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Creating the Future.

    
Reality seen from the Eyes of a TRIBalance.
  
Date is:
September 02, 2017

I did not ask for Taylor Swift to be an Icon of Hate.
  
Guns N' Roses-Estranged w/Lyrics
  
The Guardian. The BBC News.  
   
https://www.theguardian.com/music/2017/sep/02/six-things-taylor-swift-taught-music-industry-streaming-selfies
Music streaming The Observer

From streaming to selfies – six things Taylor Swift taught the music industry

The digital revolution has done a lot of damage. But some artists can still see the way forward
  
Taylor Swift performing at the United States Grand Prix in Austin, Texas, last year. Photograph: John Shearer/LP5/Getty Images for TAS

Mark Sweney
Saturday 2 September 2017 16.00 BST

Taylor Swift’s music video for her latest single, Look What You Made Me Do, includes a scene where she is shown raiding the bank vault of a music streaming company. Having smashed records on YouTube and Spotify and notched up her first UK number one single, the scene is a telling one. Writing songs that exploit her personal life – from celebrity feuds to the short-lived romance that was Hiddleswift – and through deft manipulation of social media, Swift offers lessons in how to make a hit machine in the new digitally driven world of music.

Streaming is king

After a decade of plummeting revenues due to online piracy, the decline in CD sales and a lack of viable digital services, streaming has come of age for artists and record labels. The global recording industry body the IFPI and the UK’s BPI have both marked 2017 as a tipping point where revenue from streaming services such as Spotify, Apple Music and Deezer will surpass that made from traditional CD sales.

Global streaming revenues need to grow by less than 10% this year – last year saw a 60% surge to $4.6bn – to pass physical sales, which fell 8% to $5.4bn in 2016. Total digital income, including the rapidly dying downloads market, passed physical sales in 2015.

Swift’s new song, from the 27-year-old singer’s first album since 2014, was played more than 10m times on Spotify on the day it launched, breaking its record for first-day streams formerly held by her friend Ed Sheeran.

Swift staged a high-profile boycott of Spotify in 2014, withholding her album 1989 from the service and pulling her back catalogue in support of her contention that “music should be paid for”. But she relented in June this year, in part, some observers believe, because of the improving revenue picture.

“If you are a young pop artist streaming is at the centre of everything you do – it is not everything you do, but it is at the centre,” says Mark Mulligan, analyst at Midia Research. “It is the place to get discovered, drive ticket sales, [it] helps get on the radio and digital playlists, and it is becoming increasingly important as a source of revenue.”

MTV is no more

Swift may have used last weekend’s MTV video music awards to debut the video to Look What You Made Me Do, but the once mighty TV channel is no longer the medium that matters. MTV’s seminal music moment came with Michael Jackson’s 1983 Thriller video, which cemented its position as a cultural force, but by the early noughties the internet had taken its place. And that means YouTube.
  
The Title is offensive and irritating to the People that work at MTV and all of the MTV Fans. It parts with the Idea that MTV is gone, finished, then tries to justify the aggression with a text that has a spelling error.

If it's about goners, we can consider The Guardian as the main goner in the Promotion of British Culture, which it rarely does because it is far more busy snooping, attacking, bothering, gossiping and trying to gain the Leadership of the Celebrity Institutions of the United States of America.

But when you go find a single British Artist at that British Media you see who the real media that is No More is, to the British Cultural Community. It's offensive that such British Artists could be related to Dancing Zombies as a cover up.

Swift’s video had the most YouTube global streams in a 24-hour period – more than 43m – beating the previous record-holder, Psy’s Gentleman. By Friday it stood at more than 110m.
  
Giving too much attention to just one or two Celebrities is not the way to have a Cultural Economy, to keep the Concerts Going and the Economy of the Entertainment and Events Business. Too much attention to just one source while letting the rest of the Art Garden to Wither Up and Dry is certainly not the way to have a Healthy Cultural System that provides Freedom of Artistic Interpretation to the People.

