Today is World Kindness Day. While every day would be a great day to practice basic human decency, some people are nasty assbags with no regard for others. If you’re one of those walking masterpieces of jackholery, here’s a wild idea: try being kind for ONE WHOLE DAY and see what it does. For example, let’s say you’re the personal assistant to someone who lives in a building with other residents. When you’re walking out of the building’s front door just in front of a neighbor who is holding his 17-year-old blind dog and leading his other pupper on a leash, maybe – and I’m just spitballing here – don’t let the door slam in their face, you self-absorbed piece of human garbage. And if said neighbor thoughtfully moves your precious Tesla charging cable to prevent damage (gasp – the audacity of helping!), perhaps, don’t show up at his door and berate him for protecting your property. Wild concept: Show some gratitude for his thoughtfulness. Consider saying “thank you,” you self-important, unreasonable, entitled, high-handed weenie.
FFS people, be kind! Rewind!
(Any resemblance to persons unfortunately living is purely intentional.)
The music of 1969 captures a unique crossroads in cultural history—a year teetering between optimism and cynicism, unity and rebellion. Looking at a playlist from this year reveals a blend of genres and voices, each reflecting a society in flux. The playlist’s tracks encompass themes of love, social change, disillusionment, and raw individualism, echoing the era’s contradictions and bold spirit.
On one end of the spectrum, songs like Elvis Presley’s “Suspicious Minds” and Tammy Wynette’s “Stand By Your Man” echo traditional themes of love, loyalty, and heartbreak, though with a hint of modern skepticism. Presley’s soulful performance marked his return to chart-topping success, while Wynette’s hit became a polarizing anthem, embraced by some for its devotion and questioned by others for its apparent passivity. Meanwhile, Glen Campbell’s “Wichita Lineman” captured a more introspective side of the decade, blending pop and country into a haunting portrayal of loneliness and perseverance.
But 1969 wasn’t all about introspection; it was also a year of unrestrained expression and pushing boundaries. Creedence Clearwater Revival’s “Bad Moon Rising” hinted at a sense of looming danger, with its ominous lyrics striking a nerve during a time of political upheaval. In contrast, “Honky Tonk Women” by The Rolling Stones embraced the gritty allure of rock and roll without aiming for a larger societal message. Jagger’s tales of chance encounters and gin-soaked nights represent the Stones’ unapologetic celebration of indulgence, sidestepping introspection in favor of pure hedonism.
Amidst the wild spirit of rock, 1969 also offered more uplifting messages with a hint of idealism. Sly & The Family Stone’s “Everyday People” and The Youngbloods’ “Get Together” conveyed calls for unity that resonated deeply in an era fraught with political and racial tensions. Sly Stone’s anthem became a rallying cry for acceptance, emphasizing individuality while embracing common ground. Similarly, “Aquarius/Let the Sunshine In” by The 5th Dimension captured the essence of the countercultural movement in all its utopian ambitions, even if the optimism was a bit idealistic in hindsight.
Then there was the music that addressed disillusionment head-on, perhaps best captured by Simon & Garfunkel’s “The Boxer” and Peggy Lee’s “Is That All There Is?” Both songs offer reflective, sometimes jaded perspectives on life’s struggles and the disappointments that can accompany maturity. Where “The Boxer” tells the story of a young man grappling with hardship and loss, Lee’s dry wit in “Is That All There Is?” confronts the emptiness that can lie beneath life’s surface pleasures.
Ultimately, this playlist from 1969 feels like a time capsule of an era balancing between hope and disillusionment. From the raw proto-punk of The Stooges to the tender balladry of Stevie Wonder’s “My Cherie Amour,” the year’s music speaks to a generation grappling with unprecedented social changes. Through these songs, 1969 continues to resonate, reminding us that music often reflects the spirit of its time while challenging listeners to consider where they stand.
Pet Shop Boys, the iconic English synth-pop duo formed in London in 1981, have left an indelible mark on popular music. Comprising primary vocalist Neil Tennant and keyboardist Chris Lowe, they’ve been a consistent and influential presence since the mid-1980s. Known for their catchy synth-pop sound and incisive lyrics, they have built a remarkable career that spans decades, selling over 100 million records worldwide and earning their place as the most successful duo in UK music history according to The Guinness Book of Records.
Their breakthrough came with “West End Girls” in 1985, a song that deftly captured the urban angst of the time and shot to the top of the charts in both the UK and the US. This track, along with hits like “It’s a Sin” and “What Have I Done to Deserve This?”, defined the synth-pop sound of the 80s with infectious synth lines and Tennant’s distinctive vocals. “It’s a Sin,” in particular, resonated with many due to its raw exploration of guilt and personal struggle, themes that were uncommon in pop music at the time.
Throughout their career, Pet Shop Boys have consistently pushed the boundaries of pop music with intelligent lyrics, catchy melodies, and innovative soundscapes. They’ve explored themes of sexuality, identity, and social issues with wit and sophistication, often weaving them into dancefloor-ready tracks. Songs like “Opportunities (Let’s Make Lots Of Money)” and “Suburbia” offered a satirical look at consumerism and social constructs, showcasing their sharp social commentary.
