BILLY JOEL - MIAMI 2017 (SEEN THE LIGHTS GO OUT ON BROADWAY)

Publicada: 19 de maig de 1976

Àlbum: Turnstiles

“Miami 2017 (Seen the Lights Go Out on Broadway)” és una cançó dramàtica i imaginativa de Billy Joel, publicada com a pista final del seu àlbum de 1976, “Turnstiles”. Escrita durant una època de gran crisi financera i social a la ciutat de Nova York, la peça presenta una visió apocalíptica del col·lapse de la ciutat, narrada des de la perspectiva d’un avi jubilat a Miami l’any 2017, que explica als seus nets com va caure Nova York. La cançó també va obrir el seu àlbum en directe de 1981, “Songs in the Attic”, una recopilació que va ajudar a reintroduir algunes de les seves cançons menys conegudes a un públic més ampli.

Joel va concebre la cançó com una mena de ciència-ficció musical mentre vivia a Los Angeles el 1975, en un moment en què Nova York es trobava a la vora de la fallida i patia un augment de la criminalitat. Desencisat pel menyspreu que molts californians—especialment antics novaiorquesos—mostraven envers la ciutat, Joel va decidir tornar a casa seva i canalitzar la seva lleialtat i frustració en aquest relat fictici. El títol, “Miami 2017”, fa referència al fet que molts novaiorquesos es retiren a Florida, convertint-la en un escenari natural per a les reflexions del narrador.

La cançó imagina el caos que consumeix Nova York: la línia de gratacels s’ensorra, es desfermen incendis, i icones culturals com Broadway o els Yankees desapareixen. Malgrat ser ficció, reflecteix temors reals i dramatitza un tipus de col·lapse econòmic i civil que semblava plausible en aquella època, especialment després que el president Gerald Ford es negués a rescatar econòmicament la ciutat, com va recollir el famós titular del Daily News: “FORD TO CITY: DROP DEAD” (“Ford a la ciutat: Que es mori”).

Amb el temps, “Miami 2017” ha adquirit una repercussió emocional més profunda, especialment després dels atemptats de l’11 de setembre de 2001. Joel la va interpretar al Concert for New York City, un esdeveniment benèfic per als serveis d’emergència i les víctimes, on també va tocar “New York State of Mind”. Durant la seva actuació, va col·locar el casc d’un bomber caigut damunt del piano, com a símbol d’homenatge i dol. Allò que havia estat una fantasia es va tornar inquietantment proper a la realitat.

Joel ha tornat a interpretar aquesta cançó en moments clau de la història recent de Nova York, incloent-hi després de l’huracà Sandy el 2012 i al concert benèfic 12-12-12. En algunes d’aquestes ocasions, modifica o actualitza la lletra en directe per reflectir esdeveniments contemporanis.

BILLY JOEL - MIAMI 2017 (SEEN THE LIGHTS GO OUT ON BROADWAY)

Released: May 19, 1976

Album: Turnstiles

“Miami 2017 (Seen the Lights Go Out on Broadway)” is a dramatic and imaginative song by Billy Joel, first released as the final track on his 1976 album “Turnstiles”. Written during a time of deep financial and social turmoil in New York City, the song paints an apocalyptic vision of the city’s collapse, told from the perspective of an elderly narrator in the year 2017 recounting the fall of New York to his grandchildren from retirement in Miami. “Miami 2017” was also featured as the opening track on his 1981 live album “Songs in the Attic”, a compilation that reintroduced some of his lesser-known earlier songs to a broader audience. 

Joel conceived the song as a piece of science fiction while he was living in Los Angeles in 1975, a period when New York was facing bankruptcy and rising crime. Disheartened by the disdain many Californians—especially former New Yorkers—expressed toward the city, Joel decided to return home, channeling his loyalty and frustration into this fictional tale. The title, “Miami 2017,” was chosen because many New Yorkers retire in Florida, making it a natural setting for the narrator’s reflections.