Huge Artistic Inequity in the context of an Art Crisis and an Entertainment Event Industry Crisis is not something to be proud of. The Guardian refuses to point out that fact.
  
Swift’s marketing is a masterclass in exploiting the personal life her fans lap up, from references to Kanye West and Kim Kardashian – who tussled with Swift when she objected to the line “I made that bitch famous” in one of West’s songs – to her long feud with Katy Perry, relationship with Tom Hiddleston and recent victory in a sexual assault case. “Visual content is way more than the traditional music video and behind-the-scenes interviews,” says Max Lousada, head of Warner Music UK, which has launched its own content and production studio called The Firepit. “It’s a platform for artists to show more of who they are and tell their story in a different way.”
  
masterclass in exploiting the personal life

Taylor Swift's Fans were exploited, there is no doubt about that. Taylor Swift began with a Campaign for having a Personal Voice, seeing her Records labelled with a Picture that said: Speak You, for Individuality and Self Voicing. And then she went to do exactly the Opposite, letting herself and her Fans be drifted precisely because she did not have and/or refused to make her own Voice Stand, so the Problems got worse and caused Hatred in the Industry, like Overblown Fights with Kanye West, a Rivalry with Katy Perry that Katy Perry refuses, a Conflict with Tom Hiddleston and a case where Women's Right for a Private Case against Sexual Harassment was hurt with a false assumption that it was a Collective Action, when nothing in that Court Case was marked as a Collective Action, as The Guardian and the BBC later invented but it holds no Judicial Standing.
  
  
New Artists want to have Talent, they want attention, they want to work hard and have lots of Concerts to move the Event Economy and they see their hard effort is hindered just because another Artist is occupying that space by behaving in a regrettable way. All of which is very unfair for Artists, specially British Artists in relation to The Guardian and the BBC News, who rather see United States Gossip on non constructive issues full of hate rather than to use that space to Promote British Art, specially now that British Adele has retired.

Instead of the Firepit, I suggested to Taylor Swift the Virtual Ship, where she can be a part of a Renascence of Art with the Artists being her own Fans, which would have a Constructive Impact on the Art Economy and improve the Artistic Diversity which in turn can help to reduce the Social Tensions.
   
Own social media

Taylor Swift is the fourth most followed user on Twitter with 85 million followers – behind arch-rival Perry, Justin Bieber and Barack Obama – and has more than 100 million Instagram followers. And she knows how to use them.
  
her long feud with Katy Perry
behind arch-rival Perry

As you can see, The Guardian's Katherine Viner is pushing for a Confrontation between two of My House Members and in doing so it is promoting Hate among not only Celebrities and Fans, but also in the Wider Society. The words "The Firepit" just further illustrates the point.

The British Media The Guardian would endanger Taylor Swift in the scope of seeking a Hate Confrontation with Katy Perry, which does not want such Hate Shows.
   
“Artists like Swift know exactly how to directly engage with their fans on Twitter. Her ability to strike a conversation between herself and fans is priceless,” says Will Hardy, entertainment partnership manager at Twitter. “Taylor loves to show a personal side to her on Twitter, which the fans love. Every time she tweets, she talks to 85 million people, a reach that was unthinkable just a decade ago.”

Swift is a master in fan engagement, from making breakup-music playlists for heartbroken followers to tracking down superfans who camped out for 20 hours to catch her going to a BBC Radio 1 interview – complete with self-promotional selfies, of course.
  
Her own Social Media... Twitter and Fans working hard for the BBC News.

I did not invent that, as you can see it was The Guardian that said that was it's concept of having her own Social Media. Also it is a lie, right out front that every single Twitter Account represents an active, separate reading Person behind it.