The duo’s accolades are numerous and impressive. They’ve achieved 42 Top 30 singles in the UK, including four number-one hits. Pet Shop Boys have received multiple Grammy nominations, Brit Awards (winning “Best British Group” three times), and MTV Video Music Awards. In 2009, they received the Outstanding Contribution to Music award at the Brit Awards. Their influence on the genre is also recognized by their peers, with the duo being awarded the Godlike Genius Award at the NME Awards in 2017. Additionally, they’ve won three Ivor Novello Awards, highlighting their songwriting prowess. Billboard named them the number one dance duo/group over the 40 years since the chart’s inception in 1976.
As we journey through their expansive discography, from early hits to later tracks such as “The Pop Kids,” it’s clear that Pet Shop Boys have maintained a remarkable level of creativity and relevance throughout their career. Their ability to evolve while staying true to their unique sound has solidified their place as icons in the world of pop music. Whether through their chart-topping hits, boundary-pushing live performances, or their clever fusion of ironic, coolly delivered lyrics and catchy synthesizer-based dance beats, Pet Shop Boys continue to leave an indelible mark on both the music industry and popular culture.
Elenore Gee, I think you’re swell And you really do me well You’re my pride and joy, et cetera…
After the huge success of their “Happy Together,” The Turtles’ record label asked them for another love song in a similar vein. Jokingly, they turned in “Elenore.” It became their eighth US top 40 hit, reaching number 6 on the Billboard Hot 100.
The Turtles’ Mark Volman was born on this date in 1947. A few songs from his band are included on today’s playlist.
In 1964, the musical landscape was undergoing a seismic shift. From the electrifying British Invasion to the soulful sounds of Motown, 1964 was a year that truly had something for everyone.
One cannot discuss the music of 1964 without acknowledging the unparalleled influence of The Beatles. With their chart-topping hit “I Want To Hold Your Hand,” the Fab Four ignited a phenomenon that would forever alter the course of popular music. Their harmonious blend of catchy melodies and innovative arrangements captivated audiences worldwide, laying the groundwork for the British Invasion that would dominate the airwaves in the years to come.
The UK also brought us The Animals, whose “House Of The Rising Sun” captivated audiences with its electrifying intensity, while The Kinks offered a more garage-band, raw sound with “You Really Got Me.”
But 1964 was not just about the British Invasion; it was also a time of soulful sounds and Motown magic. Artists like Martha & The Vandellas, The Supremes, and The Four Tops delivered soul-stirring performances on classic hits.
The surf rock craze was in full swing, with The Beach Boys’ “I Get Around” capturing the carefree California lifestyle. And for those who preferred a more melancholic sound, there were ballads like Dionne Warwick’s “Walk On By.”
Beyond the well-known names associated with 1964, this playlist unearths other soundtracks of the year, like “My Boy Lollipop” by Millie Small, a ska track that became a surprise summer hit, and “The Girl From Ipanema” by Stan Getz & Astrud Gilberto, a bossa nova masterpiece that brought a touch of Brazilian cool to the airwaves.
This playlist is just a taste of the incredible music that 1964 had to offer, though even a brief exploration of 1964’s music reveals a year brimming with creativity and cultural impact. From the infectious melodies of pop anthems to the raw energy of rock and roll, these songs continue to resonate with listeners today, reminding us of the enduring power of music to capture a moment in time and transport us back. It was a year that changed the landscape of popular music forever, leaving behind a legacy that continues to inspire and entertain generations of listeners.
“This is a song I wrote for my first album. It was the only song I ever wrote that was a Top 10 hit. It wasn’t for me, it was for a group called Manfred Mann’s Earth Band. They were a great band, but they changed the lyrics. And it pissed me off. Because I have a big ego. And I wanted to hear my words coming out of the radio. But they had a hit, so I was happy about that. But what they did was, they took out one of my lines and they put in one of their own. And their line became one of the most misunderstood lines of all time. In my version, the line went: ‘Cut loose like a deuce, another runner in the night.’ A deuce is a 1932 Ford Coupe, a very hot car back in the day. But they changed it to: ‘Blinded by the light, revved up like a deuce, you know the runner in the night.’ Now that makes no sense. But that’s OK, because it rhymed. But then people started to mishear that line. And they misheard it as: ‘Blinded by the light, wrapped up like a douche, another rumor in the night.’ A douche is not a car. It’s a feminine hygiene product. And it doesn’t even rhyme! So I don’t know how they got that. But that’s what people heard. And that’s what they’ve been singing for 40 years.” – Bruce Springsteen
Manfred Mann was born Manfred Lubowitz on this date in 1940. A few of his hits are on today’s playlist.
Judy Craig, the lead singer of The Chiffons, was a senior in high school when “He’s So Fine” hit number one. Written by the group’s manager, Ronnie Mack, the song was recorded with the band The Tokens providing the instrumentation. The Tokens brought the recording to their record label, Capitol, to see if they’d be interested in releasing it, but the label president thought it “too trite.” Laurie Records signed the group and made “He’s So Fine” one of the biggest hits of 1963. The group hit the top ten twice more, with “One Fine Day” and “Sweet Talkin’ Guy.” Judy Craig, who turns 79 today, still tours with The Chiffons, now comprised of her, her daughter and her niece.
