70s Fever Part 4: When I Wore a Younger Man's Clothes

In a previous Joel Has Soul post, I briefly touched upon the origins of my Billy Joel obsession.  You may or may not recall that my mom was the person who first introduced me to the Piano Man when my age was still just a tiny elementary-schooler.  My mom is also the reason behind my love of the 1970s; the product of a 70s childhood, she has always been my primary source for all knowledge of the era.

My grandma still lives in my mom's childhood home.  Time stands still in that house (evidenced by the fact that she doesn't even own a microwave), and I've come to cherish it as my direct link to those golden years of yore that I love to study.  32 Glenn Circle is my favorite place on Earth.

This post is a tribute to my mom (if this post is already too gooey you can stop reading now and I won't be offended). I fell in love with the 70s and Billy Joel's music not through in-depth analysis of historical events and famous melodies, but simply by listening to stories my mom used to tell me about her childhood, rummaging through the endless boxes of high school yearbooks, albums, and other artifacts, and by sharing the same meals on Thanksgiving and Easter that my mom's family always has.

As a lover of the past, I believe that at the heart of history is the everyday people who live it as the present.  I love hearing about the individual experiences of people that culminate in what we categorize in broad terms like "the culture of the 1970s".

The individual story I want to share with you today is the story of my mom, Joan Portanova.

My mom was raised in Erdenheim, Pennsylvania, which is about 30 minutes north of Philadelphia and exactly two hours north of our current home in Maryland.  Erdenheim is so small that it comprises literally one main strip of shops, a park, and a few neighborhoods before it melts into a different town.  Like my grandma's house, it hasn't changed that much either.  There's a farmer's market, a car wash, and a disproportionate number of small Italian restaurants (if you're ever there, go to Scoogi's).   If you turn right into the small cul-de-sac at the top of the hill, you'll find a house with a perfectly symmetrical oak tree in its tiny front yard.
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It's 1970. In the front yard, my mom chases her dog Banjo around the wide Oak tree, its colors shifting into golds and reds. She laughs gleefully as my grandma calls her inside.

In the living room, she gathers in front of the Christmas tree with her brother, my Uncle Mike.  On Christmas Eve, they decorate the tree with homemade ornaments and strings of popcorn, a pot of cheese fondue resting patiently on the mahogany coffee table.

In the dining room, she waits expectantly at the helm of the plaid-drenched dining room table for my Grandma to serve the punch and english muffin pizzas to her and her friends: birthdays always call for a special meal.

In the kitchen, she slides across the tiled floors and sneaks Pepperidge Farm cookies out of the cabinet to enjoy while watching soap operas after school.

Through the narrow hallway and up the stairs, she learns how to waltz with my grandpa; Johnny Cash and the performers of Broadway guide each step through the ever-present mouthpiece of the recordplayer.

In her room, she listens to her own albums on a blue and purple portable turntable.  Learning the chords to James Taylor songs on guitar becomes a principal pursuit.

From downstairs, my grandma calls my mom to hurry: it's time to go.  Back in the front yard, she hugs her boyfriend goodbye and packs into the station wagon filled to the brim with clothes, excitement, and expectations: it's 1979, and a new decade at Penn State awaits my mom as she pulls out of 32 Glenn Circle.
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the Christmas tree, present-day

the view from the window of my mom's room

my mom, ca. 1975

Joel Has Soul Part 4: There's Someplace that He'd Rather Be

"You know those lights were bright on Broadway

That was so many years ago

Before we all lived here in Florida

Before the Mafia took over Mexico"

- "Miami 2017", Turnstiles

Billy Joel is a tried and true New Yorker.  Born in the Bronx and raised on Long Island, Joel has  reflected his love of the Big Apple in a number of his songs, perhaps most notably through "New York State of Mind."  But when he's not crooning about "taking a Greyhound" on the dreamy "Hudson River Line", Billy Joel expresses love for his city in what some may consider an unconventional way: by describing its demise in a natural apocalypse.

