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I was going through a major review of spending and savings this week, just sitting in the living room on my laptop, with the dog snoozing on his bed because it's been much too cold to go outside. It was too quiet in the house for a tedious bout of record-keeping. I'd recently resolved an issue with my satellite radio subscription, so it was at the top of my mind, and I went to look at stations. I've learned from riding a Peloton bike that sometimes I will thrive in '80s-based music environments (I was born in 1970), so I went in that direction. One channel was called 80s Chillpill.
It didn't really matter whether I liked "Can't Fight This Feeling" or not; I listened to it over and over and over, much as people do now with their very favorite songs. Top 40 was relentless (and, you'll notice, rather white), so if that was the direction you went, as it was for me, you heard what you heard and you didn't customize the experience. And, for the record, radio was more genuinely local; this was before the entire structure changed in the 1990s.
I wonder sometimes what the current version of this kind of nostalgia is. Obviously, people who are now the age that I was then will have these pangs about something, but it can be hard to know what. It's not as if it's always Top 40 songs for me. The other week, I was singing to myself a jingle from the Van Scoy jewelry stores. It dates back to at least the early '80s, and it starts, "I'm a lucky girl, hooray, oh boy!" Because, of course, she has a diamond from Van Scoy. I always found this music extremely annoying, but now, if you sing it, I will fully belt along. (And I am not alone. I had no idea, but this delighted me.)
It's the same thing with the music from Action News in Philadelphia. "Move closer to your world, my friend! Take a little bit of tiiiiiime!" Back then, was this music important to me? Of course not; it was the theme song to the news. But now, it seems that it's one of the most beloved bits of cultural currency from people who grew up around Philly at the time.
Perhaps that's the appeal of 80s Chillpill. Perhaps because I was rarely hearing these songs by choice, they are stapled indifferently to the widest variety of memories: being sad, happy, bored, frantic, lonely, with friends, in the car, in my room, studying, reading, hanging out. Doing things that were meaningless, but doing them in good company.
The celebrated podcast Song Exploder comes to The Ford for a one-of-a-kind evening of music and conversation featuring Stephin Merritt of The Magnetic Fields. Merritt joins host Hrishikesh Hirway to celebrate the 25th anniversary of the band's opus, 69 Love Songs, by deconstructing some of the iconic tracks. Their conversation will be followed by an intimate solo performance from Stephin Merritt performing a short solo set of Magnetic Fields songs, live on stage at The Ford. This event will not be recorded, so this is your only chance to experience this special evening.
The Song of Songs (Shir ha-Shirim in Hebrew) is an unabashedly sensuous, even at times quite erotic, paean to love. Throughout its eight short chapters, an unnamed young man and young woman pursue one another through verdant fields and valleys lush with flowers. Their excitement to be together is palpable, captured in poetic stanzas like:
You have captured my heart, my own one, my bride. You have captured my heart, with one glance of your eyes, with one look at your dcolletage. How sweet is your love, how much more delightful than wine! (Song of Songs 4:9-10)
The Song of Songs is considered one of the five megillot (scrolls), which are read on major festivals. It is traditionally chanted in the synagogue during Passover, due to its thematic connection with springtime. Following the mystical tradition, some Sephardic and Hasidic Jews have a custom to recite it each week on Shabbat evening, as Shabbat serves as a renewal of loving vows between God and the Jewish People. While the tradition ascribes the its authorship to King Solomon (Song of Songs Rabbah 1:1), who lived in the 10th century BCE, modern scholars note the many literary parallels with other love poetry and wedding songs from both Babylonia and Egypt and suggest a later date of composition, perhaps around the fourth through sixth centuries BCE.
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There is nothing to worry about here, your playlists are played completely and nothing is skipped. The way it works is once you are done playing something and move on, it moves the list up and adds the next one to the queue. Imagine if you have a playlist with 1000 songs and they are all added to the queue in one go, that will rather mess things up and look bad. All your songs are added to the queue but only a few are shown to not make it cluttered.
