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Irene Cara – Flashdance • What a Feeling

Introduction

“Flashdance • What a Feeling” by Irene Cara is an electrifying anthem that captures the exhilaration and empowerment of chasing one’s dreams. Released in 1983 as part of the soundtrack for the film “Flashdance,” the song became an instant classic and earned Cara an Academy Award for Best Original Song. Join us as we dive into the pulsating energy and inspirational lyrics of “Flashdance • What a Feeling,” and celebrate its enduring impact on music and pop culture.

Did You Know?

  • “Flashdance • What a Feeling” was co-written by Giorgio Moroder, Keith Forsey, and Irene Cara specifically for the film “Flashdance.”
  • The song topped the charts in multiple countries and became a worldwide phenomenon, earning critical acclaim and commercial success.
  • Irene Cara’s powerful vocals and the song’s infectious melody perfectly captured the spirit of determination and triumph depicted in the film.
  • “Flashdance • What a Feeling” remains a beloved anthem of self-expression and empowerment, inspiring countless individuals to pursue their passions and never give up on their dreams.

Video

Lyrics: Flashdance • What a Feeling

First when there’s nothing
But a slow glowing dream
That your fear seems to hide
Deep inside your mind

All alone, I have cried
Silent tears full of pride
In a world made of steel
Made of stone

Well, I hear the music
Close my eyes, feel the rhythm
Wrap around, take a hold of my heart

What a feeling
Being’s believing
I can have it all
Now I’m dancing for my life

Take your passion
And make it happen
Pictures come alive
You can dance right through your life

Now I hear the music
Close my eyes, I am rhythm
In a flash, it takes hold of my heart

What a feeling, being’s believing
I can have it all
Now I’m dancing for my life

Take your passion
And make it happen
Pictures come alive
Now I’m dancing through my life

What a feeling

What a feeling (I am music now)
Being’s believing (I am rhythm now)
Pictures come alive
You can dance right through your life

What a feeling (I can really have it all)
What a feeling
(Pictures come alive when I call)
I can have it all (I can really have it all)

Have it all (pictures come alive when I call)
(Call, call ,call, call, what a feeling)
I can have it all (being’s believing)
Being’s believing (take your passion)
(Make it happen) Make it happen
(What a feeling) What a feeling

 

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Tucked away in a private drawer, far from the polished sets of her television show, lay a bundle of 341 letters. These were not press clippings or scripts; they were brittle, handwritten testimonies from servicemen stationed in remote barracks, deep in war-torn tunnels, and across desolate battlefields. During the long years of the Second World War, as Hollywood presented a glossy, curated image of American life, Donna Reed spent her nights reading these letters and, more remarkably, personally answering them. This was the quiet, invisible work that defined her, long before the public labeled her the quintessential television mother. Behind the camera during her production years, Reed was a different person entirely. She was rarely seen holding a script for a scene; she was more likely to be found hunched over lighting diagrams or studying the intricacies of cinematography. She possessed an uncredited producer’s mind, constantly analyzing how the frame could better reflect the reality of the family she was trying to depict. The studio environment was frequently cold and high-pressured, but she moved through it with a meticulous attention to detail that frustrated those who wanted to treat her as merely another pretty face in the cast. These tactile remnants—the stacks of ink-stained paper and the forgotten notes on camera angles—tell the story of a woman who never truly fit the box Hollywood built for her. While the world remembers the steady, comforting image of a television home, she lived a life carved out of hard labor and deep empathy. She carried the weight of those soldiers’ stories and the technical burdens of the studio floor until her final days, forever balancing the fragility of her public image against the demanding, gritty reality of her actual life.