Latest news with #60s
Yahoo
18-07-2025
- Entertainment
- Yahoo
'60s Singer and Songwriter Legend, 81, Marks Milestone of Meeting Fellow Icon With Epic Throwback Photo
'60s Singer and Songwriter Legend, 81, Marks Milestone of Meeting Fellow Icon With Epic Throwback Photo originally appeared on Parade. The '60s were truly a revolutionary time. From politics to music, it was an era that gave us some of the most prolific icons that would inevitably shape music and culture as we know it. Very seldom are the catalyst-moments caught on camera, but when they are, it's pretty rewarding. Singer and songwriter Joni Mitchell, 81, caught just that and shared it with the world, with a throwback photo of the milestone moment she met the late Leonard Cohen at the 1967 Newport Folk Festival. View this post on Instagram A post shared by Joni Mitchell (@jonimitchell) Fans felt privileged to be getting a glimpse of these priceless memories. "Both have lyrics that read like poetry," wrote one fan. "So young, beautiful and talented! Their voices and poetry will never leave my heart," added another. "I could drink a case of you both," another cleverly commented. The late '60s meeting was the beginning of a brief but intense romantic relationship between the two talents. It would be the inspiration behind several works including Mitchell's "Rainy Night House" which Mitchell once confirmed to Far Out Magazine was about Cohen. 'Yeah. I went one time to his home, and I fell asleep in his old room, and he sat up and watched me sleep," she claimed. "He sat up all night, and he watched me see who in the world I could be.' Her iconic ballad "Case of You" is also rumored to be about him, but was never publicly confirmed to. It's also believed that "Winter Lady" was Cohen's ode to two maintained a long friendship despite their brief romance, until Cohen died in 2016. 🎬SIGN UP for Parade's Daily newsletter to get the latest pop culture news & celebrity interviews delivered right to your inbox🎬 '60s Singer and Songwriter Legend, 81, Marks Milestone of Meeting Fellow Icon With Epic Throwback Photo first appeared on Parade on Jul 17, 2025 This story was originally reported by Parade on Jul 17, 2025, where it first appeared.
Daily Mail
29-06-2025
- Lifestyle
- Daily Mail
My eight rules for dating after you turn 60: FIONA LAMBERT reveals her ultimate guide to midlife romance - from what to put on your profile, the red flags to avoid and just when you should hop into bed
When I became single at 61, lots of people told me how 'brave' I was to take that step, particularly 'at my age'. They seemed surprised that I'd chosen to be single as a midlife woman but, in fact, I've found that dating in your 60s can be enormous fun. I was married to my ex-husband for 31 years. I loved him but having met when I was 23 and he was 26, we developed into different people with different interests and goals.
The Guardian
11-06-2025
- Entertainment
- The Guardian
Twelve of Brian Wilson's greatest songs – from surf to psychedelia and beyond
Although co-written with Gary Usher, this reflective hymn to isolation was pure Brian autobiography, conceived as the pressures of pop success loomed. 'I had a room I thought of as my kingdom,' Wilson said, 'somewhere you could lock out the world.' The domain in question was the Wilson family's music room where Brian slept 'right beside the piano'. Part-inspired by the Charms' 1956 doo-wop hit Ivory Tower, which the Wilson brothers sang themselves to sleep with, In My Room sonically recreates Brian's feelings of sanctuary by blending his brothers' sweet-sad harmonies with finger cymbals, harp glissandi and Santo & Johnny-style Sleep Walk guitar. Soothing yet eerie, the song spoke to the nation of 60s teenagers whose only refuge was their bedroom, and whose worries and fears all waited for them outside that door. Only Brian Wilson could hear the Ronettes' Be My Baby and think it lacked a sense of dread. Originally written for Ronnie Spector and co as a sequel to their 1963 pop hit, Don't Worry Baby was finally recorded by the Beach Boys and released as flip-side to the exhilarating Saturday night cruisin' anthem I Get Around. Both are car songs but Don't Worry Baby taps into the shame and insecurity behind the A-side's masculine braggadocio. A love song told in the third person, with the girlfriend's titular words of reassurance sung in the high vulnerable falsetto of their fearful recipient, Don't Worry Baby is also one of Brian's finest productions, the longing and reassurance of the lyrics echoed in both the group's lush vocal arrangements and the warm click of Al Jardine's Fender Precision bass. Conceived while Brian was playing the piano in the wake of an acid trip, this knowing throwback to the group's early Chuck Berry-style list songs like Surfin' Safari and Surfin' USA is the sound of teen naivety realigned by LSD. A lyrical collaboration with Mike Love, it's a song that exists as both high art and disposable pop. Note how its divinely beautiful proto-psych opening bars – with those twin electric 12-string guitars played in chamber echo – give way to Al De Lory's almost comical roller-rink organ, or the way the vocal harmonies on that 'I wish they all could be California girls' chorus come with a note of weary disenchantment, as if to say: I've been around the world and had my fun but I'd just like to go home now. Simultaneously a work of artistic maturity and emotional anguish, God Only Knows captures the duality of Brian Wilson's genius better than any other Beach Boys composition. Lyrically, the song's opening two verses are a cumulative denial of love, a declaration of eternal love, a surrender to the heavens and a kind of emotional threat ('If you should ever leave me … '). Nothing is simple here, least of all the music. From the intro's union of french horn, piano and bells that suggest both sacred and sentimental to the angelic, interweaving harmonies that convey everything from contented sigh to delicate apprehension, God Only Knows is the pop song as exalted state, a transformative ineffable experience where euphoria and despair are one and the same. Once described by Brian Wilson as 'my whole life performance in one track', this psychedelic Rhapsody in Blue took eight months, and cost nearly $70,000, to record. Well, it was worth it, wasn't it? Recorded as six