Another thing is, if you add songs to the queue by pressing Add to Queue, they will be added without removing the last one in the queue. That increases the count from 81. Let us know if you have any other questions.
For some reason when im adding songs to my queue and the number of songs reaches around 100 it sometimes deletes almost all of the songs i added only leaving five or six songs that i most recently added to the queue. I want to find out how to fix this and/or why it's happening because it is very frustrating.
On the mobile app, the queue will usually display up to 80 tracks, but don't worry - all of your songs have been properly queued up, so once you reach the last song under Next in queue, the list would refresh with the rest of the tracks and the playback would continue as normal.
Hi there. Yes, I've been told that, but up until the most recent update to 8.8.1.397 on 01/13/2023, I was able to see all songs I've added to a queue, way past 80. My issue is that when adding more songs from a created playlist, I'm unable to see the "Next From: (Playlist name)" to continue adding songs from that playlist or any playlist because it stops the view at 80. I've been using Spotify for years and use a queue of about 150 songs daily and I've never had an issue until the update. My wife and son did not download the update and their queues are fine, showing unlimited songs added to a queue, so please don't act like this is normal. Can something please be done to correct this? Thank you.
When working, I like to put in several different genres into my queue and then randomize it, so throughout the day I get a wide range from Def Leppard, to Enya, Alan Jackson, to Lorde, to Disney movie song, to Jon & Vangelis, to Bill Joel, to Van Halen, JJ Lin, to Air Supply, etc...
You need to have the spotify team fix this issue immediately. It is May 2024. I end up wasting my time adding songs when it stopped actually adding them 30 songs ago. It does not refresh the queue. It only adds a certain amount of songs, and then stops. I know it doesn't refresh the queue because for every song that plays and ends on the queue, another one pops up at the bottom as "Next from playlist:"...and is not the song I added to the queue last. It's as if there's a song limit, and once each song is done it frees up space for another to show on the list and be played one at a time...except it's not playing the ones you add. If you're gonna go from having infinite queues to having queue limits..can you atleast put a message that says you've reached maximum queue allotment so we know not to waste 20 minutes of our time? Also, I'm on mobile, not desktop. I've cleared data, cache, and uninstalled and reinstalled the app, and it still does this. Android.
When I was writing A More Beautiful Question, or, more accurately when I was procrastinating from writing the book, I began compiling the below list of songs that have questions in the title AND that I like (for the most part). Then four years later, I once again turned to this playlist while researching and writing my follow-up book, The Book of Beautiful Questions.
The two lovers are in harmony, each desiring the other and rejoicing in sexual intimacy. Modern scholarship tends to hold that the lovers in the Song are unmarried,[3][4] which accords with its near ancient Near East context.[5] The women of Jerusalem form a chorus to the lovers, functioning as an audience whose participation in the lovers' erotic encounters facilitates the participation of the reader.[6]
Marvin H. Pope, in his highly regarded commentary, quotes scholars who believe the Song would have been ritually performed as part of ancient fertility cults and that it is "suggestive of orgiastic revelry".[7] Though scholars have differed in assessing when it was written, with estimates ranging from the 10th to 2nd century BCE, linguistic analysis suggest an origin in the 3rd century.
In modern Judaism, the Song is read on the Sabbath during the Passover, which marks the beginning of the grain-harvest as well as commemorating the Exodus from Biblical Egypt.[8] Jewish tradition reads it as an allegory of the relationship between God and Israel. In Christianity, it is read as an allegory of Christ and his bride, the Church.[8][9]
There is widespread consensus that, although the book has no plot, it does have what can be called a framework, as indicated by the links between its beginning and end.[10] Beyond this, however, there appears to be little agreement: attempts to find a chiastic structure have not found acceptance, and analyses dividing the book into units have employed various methods, yielding diverse conclusions.[11]