monkeyFLASHmonkeyBACK… I Can’t Believe Billy Joel Sang About That

These monkeyFLASHmonkeyBACK entries are examples of posts I might have written in the past had there been any technology other than corded remote controls, microfiche, and record players available.  This one is about a Billy Joel song I’ve only recently heard for the first time that deals with the topic of phone sex, a.k.a. not mastering your domain.

I also need add the fact that I was a good Catholic kid.  As proof of my lunacy reverence, I remember listening to Beck’s Odelay! on my Walkman for the first time, and literally throwing the headphones off because I thought it was devil music.

It’s not like my parents were super-religious or anything either… although I do remember my dad not being too happy with Olivia Newton-John’s Physical and Huey Lewis and the News’ I Want a New Drug.  But that was just a father looking out for his kid.  It’s not like any parents let their offspring listen to artists like Nicki Minaj or Flo Rida these days…

I’m a huge fan of Billy Joel.  I grew up listening to An Innocent Man on LP, and his greatest hits collection on cassette.  Can you imagine my surprise when I heard a new old song by him playing overhead at Kmart?  I figured out it’s called Sometimes a Fantasy, and it goes a bit something like this:

While at Kmart, I looked through all the cassettes trying to find which album it was on.  I finally figured out it was on Glass Houses which came out in 1980.  That’s the record You May Be Right, Don’t Ask Me Why, and It’s Still Rock and Roll to Me were all on.  I asked my mom if I could get it, but she said I already had enough of those songs on the greatest hits collection.  It would be like throwing money away.  I begged and begged, and finally she let me get it.

As soon as I got home, I ripped open the plastic, cracked open the cassette, and popped the tape in my boombox.  I was going to fast forward past You May Be Right, but I waited through it.  I listened to it once, then rewound it to get the lyrics.  I paused it after every line so I could write it down.  And you know what it was about?

Using your imagination!  I play by myself all the time using my imagination, and now my favorite musician has sung a song about it!  What a great day!  May 13, 2002 will live on in history!

(Not So) Artistic Representation

(Not So) Artistic Representation

monkeyFLASHmonkeyBACK… Oliver & Billy Joel AND Huey Lewis?!

This post presupposes that I had access to the TripleDoubleU or blogging before there was either… this would be my post back in 1988, when I was prime fodder for the TripleDoubleU or blogging these days.

This could be one of the best things I’ve ever heard.  Let me begin by introducing you to this guy: Dodger from Walt Disney Pictures new cartoon movie, Oliver & Company.

He's more Artist, than Artful.

First off, a new Disney cartoon film?  I haven’t seen one since I was a kid three years ago (that would be The Black Cauldron… I never got to see The Great Mouse Detective, mostly because I didn’t care to.)  Also, I didn’t think they made cartoon films anymore, at least not after the awesome Tron (I hope they make a sequel soon – it’s been seven years already).

But get this – Billy Joel is the voice of Dodger, and he sings Why Should I Worry? in it!  When’s the last time there was singing in a Disney movie… The Jungle Book back in the 60’s?!

And guess what’s even better?

Huey Lewis is performing the theme song, Once Upon a Time in New York City.  I can’t wait to get this cassette!  The only way this news could get any better is if my dream girl sang on the soundtrack:

In retrospect, what the hell is wrong with me?

In My Brain While Sleeping… A Surprise Impersonator

If one day I break down to the point of requiring psychiatric help, please direct my caretakers to these blog posts about my weird dreams.  I’m sure the answers to curing my mind can be found somewhere here.

What clues this might provide, I don’t know, but I was boarding a plane and there was a big kerfuffle about someone on board.  The rumor had it was a celebrity, but the facts were unclear.

As I made my way to my seat, I was greeted by this:

(Fairly) Artistic Representation

As it turned out, I was seated next to the celebrity – the world’s best Billy Joel impersonator, Guinea Joel.