That's right, today I'm writing about  the one and only, "Miami 2017."

So you may be wondering,  is this even a song about New York? It's title certainly doesn't suggest that it is. But perhaps you know it by its more commonly-used name, "Seen the Lights Go Out on Broadway".

In terms of context, this song is pretty out there for Joel.  It's told from the viewpoint of an old man who experienced a natural disaster in New York that basically ended the city decades earlier.  Everyone fled the city and now he's living in Miami (hence the name, Miami 2017).  The words alone make it one of Joel's most unique songs, but the context and modern relevancy of the song is what really put it over the top.
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First, a history lesson:
In 1974, New York City had pretty much hit the rock bottom of its several year downward spiral.  The city was in the midst of a financial crisis, and was about to default on its debt.  To make matters worse, President Gerald Ford had stated that under no circumstances would the government provide financial aid to the city, inspiring this infamous Daily News headline:

Ouch.
credit: NY Daily News archives

Billy Joel wrote "Miami 2017" in response to all the criticism the city was receiving.  To put it in the words of the Piano Man himself, "if New York's going to go down the tubes, I'm going to go back to New York." "Miami 2017" champions the resiliency of New Yorkers, an idea manifested both in the lyrics ("They turned our power down and drove us underground, but we went right on with the show"), and the song's upbeat melody.  Altogether, it more than holds its own against the ubiquitous "New York State of Mind."

But take a look at the lyrics again:
"I saw the Empire State laid low"
"I saw the ruins at my feet"
"The flames were everywhere"
"I've watched the mighty skyline fall"

I don't know about you, but when I read these descriptions, I don't think of the New York Financial Crisis of 1974.

I think of 9/11.

When you really think about it, it's unbelievable how prophetic the song is- a bit unnerving, almost.  Joel actually performed "Miami 2017" at a benefit concert shortly after the attack on the World Trade Center.  After he finished playing, he noted "I wrote that song 25 years ago.  I thought it was going to be a science fiction song.  I never thought it would actually happen."

And when tragedy struck New York again in 2012 in the form of Hurricane Sandy, Joel performed his unique ode to the 'City That Never Sleeps' once more.  In this way, what started as a snappy resistance to the "hellfire and damnation" sentence that was being handed to New York in the 1970s has evolved into an all-encompassing tribute to the strength of New York in the wake of tragedy.

"To tell the world about the way the lights went out and keep the memory alive" has truly become the legacy of Joel's song.

70s Fever Part 3: The Piano, it Smells Like a Carnival

The TV appearance that started it all

As I write this, I am currently three hours and 40 minutes away from seeing Paul McCartney in concert.  I decided to go on a whim, after my friend told me she had an extra ticket and couldn't find anyone else who wanted to go (I was flattered that she phrased it that way).  It hasn't really sunken in that I'm going to be in the same arena as THE Paul McCartney in just a few hours.

I've always appreciated the Beatles (I know the hits and I have about 10 songs of theirs on my phone) but I never really got into them the way I have with some *ahem* other singers (I wonder who?).  With Paul McCartney and Wings, I'm even less familiar.  The only two songs I know are "Maybe I'm Amazed" and "Silly Love Songs" (both of which I love).

So, in order to commemorate this occasion, I've decided to dedicate this post to the music of the 70s other than Billy Joel (I know, I'm as shocked as you right now).  And, I'll also be adding my thoughts about McCartney after the concert (yes, most likely in the early hours of the morning- oh the things I do for my dedicated readers).

But first, the 70s music scene that I'm familiar with**.

Credit: Asylum Records

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Eagles:
If Billy Joel is my favorite singer of all time, then Eagles take the spot for favorite band, hands down.  When it comes to the music of Eagles, most people take one of two stances: either they're Hotel California people, or they're not.  This is actually a point of contention between my mom and I; she is a firm believer in the pre-Hotel California Eagles, while I persistently claim that Hotel California is without a doubt their best record.