The song imagines chaos engulfing New York: the skyline crumbling, fires raging, and the cultural icons of the city—Broadway, the Yankees, and more—falling into ruin. Although this scenario was fiction, it was inspired by real fears and dramatized the kind of economic and civil collapse that seemed plausible at the time, especially following President Gerald Ford’s refusal to federally bail out New York, as captured by the infamous Daily News headline: “FORD TO CITY: DROP DEAD.”

Over time, “Miami 2017” took on deeper emotional resonance, especially following the September 11, 2001 attacks. Joel performed the song at The Concert for New York City, a benefit for first responders and victims, where he also played “New York State of Mind.” During this performance, he placed a fallen firefighter’s helmet on his piano, symbolizing both tribute and grief. The song’s once-fictional scenario now felt hauntingly close to reality.

Joel has returned to this song repeatedly at key moments in New York’s history, including during the aftermath of Hurricane Sandy in 2012 and at the 12-12-12 benefit concert for Sandy relief. At times, he updates or tweaks the lyrics in live performances to reflect current events.

 

BILLY JOEL - TELL HER ABOUT IT

Publicada: 17 de juliol de 1983

Llistes: EUA: #1 (1 setmana) · Regne Unit: #4

“Tell Her About It” és una cançó animada i plena de ritme, inspirada en el so Motown, escrita i interpretada per Billy Joel. Va ser publicada el juliol de 1983 com el single principal del seu àlbum influenciat pel doo-wop i el soul, “An Innocent Man”. Va esdevenir un gran èxit comercial, arribant al número 1 del Billboard Hot 100 el 24 de setembre de 1983, desbancant “Maniac” de Michael Sembello.

La lletra és un consell emotiu: el narrador anima un jove a expressar el seu amor i sentiments a una dona abans que sigui massa tard. Joel va revelar més tard que la inspiració provenia de la seva pròpia vida, especialment de la seva primerenca relació amb Christie Brinkley, amb qui es casaria el 1985. En la seva biografia “The Life and Times of an Angry Young Man”, Joel recorda llargues converses amb ella i com va adonar-se que era possible establir una connexió emocional real amb algú. Aquesta epifania personal es va convertir en el cor emocional de la cançó.

Estilísticament, “Tell Her About It” ret homenatge al soul dels anys seixanta, especialment al so de The Supremes. Joel va explicar en una entrevista de 2016 que volia escriure una cançó al més pur estil dels grups femenins d’aquella època, i adoptar el paper de Diana Ross, oferint consells amb el mateix to que aquelles icòniques lletres.

El videoclip, dirigit per Jay Dubin, imita creativament una actuació al programa The Ed Sullivan Show, amb Joel apareixent com “BJ and the Affordables”. El vídeo està ple d’encant retro i inclou un cameo còmic de Rodney Dangerfield. Curiosament, tot i que el vídeo indica com a data fictícia de l’actuació el diumenge 31 de juliol de 1963 a les 20:34, en realitat aquell dia va ser un dimecres—un petit error de continuïtat que passava desapercebut abans de l’era d’Internet.

BILLY JOEL - TELL HER ABOUT IT

Released: July 17, 1983

Charts:  US: #1 (1 week)  UK: #4 

“Tell Her About It” is an upbeat, Motown-inspired track written and performed by Billy Joel, released in July 1983 as the lead single from his doo-wop and soul-influenced album “An Innocent Man”. It became a major commercial success, reaching No. 1 on the Billboard Hot 100 on September 24, 1983, unseating Michael Sembello’s “Maniac.”

The song’s lyrics are a piece of heartfelt advice: the narrator urges a young man to express his love and feelings to a woman before it’s too late. Joel later revealed that the inspiration came from his own life—specifically his early relationship with Christie Brinkley, whom he married in 1985. In his biography “The Life and Times of an Angry Young Man”, Joel recalls their hours-long conversations and how he came to realize that having a true emotional connection with someone was possible. This personal epiphany formed the emotional core of the song.

