The only commercial Christmas song I used to tolerate and now like is "Last Christmas" by Wham.
Why?
I don't really know why. I never know why I like music. I just do. And those who know me, know better than to keep me away from it. I always bring up Nietzsche's music-loving, dying Socrates. (Incidentally, to read my previous, numerous references to Socrates and Nietzsche, do a blog search of either keyword.) And to fully get the reference, look at Nietzsche's Birth of Tragedy a chance. But I digress.
I suppose I like this because it's the kind of music my brother and I liked growing up. And when it comes to 80's rock, don't resist, give in. Those of you who are indie and punk rock-inclined will have already been exposed to the many, many interpretations of solid 80's sounds. Think the Killers, Bravery, Keane, even Oasis and Modest Mouse. And so many, many more.
Ah, yes, and George Michael is blonde-ish, has a couple of girlfriends, and is Christmas-ing in snowboarding-heaven. Just a few signs to spice up his cocoa.
Another great song from that time frame is "Domino Dancing" by the Pet Shop Boys. My brother and I both like this band as well. Still. They're just good. A bit kitsch, yes, but this is an example of kitsch used right. And we especially love "Domino Dancing," albeit in hindsight, it seems to be for different reasons.
Showing posts with label Pet Shop Boys. Show all posts
Showing posts with label Pet Shop Boys. Show all posts
Friday, December 26, 2008
Sunday, November 16, 2008
Pet Shop Boys and Nietzsche?!?!
I often refer to the music-loving Socrates as Nietzsche portrays him in his work Birth of Tragedy. Music is the best form of language, per Socrates. And I concur fully not just because it is Socrates' attitude per Nietzsche but because I happen to share the same attitude experientially. So, those who get mad over not getting showered with attention when music is playing an active part in the discourse need to, well, find other ways to cope.
I dislike interruptions of most kinds. An interruption just happened to me but I didn't mind as much. Here is why. The person asked the right 'general' question.
'What are you listening to?'
'A remix of Pet Shop Boys' It's a Sin.'
'Get out of town!'
'Well, I was here first!'
So, jokes aside, there is a reason why I wasn't as bothered by the initially bothersome interruption.
When the Pet Shop Boys’ smash hit It’s a Sin came out in 1987 I was but a kid running around on some Mediterranean beach listening to the same music as my cool, older brother. We both liked their music albeit, in hindsight, for entirely different reasons.
When the track shot all the way to the first place in European hit parades, I remember it coming out of everybody's radio on the beach. I had no idea what the text was saying. I didn't actively know that there was a subtle text that the artist Neil Tennant was referring to. All I knew is I was fully captivated by the sound. The lyrics were, and still are, secondary. The opening melody was hauntingly good and no matter which genre of music I start investigating and eventually endorsing, I always go back to this track.
I didn't include this track a few posts ago and I should have. At the same time though, this track does need a bigger stage to shine.
To me the track is more than just hot summer days of volleyball playing on the beach and my belting out 'It's a sin, it's a sin, it's a sin, la-la-la-la-la-la-la, it's a sin, it's a sin, it's a sin.' Then the attention deficit would kick in and unequivocally I'd say, 'Let's go swimming.'
So, just what is it about certain snippets of sound that makes them timeless? One of the answers I can give is that they are laced with much personalized human experience and with time they become much larger than themselves.
And here is the song that needs a bigger stage to shine:
I dislike interruptions of most kinds. An interruption just happened to me but I didn't mind as much. Here is why. The person asked the right 'general' question.
'What are you listening to?'
'A remix of Pet Shop Boys' It's a Sin.'
'Get out of town!'
'Well, I was here first!'
So, jokes aside, there is a reason why I wasn't as bothered by the initially bothersome interruption.
When the Pet Shop Boys’ smash hit It’s a Sin came out in 1987 I was but a kid running around on some Mediterranean beach listening to the same music as my cool, older brother. We both liked their music albeit, in hindsight, for entirely different reasons.
When the track shot all the way to the first place in European hit parades, I remember it coming out of everybody's radio on the beach. I had no idea what the text was saying. I didn't actively know that there was a subtle text that the artist Neil Tennant was referring to. All I knew is I was fully captivated by the sound. The lyrics were, and still are, secondary. The opening melody was hauntingly good and no matter which genre of music I start investigating and eventually endorsing, I always go back to this track.
I didn't include this track a few posts ago and I should have. At the same time though, this track does need a bigger stage to shine.
To me the track is more than just hot summer days of volleyball playing on the beach and my belting out 'It's a sin, it's a sin, it's a sin, la-la-la-la-la-la-la, it's a sin, it's a sin, it's a sin.' Then the attention deficit would kick in and unequivocally I'd say, 'Let's go swimming.'
So, just what is it about certain snippets of sound that makes them timeless? One of the answers I can give is that they are laced with much personalized human experience and with time they become much larger than themselves.
And here is the song that needs a bigger stage to shine:
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