In 1915, the American Humane Society designated the first full week in May as Be Kind To Animals Week. Its intent was to combat the widespread cruelty that animals—particularly workhorses—faced at the time. The goal was to build a “national culture of compassion” and bring issues of animal welfare to the public consciousness.
While the specific challenges animals face have evolved, the core mission of the week remains the same: to encourage kindness, compassion, and better treatment for all animals, including pets, wildlife, and farm animals.
The need for kindness is as relevant today as it was over a century ago. Some ways to practice this, per the AHS, are to adopt a pet from a local animal shelter or rescue group; ensure your pets are spayed or neutered, have proper identification (like microchips and ID tags), and are given plenty of love and exercise; support companies that are committed to animal welfare; protect wild animals by respecting their habitats, observing them from a safe distance and never feeding them; and educate children about the importance of being kind and gentle with all living creatures.
Celebrate Be Kind To Animals Week by being kind to animals (including your fellow humans) this week and every week. To accompany your celebration here is a playlist of music made by some very talented animals:
If you had to pick one song to sum up 2006, you might reach for Gnarls Barkley’s “Crazy” — a song so omnipresent that year it practically became ambient noise. But that choice would also tell you something true about the year: it was a moment when genuinely strange, interesting ideas were landing at the top of the charts, not just surviving on the margins. Cee Lo Green and Danger Mouse made a song that was simultaneously soulful, psychedelic, and completely radio-friendly, and somehow the world went along with it. That tension — between the weird and the accessible, between art and commerce — runs through a lot of what made 2006 a particularly interesting year in music.
The mainstream pop landscape was, by any measure, stacked. Justin Timberlake’s “My Love,” with its spare Timbaland production and T.I. verse, pointed forward toward the minimalist R&B that would define the next decade. Beyoncé released “Irreplaceable,” a song so well-constructed it barely needs any production to hold your attention. Rihanna was still in her early hitmaking mode with “SOS,” and Nelly Furtado, working with Timbaland, was having a pop renaissance with “Promiscuous.” What’s notable in retrospect is how many of these tracks were built around restraint — the arrangements have room in them, the hooks don’t have to fight to be heard. It’s pop music that trusted the song.
On the rock side of things, the year had an interesting split personality. Arctic Monkeys had exploded out of Sheffield with “I Bet You Look Good on the Dancefloor,” all nervous energy and sharp elbows, while The Killers’ “When You Were Young” pushed toward something more cinematic and earnest. The Raconteurs gave Jack White a different context to work in, and “Steady, As She Goes” was proof that a riff-first approach still had plenty of life in it. Muse were somewhere in the atmosphere with “Knights of Cydonia,” a song so committed to its own grandiosity that it looped back around to being genuinely exciting. Meanwhile, Band of Horses released “The Funeral,” which occupied a completely different emotional register — slow, aching, and built to last.
Away from the obvious mainstream, 2006 had a lot happening in the spaces between genres. TV on the Radio were making rock music that felt genuinely new with “Wolf Like Me,” while Hot Chip and Junior Boys were finding the emotional depth available in electronic pop. The Knife’s “Silent Shout” was something else entirely — icy, theatrical, and slightly unsettling in the best way. Camera Obscura offered a gentler alternative with “Lloyd, I’m Ready to be Heartbroken,” a song that wore its Lloyd Cole reference as a badge of honor, and The Pipettes were busy making sharp, witty girl-group pop that felt both nostalgic and pointed. Hip-hop, meanwhile, was getting some of its most creatively ambitious work from Kanye West (“Touch the Sky”) and Lupe Fiasco, whose “Kick, Push” used skateboarding as a fully realized metaphor for outsider identity without ever feeling forced.
There were also moments in 2006 that went beyond music into something more like public conversation. The Chicks released “Not Ready to Make Nice,” a direct response to the backlash they’d faced since 2003, and the fact that it became a hit felt genuinely significant — a mainstream country-adjacent audience giving space to a song about refusing to apologize. Cat Power’s “The Greatest” was quieter but no less affecting, a meditation on loss and missed potential delivered with a stillness that made it hit harder. Morrissey was still being Morrissey (“You Have Killed Me”), which is either a comfort or an irritant depending on your history with the man. What holds all of this together isn’t a single sound or movement — it’s more that 2006 was a year when music across a lot of different genres was being made by people who seemed to be thinking carefully about what they were doing, and the results have held up.