Stylistically, “Tell Her About It” channels the sound and spirit of early 1960s soul music, particularly that of The Supremes. Joel deliberately aimed to write a song in the style of the girl groups of that era, stating in a 2016 interview that he wanted to play the Diana Ross role and give advice, just like those iconic acts often did in their lyrics.

The music video, directed by Jay Dubin, creatively mimics a performance on The Ed Sullivan Show, with Joel appearing as “BJ and the Affordables.” The video is full of retro charm and includes a cameo from Rodney Dangerfield, adding a humorous touch. Curiously, while the video gives the fictional performance date as Sunday, July 31, 1963, at 8:34 p.m., that date was actually a Wednesday—a harmless continuity error that was harder to catch before the internet.

JANET JACKSON - THAT’S THE WAY LOVE GOES

Publicada: 14 d’abril de 1993

EUA: núm. 1 (8 setmanes)

“That’s the Way Love Goes” és una balada sensual de R&B interpretada per Janet Jackson, llançada com a single principal del seu cinquè àlbum d’estudi, “janet”, a l’abril de 1993. La cançó va marcar un canvi estilístic radical per a Jackson, que va passar de la seva imatge militant i conscient de “Rhythm Nation 1814” (1989) a una representació molt més íntima de l’amor romàntic i el desig sexual. Escrita i produïda per Jackson amb els seus col·laboradors habituals Jimmy Jam i Terry Lewis, la cançó combina elements de R&B, soul, funk, pop, downtempo i hip-hop.

Amb el seu ritme pausat i un to seductor, la cançó va sorprendre tant a crítics com a fans, però es va convertir en un èxit massiu, arribant al número 1 del Billboard Hot 100 durant vuit setmanes a partir del 15 de maig de 1993—més temps que cap senzill del seu germà Michael Jackson. També va guanyar el Grammy a la Millor Cançó de R&B, i va rebre una nominació a la Millor Interpretació Vocal Femenina de R&B.

Aquest llançament va ser especialment significatiu perquè era el primer sota el seu històric contracte de 32 milions de dòlars amb Virgin Records, el més gran que s’havia signat mai amb una artista femenina fins llavors. Tot i la pressió del segell per debutar amb una cançó més animada com “If”, Jam i Lewis van defensar “That’s the Way Love Goes”, ja que creien que representava millor el tema central de l’àlbum: l’amor.

La producció inclou múltiples samplers, com ara “Papa Don’t Take No Mess” de James Brown—qui només va autoritzar-ne l’ús després de revisar la lletra, ja que desaprovava l’ús vulgar que altres artistes havien fet de la seva música. També s’hi mostren fragments de “Impeach the President” de The Honey Drippers i “Georgy Porgy” de Toto. Les veus de fons profundes i masculines són en realitat la veu de Janet manipulada electrònicament per Jimmy Jam.

El videoclip, dirigit per René Elizondo Jr., es va gravar en un ambient informal en un loft i mostrava Jackson ballant i socialitzant amb amics. Coreografiat per Tina Landon, el vídeo consolidava la nova imatge adulta de Jackson, deixant enrere el seu estil militar per mostrar vestits amb l’abdomen descobert i una actitud sensual. El vídeo es va promocionar intensament abans de la seva estrena i es va convertir en un moment icònic de la cultura pop dels anys noranta. Va rebre nominacions als MTV Video Music Awards en les categories de Millor Vídeo de Ball, Millor Coreografia i Millor Vídeo Femení.

JANET JACKSON - THAT’S THE WAY LOVE GOES

Released: April 14, 1993

US: #1 (8 Weeks)  

“That’s the Way Love Goes” is a sensual R&B ballad by Janet Jackson, released in April 1993 as the lead single from her fifth studio album, “janet”. It marked a dramatic stylistic shift for Jackson, transitioning from her socially conscious, militant image of Rhythm Nation 1814 (1989) to a softer, more intimate portrayal of romantic and sexual desire. Written and produced by Jackson alongside her longtime collaborators Jimmy Jam and Terry Lewis, the song blends R&B, soul, funk, pop, downtempo, and hip-hop influences.