Super Fans are the Fans that see their Lives improved by a Celebrity, and not just Blind Sheep forced to serve a conflicting Idol that teaches them to Hate and confront others. A Super Fan is a Fan that was once just a "regular nobody" and found success in Art with the Help of their Mentor and Art Community Guide in the context of "We The People and our Useful Cultural Institutions". Not "We The People working for the Profit of the British Media for British Gain, from the United States of America."
  
Lady Gaga - Bad Romance

Before the launch of her single she wiped all of her social media pages clean, which naturally sent fans wild. That tied into the death and rebirth motif of her video and upcoming album Reputation. “The twin forces of streaming and social media have dramatically altered the rhythm of what we do,” says Lousada. “We’re able to generate these huge moments and start real-time dialogue with fans that creates unprecedented, instant amplification all over the world.”
  
death and rebirth
The twin forces of streaming and social media
Reputation
The twin forces of: [streaming and social medi
a]
social media pages clean
start real-time dialogue
  
  
Lady Gaga - Poker Face
   
Taylor Swift and Ed heeran at the 2016 Grammys. Photograph: Kevin Mazur/WireImage

A digital tide floats all boats

It is not just superstars benefiting from the rise of global digital services. Last week Merlin, the global digital rights agency representing more than 20,000 independent labels, announced that it had paid out its billionth dollar to members. “Unlike the old model of a record store and radio playtime, where it is very difficult for smaller artists to get a look in, digital services are close to a flat, open marketplace where you can succeed on merit,” says Charles Caldas, its chief executive. “You have always had your pop mainstream – the Taylor Swifts, Adeles, Beatles, Sinatra, Britney Spears – but what is really interesting is what is happening with the rest of the market.”
  
Here I see that there is a link between Distorting Art by the British Media The Guardian and Myself. The idea is to try to make Me pit into a Hate Reaction by using Ships, and Virtual Ships is what I have designed. First I have to note that there are not 20,000 Independent Labels each one with one Independent Song. In reality what is happening is that there are Huge, Overgrown Artists with Several Labels and just a Few Labels control much of the Music in the World with little to no regards at all about the Artistic Community or even less, Digital Communities like the Ships I Design Philosophical Architecture for.

Tides do not make Boats Float, they make Boats Sink. It is the Integrity of the Art Community that makes it Float  sometimes and that is specially true if there were 20,000 Different Songs from 20,000 Independent Labels. So The Guardian is basically trying to Corrupt Art as a whole and down to the very Art Communities that Celebrity Institutions are supposed to help.
  
Caldas says that the rise of digital music has been disproportionately more important to smaller artists. According to Merlin, which was set up in 2008 to help indies to band together to strike better deals with digital services such as Spotify, 64% of members say that streaming accounts for more than half their digital revenues. And more than 40% get the majority of digital revenue from overseas. Merlin now gets more revenue from Brazil than it does from France, which is the world’s fifth biggest music market.
  
Digital Music is not more important for smaller artists since Small Artists have been around ever since a Musical Instrument was made and the issue with them not being heard is the same as it is now.

So the Issue is not so much the fact that it is now Digital, but the fact that the Distribution Networks are now Digital. Digital Music, which is by the way just about any Recorded Music you can listen to in an Electric Device is not what is important in terms of fairness, what is important is how that Music, any Recorded Music is Distributed in Society and in relation to the Art Communities. For example Small Artists could promote Violent Music that demands Hate, but that does not mean that just because it is Music that is on a Digital Format, that it has a greater chance to succeed (and hopefully they do not).
   
There’s still a ‘mainstream’

Digital services and algorithms recommending music have supposedly ushered in an era of discoverability and choice. But it isn’t quite working out that way. Songs being played almost continuously by fans on streaming services have wrought havoc with charts, causing a stagnation in new entries with big name artists dominating. The most high-profile example came in February when all 16 tracks from Sheeran’s new album hit the Top 20.

Playlists created and edited by companies like Spotify, mirroring the old model employed by radio DJs, are beginning to become the default listening choice.