What you should listen to: "Take it Easy", "Pretty Maids All in a Row", "Try and Love Again", "Already Gone"

Best Lyric:

"Well, I heard some people talkin' just the other day

And they said you were gonna put me on a shelf

But let me tell you I got some news for you

And you'll soon find out it's true

And then you'll have to eat your lunch all by yourself"

-"Already Gone", On the Border

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James Taylor and John Denver:

Credit: RCA Records

credit: Warner Bros. 

Taylor and Denver have similar sounds, so I decided to group them together for this post (though they most definitely are able to stand alone).  They both embrace a mellow, folksy sound, and have produced great music for my two favorite hobbies: contemplating life and reminiscing about my imaginary 1970s childhood in the country.

What you should listen to:
Taylor- "Fire and Rain", "Sweet Baby James" 
Denver- "Poems, Prayers, and Promises",  
        "Rocky Mountain High", "The Box"

Best Lyric:  

"There's a song that they sing when they take to the highway,

A song that they sing when they take to the sea,

A song that they sing of their home in the sky,

Maybe you can believe it if it helps you to sleep,

But singing works just fine for me."

-"Sweet Baby James", Sweet Baby James

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Credit: Warner Bros

Fleetwood Mac:

Fleetwood Mac holds a special place in my heart.  I actually wrote about the famed 70s band for one of my college essays that helped me in my Penn State application process.  A lot of their songs are so upbeat and fun to jam to, great for pushing through long study sessions and dreary winters.  On a different but equally important note, Stevie Nicks is a 1970s goddess. 

What you should listen to: Literally anything from their 1977 album Rumours

Best Lyric:

                                                                                          "Loving you

Isn't the right thing to do

How can I ever change things that I feel?

If I could

Baby I'd give you my world

How can I 

When you won't take it from me?"

- "Go Your Own Way", Rumours

There you have it: my picks from the greatest decade of music. Up next: Paul McCartney @ the BJC 

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Wow.  That show was on fire.  Literally.  As in actual flames burst from the stage as Paul McCartney belted out his famous "Live and Let Die"chorus to his roaring fans that packed the BJC.

If you think the fireworks at Beaver Stadium are nifty, you obviously haven't seen Paul McCartney in concert.  If you didn't have the good fortune of being there in person, suffice it to say his trick "brought down the house" (figuratively- fortunately the excessive fire rockets mounted to the stage did not actually burn the BJC down).

What else is there to say?  The show was amazing.  McCartney really does know what he's doing up on the stage.  It started out a bit slow, as McCartney was obliged to sing a few of his newer songs in order to promote his album or satisfy the two or three people attending the concert that actually wanted to hear his new songs, or for whatever reason.  But the important part is that he got them out of the way early, and thus really let the show build.

He played "Maybe I'm Amazed" and "Something" (on the ukulele!), making sure I met my recommended daily intake of love songs (they're an important part of my diet), "Blackbird" (probably the highlight of the show for me), and "Band on the Run" (I forgot I knew this song! Thank you Guitar Hero).  In a truly touching sequence, he played songs in memory of John Lennon and George Harrison, and his acoustic crooning of "Yesterday" was phenomenal.

Of course, there were many songs I had never heard before, and while I can't remember most of their names now, I am ashamed to admit that I had never heard "The Long and Winding Road" before tonight.  I've already listened to it three times since arriving back at my dorm.

He wrapped up his setlist with "Let it Be" and the classic sing-along "Hey Jude", then came back for not one but two encores, before disappearing into a blizzard of red, white, and blue confetti.

Oh, and he graced us with his rendition of our beloved "We Are" chant.  The 10 seconds occupied by our four word conversation may or may not have been the highlight of my week.