The track’s slow groove and seductive tone shocked critics and fans alike, but it became a massive commercial success, topping the US Billboard Hot 100 for eight weeks starting May 15, 1993—longer than any of her brother Michael Jackson’s singles. It also earned Jackson the Grammy Award for Best R&B Song, and a nomination for Best Female R&B Vocal Performance.

This release was especially significant as the first single under her historic $32 million deal with Virgin Records, the biggest contract ever for a female artist at the time. Despite label pressure to debut with the more upbeat “If”, Jam and Lewis advocated for “That’s the Way Love Goes”, believing it best represented the album’s core theme: love.

The production features layered samples, including James Brown’s “Papa Don’t Take No Mess”, which Brown approved only after reviewing the lyrics due to his disapproval of previous vulgar samplings of his music. Other samples include “Impeach the President” by The Honey Drippers and “Georgy Porgy” by Toto. The deeper, masculine-sounding backing vocals are actually Janet’s voice electronically manipulated by Jimmy Jam.

The music video, directed by René Elizondo Jr., was shot in a casual loft setting and featured Jackson dancing and socializing with friends. It was choreographed by Tina Landon and further established Jackson’s new adult image, shedding her past military-style persona in favor of midriff-baring outfits and sensuality. The video was heavily promoted before release and became an iconic visual moment in 1990s pop culture. It received MTV VMA nominations for Best Dance Video, Best Choreography, and Best Female Video.

BILLY JOEL - ALLENTOWN

Released: November 1982

Charts:  US: #17 

“Allentown” is the opening track on Billy Joel’s 1982 album, “The Nylon Curtain” and was released as the album’s second single. Though deeply regional in setting, the song struck a universal chord, becoming a symbolic song for the disillusionment of the American Dream in the face of deindustrialization and economic shift.

“Allentown” focuses on the economic and emotional struggles of residents in Allentown, Pennsylvania, and nearby Bethlehem, especially after the decline of Bethlehem Steel, once the second-largest steel manufacturer in the world. The Rust Belt transition left many in the region unemployed or stuck in shrinking job markets, and Joel uses the song to highlight their frustrations, lost dreams, and determination to persevere.

Joel didn’t grow up in Allentown—he was from Levittown, Long Island. He originally began writing the song as “Levittown,” but found the lyrics uninspired. During a trip to Pennsylvania, he felt more strongly connected to the struggles of the area and reworked the song, eventually settling on “Allentown” as the title to avoid the religious connotations of nearby Bethlehem.

The opening sound evokes a steel mill, with steam whistles and rhythmic pounding reminiscent of the industrial machinery that once dominated the region. The intro chord was originally a mistake Joel played on piano, but he liked its oddity and kept it. The song’s distinctive percussive rhythm echoes the mechanical grind of factory life, symbolizing the repetitive, often soul-crushing reality of blue-collar work.

Joel and his producer Phil Ramone approached “The Nylon Curtain” with a very different mindset than his previous album, “Glass Houses”. Rather than crafting live-friendly rock, Joel wanted to make a “headphones album”, rich with studio experimentation, layered vocals, and Beatles-style sonic texture. Ramone referred to it as their form of “musical expressionism”, pushing the boundaries of their sound.

The music video, directed by Russell Mulcahy, was among Joel’s early forays into the MTV era. Known for his work with Fleetwood Mac and Duran Duran, Mulcahy created a video that showed young men returning from war and struggling to reintegrate into a faltering economy. The video drew attention for its homoerotic imagery, featuring shirtless, oiled-up steel workers in steamy factory showers and locker rooms. 

“Allentown” is one of Joel’s most politically tinged songs, and he has performed it live as both a message and a tribute to working Americans facing hard times.

