Dance in the Dark
"Dance in the Dark" | ||||
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Metropolis (London) | ||||
Genre | Europop | |||
Length | 4:49 | |||
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Producer(s) |
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Lady Gaga singles chronology | ||||
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Audio video | ||||
"Dance in the Dark" on YouTube |
"Dance in the Dark" is a song by American singer
Gaga performed "Dance in the Dark" as the opening song of
Background and release
Gaga told the Los Angeles Times that the inspiration behind "Dance in the Dark" came from an intimate experience between two people in a bedroom. The song is about a girl who prefers to have sex in the dark as she feels self-conscious about her body. Gaga explained, "She doesn't want her man to see her naked. She will be free, and she will let her inner animal out, but only when the lights are out."[3] While working on the Mac AIDS Fund, she realized that women her age do not express such insecurities, fearing that their boyfriends would not love them if they did so.[3] Gaga added that she herself struggled with issues of body image and self-doubt.[4]
All of these new things entering my life are changing the way I view my purpose, but 'Dance in the Dark' in particular is about me wanting to live—but also, the song isn't called 'Dance in the Light'. I'm not a gospel singer trying to cross people over. What I'm saying is, 'I get it. I feel you, I feel the same way, and it's OK.' I hope and pray that I can inspire some sort of change in people subliminally through the show. They're singing 'Dance in the Dark,' but they're dancing and they're free, they're letting it out. But the songs are not about freedom, they're about [the fact that] I get it. I feel the way you feel.
— Gaga, Los Angeles Times, 2009[3]
"Dance in the Dark" was released as a
Music and lyrics
"Dance in the Dark" is a
"Dance in the Dark" begins with a stuttering
Sal Cinquemani from
The lyrics of the song refer to
Critical reception and accolades
"Dance in the Dark" received mixed to positive reviews from music critics. Some called it "
"Dance in the Dark" received a nomination for
Some reviews were less enthusiastic, calling the song "slightly too disposable"[35] and finding the dance and R&B production formulaic.[14][15] Adam White of The Independent liked the beginning, but found that the song "gradually declines into something more middle-of-the-road than it first appears".[36] Hubbard added that "after a stuttering intro of orgasmic groans it becomes a little bit Gaga-by-numbers, which is a shame given the standard of the early tracks".[16]
Chart performance
In late 2009, "Dance in the Dark" charted on the Hungarian
Live performances
Gaga performed "Dance in the Dark" as the opening song of The Monster Ball Tour (2009–2011). During the original 2009 leg of the tour, the show began as Gaga appeared behind a giant, green laser-lit video screen featuring scrim lights, in a futuristic silver jeweled jumpsuit with bulbs on it.[45][46][47][48] Wearing matching eye makeup and a mask, she sang "Dance in the Dark" while surrounded by dancers in white balaclavas and jumpsuits.[47][48] The scrim was lifted during the performance.[49][50]
"Dance in the Dark" was again the opening song in the revamped 2010–2011 shows of The Monster Ball Tour. Gaga performed the song in a set reminiscent of a New York City night scene, with flickering neon signs displaying the words "ugly", "sexy" and "liquor", fire escape stairwells and a broken yellow taxi.[51] For Katrin Horn, a postdoctoral fellow in American studies, the "Dance in the Dark" performance helped highlight a recurring theme in Gaga's work from the tour's beginning—"pop culture's obsession with both decay and beauty, or more precisely the decay of beauty"—as the song is dedicated to famous dead people who had struggled with their reputation when they were alive.[52]
Gaga sang "
Gaga sang "Dance in the Dark" on her 2018–2020 Las Vegas residency show, Enigma.[58] The song was preceded by an interlude, which introduced her alien counterpart, named Enigma. Gaga was sent through a future simulation by the character, and reappeared on stage in a fluorescent green jacket to perform "Dance in the Dark".[59][60]
Credits and personnel
Credits adapted from the liner notes of The Fame Monster.[2]
Recording and postproduction locations
- Recorded at Metropolis Studios, London, Englandand Paradise Studios, Hollywood, Los Angeles, California
- Audio mixing at Sarm Studios, London, England
- Audio mastering at Oasis Mastering, Burbank, California
Personnel
- Lady Gaga – producer, instrumentation and arrangement
- programmingand arrangement
- Jonas Westling – recording engineer
- Dan Parry – recording engineer
- Christian Delano – recording engineer
- Robert Orton – mixer
- Gene Grimaldi – mastering engineer
Charts
Weekly charts
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Year-end charts
|
Certifications
Region | Certification | Certified units/sales |
---|---|---|
Australia (ARIA)[70] | Platinum | 70,000‡ |
‡ Sales+streaming figures based on certification alone. |
Release history
Region | Date | Format | Label | Ref. |
---|---|---|---|---|
Belgium | November 9, 2009 | Digital download[c] | Interscope
|
[5] |
France | August 25, 2010 | Radio airplay | Universal | [8] |
Rina Sawayama cover
On June 29, 2020,
Robin Murray of
Footnotes
References
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- ^ a b Lady Gaga (2009). The Fame Monster (Liner notes [CD, vinyl]). Interscope Records. 0602527252766.
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Literary sources
- Apolloni, Alexandra (2014). "Starstruck: On Gaga, Voice, and Disability". In Iddon, Martin; Marshall, Melanie L. (eds.). Lady Gaga and Popular Music: Performing Gender, Fashion, and Culture. Routledge Studies in Popular Music. ISBN 978-1-134-07987-2.
- Burns, Lori; Woods, Alyssa; Lafrance, Marc (March 2015). "The Genealogy of a Song: Lady Gaga's Musical Intertexts on The Fame Monster (2009)". Twentieth-Century Music. 12 (1). S2CID 194128676.
- Deflem, Mathieu (2017). "The Sex of Lady Gaga". Lady Gaga and the Sociology of Fame: the Rise of a Pop Star in an Age of Celebrity. ISBN 978-1-137-58468-7.
- Horn, Katrin (2017). "Taking Pop Seriously: Lady Gaga as Camp". Women, Camp, and Popular Culture: Serious Excess. ISBN 978-3-319-64845-3.
- Goldmark, Daniel (2006). "Stuttering in American Popular Song, 1890–1930". In Lerner, Neil William; Straus, Joseph Nathan (eds.). Sounding off: theorizing disability in music. ISBN 978-0-203-96142-1.
- James, Robin (2015). "(Little) Monsters & Melancholics". Resilience & Melancholy: Pop Music, Feminism, Neoliberalism. ISBN 978-1-782-79461-5.