Articles:Pop Culture Press - February 19, 2008: Difference between revisions

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 “I can’t write a song without referencing something in the real world,” Eitzel admits. “It’s gotta be things I hear, or somebody I’m talking to, or somebody I see that corresponds with something I’m thinking about in my own life. In that way it becomes personal. Like (the albums) ''[[California]]'' and ''[[Mercury]]'' and ''[[Engine]]'' — all those things were about my parents passing away. And also, they were about me just not wanting to come out of the closet, which was kind of torturous for (gay people of) my generation. I don’t think it’s torturous for people ten years younger than me. I always make it about my life and if it’s too much about my life, then I hide it with lots and lots of bad metaphors and rhyme.”
-''[[The Golden Age|Golden Age]]'' listeners will be privy to a blow-by-blow account–“[[The Windows On The World]]”–of a night on the town in New York Eitzel and a friend had in a World Trade Center bar. “The song is kind of everything that happened,” Eitzel confesses. “As we were walking into the place I was like ‘This is great! Is there gonna be a band? God I hope not.’ So I went to the woman behind the bar and I said ‘You know, it’s so beautiful up here, you can see forever.’ And she said ‘Do you want a drink or what?’” Eitzel milks both humor and heartbreak out of such New York attitudes in his song.
+''[[The Golden Age|Golden Age]]'' listeners will be privy to a blow-by-blow account–“[[Windows On The World]]”–of a night on the town in New York Eitzel and a friend had in a World Trade Center bar. “The song is kind of everything that happened,” Eitzel confesses. “As we were walking into the place I was like ‘This is great! Is there gonna be a band? God I hope not.’ So I went to the woman behind the bar and I said ‘You know, it’s so beautiful up here, you can see forever.’ And she said ‘Do you want a drink or what?’” Eitzel milks both humor and heartbreak out of such New York attitudes in his song.
 On “[[All The Lost Souls Welcome You To San Francisco]]”, Eitzel says he wanted to write a number that could rival “I Left My Heart In San Francisco” as a love letter to his longtime adopted hometown (Eitzel grew up in a nomadic military family). “That song is one of the perfect songs,” he says of the standard popularized by Tony Bennett. “I really love it. So I thought I would write my own tribute.”