 

TLC - CREEP

Publicada: 31 d’octubre de 1994

EUA: núm. 1 (4 setmanes)

“Creep” és una cançó del trio nord-americà de R&B TLC, publicada l’any 1994 com a senzill principal del seu aclamat segon àlbum, “CrazySexyCool”. Escrita i produïda per Dallas Austin, la cançó es va inspirar en l’experiència real de Tionne “T-Boz” Watkins, que va haver de fer front a la infidelitat de la seva parella. La lletra aborda una narrativa controvertida: una dona respon a l’engany del seu company sent infidel ella també, no com a venjança, sinó per buscar afecte emocional i físic.

Va ser el primer senzill de TLC a assolir el número 1 al Billboard Hot 100, iniciant una sèrie d’èxits que inclourien “Waterfalls”, “No Scrubs” i “Unpretty”. “Creep” també els va valer un Grammy l’any 1996 a la Millor interpretació R&B d’un duo o grup amb veu, i va ser nominada a Millor cançó R&B.

La cançó va provocar tensions creatives dins del grup. Mentre que T-Boz creia que representava de manera honesta com se senten moltes dones en situacions de deslleialtat, Lisa “Left Eye” Lopes s’oposava al missatge. Es va negar a fer un vers rapejat, preocupada perquè transmetia una idea equivocada i podia afectar la seva vida personal. Left Eye, que havia tingut problemes legals després d’haver incendiat la casa del seu xicot Andre Rison, rebutjava la mentalitat de “ull per ull” pel que fa a la infidelitat. Fins i tot va amenaçar de protestar en el videoclip portant cinta adhesiva negra sobre la boca.

El grup va rebutjar inicialment dues versions del videoclip perquè sentien que no reflectien la seva nova identitat madura. T-Boz va explicar més tard que aquells vídeos no tenien prou força per representar el seu retorn. La versió final, amb el grup ballant en pijames de seda i mostrant una sensualitat segura, s’inspirava en “Whatta Man” de Salt-N-Pepa i En Vogue. Aquest canvi d’imatge va marcar la transició de TLC d’estrelles adolescents a dones empoderades i segures de la seva sexualitat.

TLC - CREEP

Released: October 31, 1994

US: #1 (4 Weeks)  

“Creep” is a song by American R&B trio TLC, released in 1994 as the lead single from their critically acclaimed second album, “CrazySexyCool”. Written and produced by Dallas Austin, the song was inspired by the real-life experience of group member Tionne “T-Boz” Watkins, dealing with a partner’s infidelity. Lyrically, it explores a controversial narrative: a woman responds to her unfaithful boyfriend by cheating herself, not out of revenge, but for emotional and physical affection.

The track was TLC’s first No. 1 single on the Billboard Hot 100, kicking off a run of chart-topping hits that included “Waterfalls,” “No Scrubs,” and “Unpretty.” “Creep” also earned the group a Grammy Award in 1996 for Best R&B Performance by a Duo or Group with Vocals, and was nominated for Best R&B Song.

“Creep” sparked creative tension within the group. While T-Boz believed it was an important and honest depiction of how many women feel in such situations, Lisa “Left Eye” Lopes objected to the song’s message. She refused to contribute a rap verse, fearing it would send the wrong message and cause problems in her personal life. Left Eye, who had faced legal trouble for burning her boyfriend Andre Rison’s house, also opposed the “eye-for-an-eye” mentality around cheating. She went so far as to threaten to protest the music video by wearing black tape over her mouth.

The group initially rejected two music videos filmed for the song, feeling they didn’t match the new mature identity they were developing. T-Boz later revealed that the videos weren’t strong enough to represent their comeback. Their final version of the video, which shows the group dancing in silk pajamas with sensual flair, was inspired by Salt-N-Pepa and En Vogue’s “Whatta Man”. It was this shift that marked TLC’s transition from teenage pop stars to confident, sexually empowered women.