I'm still in a state of awe from what was now just a few hours ago.  I was sitting in the nosebleed section (there was a guy in the row behind me who was literally watching the concert through binoculars), with half of my view blocked by Lady Lions Basketball banners, but I feel so lucky to have been in the presence of one of The Beatles- it's definitely something I never would have imagined happening.

Needless to say I'll be listening to a lot more Beatles and Wings music in the future.  Given that The Beatles were Billy Joel's original inspiration, I don't think he would mind.

To conclude, I apologize for this video, but ever since I wrote about "Live and Let Die" I've been thinking about this scene from Shrek the Third.

**Note: I realize The Beatles were a band of the 1960s; however, Paul McCartney and Wings had a career that spanned from 1971-1979, which is why this post is relevant. #loopholes

Joel Has Soul Part 3: In the Mood for a Melody (again)

Greetings and welcome to part two of “Billy Joel and You: Some Friendly Suggestions”*!  This post is basically all the song recommendations that were simply too lengthy to justify cramming into my original post on the subject.  Below I have sorted some of Joel’s strongest hits into various categories for your perusing.  Joel's music is so diverse and spans such a wide array of subjects that there is literally something for everyone.  Read on, because I can guarantee that your new favorite song is somewhere on this page.

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First up: songs that pander to our age group**

• "Vienna"- The Stranger :  almost everyone my age who I've talked to about Billy Joel has told me that their favorite song is "Vienna", and it’s easy to see why.  The song is about a young adult who is trying to do everything at once and doesn’t know how to slow down and take it easy. This is probably Joel’s most resonating song for America’s hardworking youth.

• "Summer Highland Falls" - Turnstiles: Fluffy and cynical at the same time. Isn’t this the kind    of thing hipsters live for? 
• ** Note- this is in no way a criticism of either song; I love them too and have already managed to quote both of them in two separate blog posts, so I'm speaking from experience

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If you like...try...

       ...“Bubblegum” songs

• "Uptown Girl" and "The Longest Time" - both, An Innocent Man:  These songs are unbelievably bright and cheerful- and incredibly fun.  If you’re in need of an energy boost, these two are the way to go.

        ...Deep, cynical, brooding lyrics

• "I’ve Loved These Days"- Turnstiles: a nostalgic song about the soon-to-be good old days that packs a punch, if you really listen to the lyrics
• "The Stranger"- The Stranger: The song itself is not as creepy as the album cover it inspired, but it’s still about not knowing your significant other as well as you think you do

        ...Love Songs (because everybody loves love songs)

• "She’s Always a Woman"- The Stranger: I love this song.  Joel basically describes all the ways in which his wife can be ruthless and cold to others, but then ends every verse with “she’s always a woman to me”- beautiful
• "She’s Got A Way"- Cold Spring Harbor: Oh man, this is one of the gooiest love songs I’ve ever come across, but then again, isn’t that what you want in a love song anyway?

         ...Songs with Attitude

• "Movin’ Out" (Anthony’s Song)- The Stranger: This song has all the narrative finesse of “Scenes From An Italian Restaurant”, plus the bad temper of “Pressure”; it’s a wonderful combination
• "My Life"- 52nd Street: “I don’t care what you say anymore this is my life… go ahead with your own life, leave me alone” - this is basically on repeat in my head

          ...History 

• "Goodnight Saigon" - The Nylon Curtain: The Vietnam War from a soldier’s perspective- this one is unnerving and incredibly moving at the same time. I always get goosebumps when I listen to it.
• "Allentown" - The Nylon Curtain & "The Downeaster Alexa" - Storm Front: Two songs about the plight of American workers that showcase Joel's ability to be a man of the people

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The Classics (no explanation required- just listen to them)

• "Piano Man" - Piano Man
• "Scenes From an Italian Restaurant" - The Stranger
• "Only the Good Die Young" - The Stranger

And finally... My Obscure Favorites! (as if anyone cares, but hey it’s my blog so I can pretend I’m important)

• "You’re My Home" - Piano Man: This song is just adorable, and has such a nice, simple message behind it- the people in our lives are most important
• "Somewhere Along the Line" - Piano Man: “It’s a rainy night in Paris…It’s a pleasure to be soaking in the European rain” As a French major, I love that Billy Joel occasionally incorprates French/France into his music.  Also, his voice really shines in this song.
• "You Can Make Me Free" - Cold Spring Harbor: This is a dead ringer for a Beatles song, which makes sense considering the Beatles were Joel's initial inspiration
• "Zanzibar" - 52nd Street: This is just a great song to groove to.