It seems like a punderferul stretch for my subconscious when this would have been so much easier:

Billy Goat

The Sh– To Just Sh–ty… Greed Day, Er, Green Day

The Shit =

Dookie as I say, not as I Dookie.

The Shitty =

Don’t believe the above preview?  Here’s some footage from the show:

WHAT HAPPENED TO MY POP PUNK HEROES?!

When did they turn into ABBA?

As opposed to Papa Pizzeria!

When did they turn into Billy Joel?!

Well, his name "is" Billy Joe Armstrong...

When did they turn into Spider-Man?!?!

Spidey has a musical? Not U2...

Ah, who am I to judge?  If someone wanted to make a Broadway musical of this blog, I’d let them.  As a matter of fact, I might begin composing it during the actual Green Day. Next Tuesday.  The 20th.  Of April.

Musical Musings… Out With The Olds, In With The News (Not Huey Lewis)

Paramore is No Doubt's replacement, no doubt

Paramore is No Doubt's replacement, no doubt

Time flies when you’re having fun.  It also flies when you break from the group that shot you to super-stardom, you start your own clothing line, and you knock out a couple kids with another bands’ former lead singer.

I’m looking at you Gwen Stefani, and you’ve been replaced by Hayley Williams.  You had the bindi; she has the orange hair.

But that’s not what this post is all about.  It’s about the cycles of the music industry.  Somebody always replaces somebody else.  I’m sure you get what I’m saying, but let me reiterate with examples from my own life.

1) Billy Joel & Rob Thomas

billyjoel-robthomas

Both are talented musicians that crank out the hits.  Although Thomas used to be with Matchbox Twenty, who else would I say?  John Mayer?  Not even close to the Piano Man.

2) Huey Lewis and The News & Weezer

hueylewis-weezer

Huey infiltrated the 80’s pop scene with a 50’s-inspired sound.  Rinse and repeat in the 90’s.

3) Debbie Gibson & Regina Spektor

debbiegibson-reginaspektor

Both pianists.  Both song writers.  Both crushes of mine.

4) Green Day & Say Anything

greenday-sayanything

Angsty punk rockers with catchy melodies.

5) The Offspring & Rise Against

offspring-riseagainst

Poignant punk rockers with hard-hitting melodies.

6) Rancid & Kings of Leon

rancid-kingsofleon

Unintelligible punk rockers with unique melodies.

7) I’m still trying to figure out my replacement for this guy:

He got that six-string at the five-and-dime.

He got that six-string at the five-and-dime.

JusWondering… Am I A Sinner? Kirk Cameron Must Think So

Not sure why this has sparked my sudden interest, but the bad-seed-with-a-heart-of-Tracey-gold, Mike Seaver, we all grew up with (well maybe not all) has evolved into the Evangelical Kirk Cameron.  This shouldn’t be news to anyone, but if you don’t believe me, click here.
While propagandizing teaching his beliefs, he’s made a few films that help convey his message.  His latest is a film called Fireproof.  The explanation, via IMDb:
Capt. Caleb Holt lives by the old firefighter’s adage: Never leave your partner behind. Inside burning buildings, it’s his natural instinct. In the cooling embers of his marriage, it’s another story.

After seven years of marriage, Caleb and Catherine Holt have drifted so far apart that they are ready to move on without each other. Yet as they prepare to enter divorce proceedings, Caleb’s dad asks his son to try an experiment: The Love Dare.

While hoping The Love Dare has nothing to do with his parents’ newfound faith, Caleb commits to the challenge. But can he attempt to love his wife while avoiding God’s love for him? Will he be able to demonstrate love over and over again to a person that’s no longer receptive to his love? Or is this just another marriage destined to go up in smoke?

All in all, it may not be your cup of tea when you’re a fan of a cup of T&A, but this video gathering the highlights of the film is… cringe worthy at best.  My favortite part is how instead of beating his wife, he destroys his computer.  I mean, who uses CRT monitors still anyway?  I guess it wouldn’t be as “dramatic” to smash a flat-panel monitor or toss a laptop.

