Mof tapped the table, feigning surprise.

Amanda glanced at Zeke, who was prepared for this and calmly replied, "Don't worry, Murph. Rock and roll is inherently about fusion; it was born as a mix of Black rhythm and blues, white country music, and folk."

"Chuck Berry grafted country guitar playing and melodic lines onto the rhythms of Black R&B, laying the foundation for rock and roll. From the very first generation of rock musicians, there has never been the concept of 'pure rock'; crossover is the tradition."

"Like David Bowie, who experimented with disco singles on his album back in '75," Holly added from the side.

"Yes, we don't want to be bound by a single label. We don't simply follow the disco frenzy, nor do we make heavy, old-fashioned traditional rock. For us, the so-called new wave is cleaner, more modern, and more in tune with the times. It's also the direction we've been creating and exploring." Zike continued.

"Please describe your creative philosophy in one sentence, Zeke."

"If it sounds good and adds depth to the album, then use it," Zike said succinctly.

"Wow, that sounds very pragmatic," Muf praised with a smile. "For your age, that kind of insight is rare."

Remembering Tino's advice on "humility," Zik immediately added, giving credit to his senior: "Thank you. But honestly, I'm just a high school student preparing for final exams right now," he shrugged at the camera, "so if I had to say what I've accomplished in music, it's probably that I'm still a student in both of those fields."

"The production of SweetDreams was largely made possible by the help of Giorgio Morodel."

Giorgio is a true master. He taught me how to connect with the masses using popular rhythms, and how to preserve the core of a work through unique arrangements and attitude. This is the new musical style we want to create.

Off-camera, the director gestured that time was up.

With a meaningful smile, Mouf leaned forward slightly and summarized to the camera: "Pragmatism, yet without losing its core depth. This certainly sounds more convincing than those vague artistic manifestos. It seems that tonight we are witnessing not just a hit single, but the budding of a completely new genre."

"Thank you to the young Zeke Rossi and the Spiders for the fantastic performance, and let's look forward to where this new wave will take us. Now, let's take a short break—"

After Murph finished his closing remarks, Zeke and the Spiders' American television debut came to a perfect close.

Backstage, Tino was as excited as a parent who had just watched their child perform. He hugged Zeke tightly and patted his back forcefully: "Zike! You spoke so well! I can tell that Murphy really appreciates you! This interview has been broadcast to every household across America! After tonight, we'll be famous throughout the country!"

"Of course, I've been preparing for today's interview for a long time," Zik said, patting Tino on the shoulder.

Neil Bogart and Larry Harris were standing at the door of the dressing room, waiting.

Neil beamed, opening his arms wide: "You guys were fantastic tonight! Especially you, Zeke, you got Murph to actually say the concept of 'New Wave.' Not just you and the Spiders, but the word itself will be planted in the hearts of countless young people through the airwaves."

"Actually, I learned it from Seymour Stan, Neil. Is he your friend?" Zeke replied modestly.

"Oh, Seymour, that poor fellow has fallen into Mo Austin's trap—" Neil said briefly, mentioning his old friend, before his tone shifted, his eyes sharpening. "Zek, do you really think this kind of boundary-breaking fusion path can work?"