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*This concludes my beginner's guide of sorts to the music of Billy Joel.  From now on, Joel Has Soul posts will be less about introducing Joel's music, and more about discussing it in various contexts.

70s Fever Part 2: Forget About Life for a While

Are you pumped? Because I'm pumped.  Let's talk about how 70s film mirrored the societal and political atmosphere of 1970s USA.

But first, an observation:
Most, if not all, movies have heroes and villains.  After all, it is these polarizing characters that are most often credited with giving plot motion and meaning.  And in this way, movies mirror real life; modern culture, in all of its intricacies and subsets, often begins with a simple conflict of interests between two politicians, entertainers, or other public figures.  And from these conflicts, a hero and villain often emerge.

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In the 1970s, the lines between the "good" and "bad" public figures were not so clearly drawn.  In the United States, the public had become largely disillusioned with President Nixon, the war in Vietnam, and the American Dream as a whole.  This nationwide confusion and pessimism was not lost on Hollywood, and the iconic films of the 1970s are now most clearly defined as either "hyper-heroic" or ultra ambiguous to the point that the main characters could be viewed as villains or heroes.  While the 70s certainly produced their fair share of classics, I've picked four to discuss in detail: Rocky, Star Wars, and the Godfather films (parts I and II).

The Godfather movies, released in 1972 and 1974, are dark and brooding films, in which the hero(es) are not obvious and possibly nonexistent, depending on one's view. This ambiguity of character, applied mainly to Michael Corleone, perfectly mirrored the uncertainty of the early 1970s.  1972-1974 marked the years at which the Watergate Scandal was at its peak, and the years when President Nixon's reputation quickly began to deteriorate.  All of a sudden, it seemed to the American public that the man who had been leading them- a "good guy" if you will, was now an insecure criminal, and a villain to American ideals.

 Fittingly, the Godfather movies are made in such a way that it is- at varying parts of the films- difficult to determine who is the hero and who is the villain.  In the Godfather Part II, for example, we are kept in the dark about the intentions of two major characters, Roth and Pentangeli, for much of the movie.

Rocky and Star Wars are films of the latter 1970s, produced at a time when American citizens were still weary from the recent Vietnam War, and soured by the Nixon conspiracy.  At a time when it seemed there were no real-life heroes to balance the real-life villains, Rocky and Star Wars stepped in with grandiose plots about overcoming adversity and rooted by heroic characters to compensate.

Both Rocky Balboa and Luke Skywalker embody the idea of "finding oneself" and "discovering greatness"- both concepts that America struggled with at a time when our nation was unsure of what side of morality it was actually on.  Rocky and Star Wars are films of hope, where the main characters start in the dark and end in the light.  They are the very manifestation of the journey the United States was about to take to right the wrongs of the villains of the past decade, and become heroes once again.

The Godfather films of the early 1970s begged the question (in relation to the Watergate Scandal and the Vietnam War) who are our heroes? And are we still heroes to the world? Then, in the late 1970s, after those questions had been answered with raw brutality, Rocky and Star Wars imbued Americans with the idea that heroes could still exist, and that greatness could come from darkness.
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photo credit: 
Michael Corleone- http://fsustudentlifecinema.tumblr.com/post/110087564394/5-facts-about-the-godfather-part-ii
Luke Skywalker- http://starwarsgroup.tumblr.com/post/64722026782