“We are seeing a subtle but significant shift where a smaller number of people are using their own playlists and a larger number are using those that have already been curated,” says Mulligan at Midia Research. “It means people are being led, and that [digital services] may not be as much of a discovery mechanism as we thought. Worst case, it could lead to a homogenisation of musical tastes.”

YouTube has a value gap

The music industry believes that Google-owned YouTube is only paying a tiny portion of what it makes from online ads to artists: a so-called “value gap”. Last year artists earned more from royalties on vinyl than they did from YouTube, according to the BPI, despite the huge numbers of views racked up by major artists like Swift.
YouTube reckons the industry should feel lucky getting the $1bn it did hand over last year, claiming it is from “light” users who would never subscribe to a paid-for service, so labels and artists are getting income now that they never would have seen before.  
Art is not a Merchandise, like a Dildo, and The Guardian's abuse to Art is made evident in it's refusal to recognize any Social Value to Art, as well as it's willingness to ignore any and all participation from Artistic Communities and even the Participation of Users in Voting Systems where they get to Promote their own Artists with Votes.

The Guardian makes Art look like a Business for Greedy Pastors over Stupid Sheep People that have no choice in the matter and that always agree to Artists making Profit for doing nothing much more than just sitting there doing nothing and waiting for the Money to Rain on them while Millions of Hard Working People have to go out to the Streets and Work, and earn their Money with Merits.

I did not say I do not recognize Intellectual Rights to sit and Harvest without Working. I said it is harmful if that is the only Social Policy in Art and specially Musical Arts since Artistic Events are a very important part of the Art Economy and none of that is considered by the British Media The Guardian.

For example People could take Music from the 1950 Decade and remake it with an agreement of no Copyright so that all can sing it. That would create some 200 songs without a Prohibition to repeat them in Karaoke or in the Art Club's Events. That would not generate much income in terms of Lazily waiting for Money to Rain, but it can Power Up the Economy of 100 Small Event Places like Pubs and Bars at Cities like New Orleans, United States of America, Country where Taylor Swift is from.
  
Billy Joel - Piano Man
   
A draft European copyright directive that could result in YouTube having to pay more royalties to labels and musicians is due to be voted on by the committee reviewing the proposals in the European parliament later this year. Last week a highly optimistic report estimated that the paid-streaming market would be worth $28bn by 2030, more than the $27.4bn the entire recorded music industry was worth at its peak in 1996 – a prediction some experts have questioned.

Warner, home to Sheeran, Bruno Mars and Dua Lipa, will make well over $1bn from streaming this year and last week figures from Universal Music, the world’s largest music company, put it on track for $2bn this year.

However, Warner Music chief executive Steve Cooper has cautioned against overenthusiasm, saying that the industry is in the “early stages of recovery” after a prolonged decline. “In 2016, the recorded music industry was only half as big as it was in the year 2000,” he said. “[But] there remains an enormous amount of untapped potential for subscription streaming to achieve global scale.”
  
The fact that there is a Taylor Swift Photo there does not by any means mean that I cannot comment on how Retrograde and Obsolete The Guardian is. For The Guardian I am a part of the Digital Revolution and I wrote about the need for it just a few hours ago before I went to sleep.

And Besides, that is not Damage, that is Lady Gaga.
  
   
And she learned and adapted, and she still can even more, because Evolution applies to Celebrities too.

I did not say Taylor Swift had to be a Part of some so called "Digital Revolution". Revolution is a word often related to pain.

There is something called Digital Evolution, which is a necessity.

It's not the same.

You see a Revolutionary gets Counter-Revolutionaries. Like for example the Cuban Che-Guevara got Counter-Revolutionaries and he was killed too, under the argument that the Che wanted Hate Crimes. But an Evolutionary gets Technophobes. That is a lot easier to deal with, when convincing Peaceful People and it does not require Inspiring Hatred.

I leave Revolutionary to Venezuela, I am an Evolutionary.