The music of 2001 offered listeners a diverse array of sounds, reflecting the eclectic tastes and creative experimentation prevalent at the turn of the millennium. From hip-hop’s continued evolution to electronic music’s broader appeal, the year’s musical landscape was characterized by a spirit of innovation and cross-genre pollination. While not necessarily revolutionary, 2001’s musical offerings showcased artists pushing boundaries and audiences embracing fresh sounds across multiple genres.
At the forefront of this sonic revolution was Missy Elliott’s “Get Ur Freak On,” a track that redefined hip-hop with its bold beats and futuristic soundscapes. Elliott’s unique style blended traditional hip-hop with global influences, introducing a raw, hyper-sexualized energy that was both provocative and empowering. This era also saw the rise of Jay-Z with “Izzo (H.O.V.A.),” a masterclass in braggadocio that solidified his status as one of rap’s most influential figures. Meanwhile, newcomer Alicia Keys made her mark with the soulful “Fallin’,” combining classical piano with soulful vocals to create a fresh voice in R&B that earned her critical acclaim and multiple awards.
Electronic music found its way into the mainstream consciousness with Daft Punk’s “One More Time,” a euphoric dance anthem that transcended the dance floor, bridging the gap between underground rave culture and pop sensibilities. This electronic influence seeped into other genres as well, with acts like Gorillaz blending hip-hop, rock, and electronica on their debut hit “Clint Eastwood.” The cross-pollination of genres was further exemplified by Eve and Gwen Stefani’s collaboration on “Let Me Blow Ya Mind,” a standout track that seamlessly merged rap and pop elements.
Rock music in 2001 was marked by both innovation and nostalgia. Radiohead continued to push boundaries with the haunting “Pyramid Song,” a complex composition that resonated with fans and critics alike. Meanwhile, bands like The Strokes and The White Stripes led a garage rock revival with “The Modern Age” and “Hotel Yorba” respectively, influencing a new generation of bands. System of a Down’s “Chop Suey!” delivered a powerful mix of metal and alternative rock, addressing themes of life and death with intense energy. Veterans weren’t left behind, as evidenced by Bob Dylan’s “Mississippi” and R.E.M.’s “Imitation of Life,” both of which showcased the enduring relevance of established artists.
The pop landscape of 2001 was equally dynamic, with artists like Britney Spears (“I’m a Slave 4 U”) and P!nk (“Get The Party Started”) dominating the airwaves with infectious hooks and undeniable energy. Janet Jackson’s “All for You” brought a feel-good vibe with its upbeat tempo and catchy chorus. This era also saw the last major hit from Michael Jackson during his lifetime, “You Rock My World.” From the reggae-pop fusion of Shaggy’s “It Wasn’t Me” to the unexpected success of Afroman’s “Because I Got High,” 2001 offered a rich and varied soundtrack that balanced humor with storytelling, demonstrating that sometimes a catchy hook and a good story are all you need to make a hit. In retrospect, 2001 was a pivotal year that saw the emergence of new stars, the redefinition of established genres, and a time when music felt refreshingly unpredictable, with artists boldly experimenting and audiences eagerly embracing the new and unfamiliar.
Damon Albarn stands as a towering figure in the world of music, his influence echoing through the halls of British pop and beyond. Born on March 23, 1968, in Whitechapel, London, Albarn’s journey into music began early, influenced by his creative surroundings and a passion for the arts instilled by his family. As the frontman of Blur, he captured the zeitgeist of the ’90s with hits like “Girls & Boys” and “Country House,” while his visionary project Gorillaz, featuring tracks such as “Feel Good Inc.” and “Clint Eastwood,” blended genres and media to create something entirely new.
Albarn’s contributions to music are not limited to his chart-topping hits; his work with The Good, the Bad & the Queen and his solo albums like “Everyday Robots” showcase a restless creativity and a desire to explore new musical landscapes. His eclectic output spans across various genres, reflecting his ability to adapt and innovate. Songs like “Heavy Seas of Love” and “Herculean” are testaments to his versatility and willingness to push boundaries.
Albarn’s influence is not just in the notes and rhythms of his music but also in the way he has used his platform to bridge cultural divides. His work with Africa Express is particularly notable, bringing together Western and African musicians to collaborate, perform, and break down the barriers of musical genre and geography. This initiative not only showcases Albarn’s commitment to cultural exchange but also highlights the power of music as a unifying force.
From the infectious energy of “Dare” to the introspective melody of “Everyday Robots,” each song on today’s playlist serves as a testament to Albarn’s enduring legacy and his unwavering dedication to both his craft and his convictions.