This whole affair really got me wondering – am I a sinner for the things I watch on the internet?

Is it a sin to sing about masturbating in the future?

Is it a sin to watch people pretend to masterbathe masturbate?

Is it a sin to watch a Japanese alien wake up with morning wood?

Is it a sin to laugh at a Russian getting attacked by a dildo copter?

Is it a sin to research how the fairer sex can join in the fun of peeing while standing up (and writing their name in the snow)?

Well if I am… fuck it.  As the G.O.A.T., Billy Joel, once said:

I’d rather laugh with the sinners than cry with the saints
The Sinners are much more fun…

BONUS SINNING:

Musical Musings… Swift-ly Handing In My Man Card

My parents both grew up on Motown.  It’s not odd or unlikely, but it explains why they never got into any of the Woodstock (hippie) fare, or harder rock like the Stones, the Who, or the Doors.

So growing up, it was radio-friendly for me… Lionel Richie, Hall & Oates, Air Supply (my dad loved them), and the G.O.A.T. – Billy Joel.  I remember the disdain the ‘rents had for Huey Lewis and the News when the (awesome!) group released, “I Want a New Drug.”  They never censored me from it, but they let me know they “weren’t crazy about it.”

The reason I say all this: I’m a sap for sappy music.  I get lost in your eyes in pop drivel, and I can’t help it.  There’s a radio station here that used to play soft rock at night (complete with love song dedications and a nightly wish… you must click here to hear!) and I remember being a teen, driving home from my first job at a toy store, listening to Alan Almond’s Pillow Talk while it was snowing the biggest flakes you’ve ever seen.  (I may be the biggest flake ever seen, but I digress…)

This quote from John Cusack’s (well, technically Nick Hornby’s) High Fidelity sums up my worldview it a nutshell, possible emphasis on nuts or hell:

What came first, the music or the misery? People worry about kids playing with guns, or watching violent videos, that some sort of culture of violence will take them over. Nobody worries about kids listening to thousands, literally thousands of songs about heartbreak, rejection, pain, misery and loss. Did I listen to pop music because I was miserable? Or was I miserable because I listened to pop music?

So why oh why am I bringing this up now?  Namely, due to this young lass:

Heck Yeah! Taylor Swift!

Heck Yeah! Taylor Swift!

 She has a new little ditty making the rounds on the airwaves, and as I listened to it I realized something.  Well, take a listen if you’re unfamiliar with her work:

What I’m slowly coming to terms with is, ugh… it’s a slow process.  This 19 year old country gal that writes her own songs DREAMS THE SAME DREAMS I DO*.  And that sucks, I guess.

So in other words… GRRRRR ULTIMATE FIGHTING!

*well maybe not the EXACT same dreams

JusWondering… Whatever Happened To The Song Fade Out?

As the title of the post says, “Whatever happened to the good ol’ song fade out?”  (I added the good ol’.)  You know how it went in the good ol’ songs from the 80’s and 90’s…  Instead of simply ending the tune like they do nowadays, they would repeat the chorus or hook as it descended into silence.  It would typically last for the, um, last 30 seconds.  Here are some examples:

Click here for Billy Joel’s Uptown Girl or here for Men at Work’s Land Down Under if you need more proof.

The only current song I can think of (and I’ve been thinking about this for awhile… when I remember to) is The Verve’s Bittersweet Symphony.  Otherwise, most songs nowadays just end.  Even if there’s a repetitive ending, there’s a sense of finality.

The theory on why this is: CD’s have changed the way we listen to music.  When in the days of cassettes and LP’s, people were more inclined to let the music play.  The fade out spaced out the songs, as opposed to having back-to-back ends-to-starts. 

Is this is the trend, or am I just a complete idiot?  (I’m leaning toward lazy, actually.)  If you can think of any other recent examples of radio songs that fade out old school style, feel free to prove me wrong by commenting below.