So it's just one more Trick to try to lure Me into Violence and Struggle, both of which are not in My Plans. The Violent, the Crooked, the Corrupted, the one that wants to see the System Constantly Explode in Pain is The Guardian.

I have no need to engage in "Revolutionary" Confrontations.

I love Technology as a Part of Integrity. I don't love Trapping People in Lies and Tricks.

People see in Me a Hope for a more Civilised World.

People can see in the British Media The Guardian a Technophobe that is willing to keep the World in the grasp of Obsolescence by saying that even if Tech is Extremely Damaging, some consolation can be found in the Mist of so much PAIN... So no, I will NOT engage in Hate Words and I refuse to relate Taylor Swift to a Digital Revolution.

I am not a Revolution, I am a Product of Natural EVOLUTION.

Evolution is far more lovable.

If People want to see Ferocious Revolution, then for that they can observe Venezuela at present times. Oh, we have Plenty!

Just another lame attempt by The Guardian for Me to Look Hateable and it is pushing for Me to try to make Taylor Swift look menacing, which is clearly the last thing BOSS Taylor Swift needs right now.

I am not here to be a Menace, The Guardian's Katherine Viner is.
  
  
One thing to consider.

Would you want to have Business with a Country and a Celebrity that Forfeits Talents and Merits in order to Profit from Social Conflict while hurting the Fairness in the Art Community and thus Society as a whole?
  
   
Venezuelan Values to build Virtues.
  
   
Francisco de Miranda. An Independence Hero for Venezuela and All Bolivar Founded Countries, and an Independence Hero in Battle for the United States of America and France.

Latest Laura Pausini's Post.
  
In that Animation she looks side to side.
Says: [Moving like Clouds], Spotify.
And now that you've been broken down
Got your head out of the clouds
You're back down on the ground
And you don't talk so loud
An you don't walk so proud
Any more, and what for?
-º-
Guns N' Roses-"Estranged"
  
   
   

Lyrics:
  
Guns N' Roses-"Estranged"

When you're talkin to yourself
And nobody's home
You can fool yourself
You came in this world alone
Alone (Whisper)

So nobody ever told you baby
How it was gonna be
So what'll happen to you baby
Guess we'll have to wait and see
ONE, TWO

Old at heart but I'm only 28
And I'm much too young
To let love break my heart
Young at heart but it's getting much too late
To find ourselves so far apart

I don't know how you're s'posed
To find me lately
An what more could tou ask from me
How could you say that I never needed you
When you took everything
Said you took everything from me

Young at heart an it gets so hard to wait
When no one I know can seem to help me now
Old at heart but I musn't hesitate
If I'm to find my own way out

Still talkin' to myself
and nobody's home
Alone (Whisper)

So nobody ever told us baby
How it was gonna be
So what'll happen to us baby
Guess we'll have to wait and see

When I find out all the reasons
Maybe I'll find another way
Find another day
With all the changing seasons of my life
Maybe I'll get it right next time
An now that you've been broken down
Got your head out of the clouds
You're back down on the ground
And you don't talk so loud
An you don't walk so proud
Any more, and what for

Well I jumped into the river
Too many times to make it home
I'm out here on my own, an drifting all alone
If it doesn't show give it time
To read between the lines
'Cause I see the storm getting closer
And the waves they get so high
Seems everything We've ever known's here
Why must it drift away and die

I'll never find anyone to replace you
Guess I'll have to make it thru, this time- Oh this time
Without you

I knew the storm was getting closer
And all my friends said I was high
But everything we've ever known's here
I never wanted it to die
   
Bad Romance - Lady Gaga

Bad Romance
Lady Gaga
Oh-oh-oh-oh-oh! Oh-oh-oh-oh-oh-oh!
Caught in a bad romance
Oh-oh-oh-oh-oh! Oh-oh-oh-oh-oh-oh!
Caught in a bad romance