I’m not going to write an essay about 2020. That’s been done elsewhere and I have nothing to add to the conversation. Though the three words that best describe you are as follows, and I quote, “stink, stank, stunk,” there were some bright spots. Here are 85 things that brought me joy. Happy New Year, everyone!
everything i wanted – Billie Eilish
WAP – Cardi B feat. Megan Thee Stallion
deathbed (coffee for your head) – Powfu feat. Beabadoobee
Savage – Megan Thee Stallion feat. Beyoncé
Stay High – Brittany Howard
Dynamite – BTS
Shameika – Fiona Apple
Tap In – Saweetie feat. Post Malone, DaBaby & Jack Harlow
Delete Forever – Grimes
Mariners Apartment Complex – Lana Del Rey
Polyaneurism – of Montreal
Didn’t Want To Be This Lonely – Pretenders
Stupid Love – Lady Gaga
Call My Phone Thinking I’m Doing Nothing Better – the Streets feat. Tame Impala
Surrender – Will Butler
JU$T – Run the Jewels feat. Pharrell Williams & Zack De La Rocha
BLACK PARADE – Beyoncé
Lifetime – Romy
Fool’s Gold – Lucy Dacus
Identical – Phoenix
ilomilo – Billie Eilish
Hallelujah – HAIM
Quarantine Boogie (Loco) – Walter Martin
Jesus Christ 2005 God Bless America – the 1975
Texas Sun – Khruangbin and Leon Bridges
Ghosts – Bruce Springsteen
Settling Down – Miranda Lambert
He Loves Me – Brittany Howard
Pictures of Flowers – Jess Williamson feat. Hand Habits
The Valley of the Pagans – Gorillaz featuring Beck
my future – Billie Eilish
hot girl bummer – Blackbear
Drinks – Cyn
I disappear in your arms – Christine & the Queens
Say So – Doja Cat
Sea Salt & Caramel – Dent May
Gaslighter – The Chicks
4 American Dollars – U.S. Girls
No Time to Die – Billie Eilish
Murder Most Foul – Bob Dylan
Lockdown – Anderson .Paak
When the Way Gets Dark – Lucinda Williams
Straight to the Morning – Hot Chip feat. Jarvis Cocker
Sleep at Night – The Chicks
Jason – Perfume Genius
Black Qualls – Thundercat feat. Steve Lacy & Steve Arrington
Smiley Face – Duck Sauce
Blinding Lights – the Weeknd
Country Radio – Indigo Girls
One and Done – Bright Eyes
Hole in the Bottle – Kelsea Ballerini with Shania Twain
Bluebird – Miranda Lambert
FTP – YG
You Can’t Rule Me – Lucinda Williams
Don’t Wanna – HAIM
Rager teenager! – Troye Sivan
SUGAR – BROCKHAMPTON
Bad Decisions – the Strokes
Miracle of Life – Bright Eyes feat. Phoebe Bridgers
Dora – Thierra Whack
On the Floor – Perfume Genius
Don’t Stop – Megan Thee Stallion feat. Young Thug
Front Lines – Conway the Machine
xanny – Billie Eilish
On My Own – Shamir
Without You – Perfume Genius
Why I Still Love You – Missy Elliott
The Streets Where I Belong – Annie
Leader of the Delinquents – Kid Cudi
Song 33 – Noname
Anthem – Father John Misty
Lilacs – Waxahatchee
Body Memory – Jess Cornelius
Come Thru – Summer Walker with Usher
Aries – Gorillaz feat. Peter Hook & Georgia
Riding Solo – Hinds
Cool Off – Missy Elliott
Sweeter – Leon Bridges feat. Terrace Martin
Video Game – Sufjan Stevens
Love Is a Drug – Empress Of
Kyoto – Phoebe Bridgers
ATM – Too Free
Momentary Bliss – Gorillaz feat. Slowthai and Slaves
Harlem River Blues – Steve Earle
In My Bones – Jacob Collier feat. Kimbra & Tank and the Bangas
Inspired by the season and the December 13 birthdays of Blink 182’s Tom DeLonge, Morris Day, Taylor Swift, Ted Nugent, Dick Van Dyke, Jamie Foxx, Television’s Tom Verlaine, John Anderson and Steve Forbert.
Inspired by the August 12 birthdays of Dire Straits’ Mark Knopfler, Kid Creole, Sparks’ Ron Mael, Buck Owens, Porter Wagoner, Sir Mix-a-Lot, Tanita Tikaram, Del tha Funkee Homosapien, Joe Jones, Pat Metheny, Infernal’s Lina Rafn, and Michael Ian Black.