Rah rah ah-ah-ah!
Ro mah ro-mah-mah
Gaga oh-la-la!
Want your bad romance

Rah rah ah-ah-ah!
Ro mah ro-mah-mah
Gaga ooh-la-la!
Want your bad romance

I want your ugly
I want your disease
I want your everything
As long as it's free
I want your love
Love-love-love
I want your love

I want your drama
The touch of your hand
I want your leather studded kiss in the sand
I want your love
Love-love-love, I want your love (Love-love-love, I want your love)

You know that I want you
And you know that I need you
I want it bad
Your bad romance

I want your love and
I want your revenge
You and me could write a bad romance
(Oh-oh-oh-oh-oooh!)
I want your love and
All your lovers revenge
You and me could write a bad romance

Oh-oh-oh-oh-oh! Oh-oh-oh-oh-oh-oh!
Caught in a bad romance

Oh-oh-oh-oh-ooh! Oh-oh-ooh-oh-oh-oh!
Caught in a bad romance

Rah rah ah-ah-ah!
Ro mah ro-mah-mah
Gaga ooh-la-la!
Want your bad romance

I want your horror
I want your design
'Cause you're a criminal
As long as your mine
I want your love
Love-love-love
I want your love

I want your psycho, your vertigo shtick
Want you in my rear window
Baby you're sick, I want your love
Love-love-love, I want your love (Love-love-love, I want your love)

You know that I want you
And you know that I need you
I want it bad, bad romance

I want your love and
I want your revenge
You and me could write a bad romance
(Oh-oh-oh-oh-ooh!)
I want your love and
All your lovers revenge
You and me could write a bad romance

Oh-oh-oh-oh-ooh! Oh-oh-ooh-oh-oh-oh!
Caught in a bad romance

Oh-oh-oh-oh-ooh! Oh-oh-ooh-oh-oh-oh!
Caught in a bad romance
Rah rah ah-ah-ah!

Ro mah ro-mah-mah
Gaga ooh-la-la!
Want your bad romance

Rah rah ah-ah-ah!
Ro mah ro-mah-mah
Gaga oh-la-la!
Want your bad romance

Walk, walk fashion baby, work it move that bitch crazy
Walk-walk fashion baby, work it move that bitch crazy
Walk-walk fashion baby, work it move that bitch crazy
Walk-walk passion baby, work it I'm a free bitch baby

I want your love
And I want your revenge
I want your love
I don't wanna be friends

(J'veux ton amour et je veux ta revanche j'veux ton amour)
I don't wanna be friends, I don't wanna be friends
I don't wanna be friends, I don't wanna be friends
Want your bad romance (caught in a bad romance) want your bad romance

I want your love and
I want your revenge
You and me could write a bad romance
(Oh-oh-oh-oh-ooh!)
I want your love and
All your lovers revenge
You and me could write a bad romance

Oh-oh-oh-oh-ooh! Want your bad romance
Caught in a bad romance
Want your bad romance
Oh-oh-oh-oh-ooh! Want your bad romance
Caught in a bad romance

Rah rah ah-ah-ah!
Ro mah ro-mah-mah
Gaga ooh-la-la!
Want your bad romance

Compositores: Nadir Khayat / Stefani Germanotta
Letra de Bad Romance © Sony/ATV Music Publishing LLC
   
"Poker Face" - Lady Gaga

I wanna hold 'em like they do in Texas plays
Fold 'em, let 'em, hit me, raise it baby stay with me (I love it)
Love Game intuition play the cards with spades to start
And after he's been hooked I'll play the one that's on his heart

Oh, oh, oh, oh, oh, oh-oh-e-oh-oh-oh
I'll get him hot, show him what I've got
Oh, oh, oh, oh, oh, oh-oh-e-oh-oh-oh,
I'll get him hot, show him what I've got

Can't read my
Can't read my
No he can't read my poker face
(She's got me like nobody)
Can't read my
Can't read my
No he can't read my poker face
(She is gonna let nobody)

P p p poker face, p p p poker face
(Muh muh muh muh)
P p p poker face, p p poker face
(Muh muh muh muh)

I wanna roll with him a hard pair we will be
A little gambling is fun when you're with me (I love it)
Russian Roulette is not the same without a gun
And baby when it's love, if its not rough it isn't fun, fun

Oh, oh, oh, oh, oh, oh-oh-e-oh-oh-oh
I'll get him hot, show him what I've got
Oh, oh, oh, oh, oh, oh-oh-e-oh-oh-oh,
I'll get him hot, show him what I've got

Can't read my
Can't read my
No he can't read my poker face
(She's got me like nobody)
Can't read my
Can't read my
No he can't read my poker face
(She is gonna let nobody)

P p p poker face, p p p poker face
(Muh muh muh muh)
P p p poker face, p p p poker face
(Muh muh muh muh)

I won't tell you that I love you
Kiss or hug you
'Cause I'm bluffing with my muffin
I'm not lying I'm just stunning with my love glue gunnin'
Just like a chick in the casino
Take your bank before I pay you out
I promise this, promise this
Check this hand cause I'm marvelous

Can't read my
Can't read my
No he can't read my poker face
(She's got me like nobody)
Can't read my
Can't read my
No he can't read my poker face
(She is gonna let nobody)

Can't read my
Can't read my
No he can't read my poker face
(She's got me like nobody)
Can't read my
Can't read my
No he can't read my poker face
(She is gonna let nobody)

Can't read my,
Can't read my,
No he can't read my poker face
(She's got me like nobody)
Can't read my
Can't read my
No he can't read my poker face
(She is gonna let nobody)

P p p poker face, p p p poker face
(Muh muh muh muh)
P p p poker face, p p p poker face
(Muh muh muh muh)

P p p poker face, p p p poker face
(Muh muh muh muh)
P p p poker face, p p p poker face
(Muh muh muh muh)

P p p poker face, p p p poker face
(Muh muh muh muh)
P p p poker face, p p p poker face
(Muh muh muh muh)

Compositores: Nadir Khayat / Stefani Germanotta
Letra de Poker Face © Sony/ATV Music Publishing LLC
   
"Piano Man" - Billy Joel

It's nine o'clock on a Saturday
The regular crowd shuffles in
There's an old man sitting next to me
Makin' love to his tonic and gin

He says, "Son, can you play me a memory
I'm not really sure how it goes
But it's sad and it's sweet and I knew it complete
When I wore a younger man's clothes."

La la la, di da da
La la, di da da da dum

Sing us a song, you're the piano man
Sing us a song tonight
Well, we're all in the mood for a melody
And you've got us feelin' alright

Now John at the bar is a friend of mine
He gets me my drinks for free
And he's quick with a joke or to light up your smoke
But there's someplace that he'd rather be
He says, "Bill, I believe this is killing me."
As the smile ran away from his face
"Well I'm sure that I could be a movie star
If I could get out of this place"

Oh, la la la, di da da
La la, di da da da dum

Now Paul is a real estate novelist
Who never had time for a wife
And he's talkin' with Davy, who's still in the Navy
And probably will be for life

And the waitress is practicing politics
As the businessmen slowly get stoned
Yes, they're sharing a drink they call loneliness
But it's better than drinkin' alone

Sing us a song you're the piano man
Sing us a song tonight
Well we're all in the mood for a melody
And you got us feeling alright

It's a pretty good crowd for a Saturday
And the manager gives me a smile
'Cause he knows that it's me they've been comin' to see
To forget about life for a while
And the piano, it sounds like a carnival
And the microphone smells like a beer
And they sit at the bar and put bread in my jar
And say, "Man, what are you doin' here?"

Oh, la la la, di da da
La la, di da da da dum

Sing us a song you're the piano man
Sing us a song tonight
Well we're all in the mood for a melody
And you got us feeling alright

Written by Billy Joel • Copyright © Universal Music Publishing Group

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