separate movements in four studios, Good Vibrations is boy-girl pop as abstract cut-up. Rooted in the simple idea of a young man spying a woman from afar, it blossoms into a swirling sonic puzzle whose miraculous beauty can be broken down into constituent parts – the ghostly female vocal of Paul Tanner's electro-theremin, those throbbing primal cellos, the boys' wordless, choir-like harmonies that turn lust into a prayer – but never fully comprehended. What is with that opening? Those four bars of Jerry Cole's detuned 12-string guitar that sound like a child's music box and then the cold thud of Hal Blaine's snare drum? Well that's the song: naivety and hope v the slammed-shut door of reality. Brian and his co-writer Tony Asher wrote the lyric from the perspective of a teenage boy dreaming of a serious relationship with a woman: standard 60s pop sentiments. But the rhetorical nature of those lyrics, the semi-mocking tone of Mike Love's middle eight ('Maybe if we think and wish and hope and pray, it might come true') and Brian's key changes and tempo shifts lend the song a curiously introspective tone. Yes, it's bright, happy radio pop and you can always hear it as that, but it's one where the dream is forever out of reach. What price genius? Here is the answer. Working with the Mississippi-born poet and songwriter Van Dyke Parks in a fevered attempt to top Good Vibrations, Brian set about transforming a Marty-Robbins-style country ballad into an overstuffed, wild west operetta that became a sonic encapsulation of Brian's own encroaching paranoia. The song went through dozens of variations before Parks was fired over 'indecipherable' lyrics, and a shorter, rougher incarnation was recorded for 1967's Smiley Smile. Although dismissed by Jimi Hendrix as 'psychedelic barbershop', it now sounds stranger than ever, a baroque layering of weird instruments and complex vocal harmonies hurtling towards a mournful second half that signifies both artistic contentment and psychic exhaustion. A cornerstone of 1967's unfinished Smile project, Surf's Up is an abstract three-part suite lovingly reassembled by brother Carl for the Beach Boys' album of the same name in 1971. Overdubbed with Moog synthesiser bass, and Carl's 1971 vocals perfectly blending with Brian's original 1966 take, the finished LP version is an undeniable masterpiece. It moves with stoned certainty through florid 19th-century imagery heavy with portent, before repurposing a line from an 1802 Wordsworth poem – 'the child is father to the man' – into a beautifully multilayered song of innocence and experience that repeatedly reflects back upon itself until it vanishes. Written in an hour-and-a-half at his Bellagio mansion, following a sudden late-night feeling that 'the whole world should be about love', this speedily recorded paean to global happiness, less than two minutes long, might be one of the most uplifting songs Brian ever wrote. On the one hand, it's rooted in loneliness and insomnia, centred on the pointed and painful line 'but when they leave you wait alone'. Yet the way the harmonies weave in and out of each other and the keys repeatedly take the song on different pathways feels so adventurous and optimistic that joy is undeniable. It's one thing for a lyric to remind you that you're 'happy 'cause you're living and you're free' but it's another for the song itself to actually make you feel that way. That's genius. Effectively a solo LP, with Brian producing and playing keyboards, synthesisers and drums, 1977's The Beach Boys Love You is one of the stranger recordings in the group's back catalogue. Yet, among the endearingly lo-fi songs about Johnny Carson, the solar system and 'honking down the highway' is this heartbreakingly fragile tune. Over quacking synths and synthetic chords, a vocally ravaged Brian and Dennis trade verses about losing out to the other man before Carl comes in on the bridge, insisting 'Don't you ever tell me that you're leaving' – his soaring vocal sounds like the angelic Beach Boys of bygone years. The result is a small moment of bittersweet perfection that captures Brian and the group between joy and despair. A semi-autobiographical song influenced by Jackie DeShannon's 1965 version of Bacharach and David's What the World Needs Now Is Love, and bound up in Brian's own desire to 'give love to people', this vulnerable benediction begins in the real ('I was sitting in a crummy movie with my hands on my chin') with Brian despairing at the state of the world ('A lot of people out there hurtin'') before realising that he has the power to bestow compassion on the world. If only through multitracked harmony vocals. Like This Whole World, it's a song that notices a lack of something in the world while simultaneously filling that lack, an exuberant secular blessing from a pop god. With their references to Surf's Up, Pet Sounds and such early melancholy Brian compositions as The Warmth of the Sun and Surfer Girl, the final three tracks on the last Beach Boys studio LP work as a kind of mournful valedictory suite. Lyrically, the individual songs – From There to Back Again, Pacific Coast Highway and Summer's Gone – reference familiar Beach Boys themes of sunshine, California and dreams of escape but shot through with thoughts of mortality and death. 'Sunlight's fading and there's not much left to say,' he laments on Pacific Coast Highway, and it's one of the finest songs about the acceptance of old age and the loss of inspiration. Arranged and produced by Wilson, the suite is as warm, poignant and wistful as a summer sunset, a quiet acceptance of beauty in its final dying moments.
Daily Mail
07-06-2025
- Lifestyle
- Daily Mail
Help! I'm self-conscious about showing off my arms and legs
PROBLEM 'I love wearing dresses and my wardrobe is full of short, pretty styles. But now I'm in my 60s I'm not as comfortable with having my arms and legs on display.' SOLUTION Feeling self-conscious doesn't mean you have to write off dresses. An ankle-length sleeveless shift looks great with a blazer – avoiding anything too structured or cropped will keep it modern. VERDICT 'I've fallen in love with this combination. I'd always thought long dresses were for formal events, but I could wear this every day: it's so comfortable and it covers all the bits I don't want on show. It's an entirely new style for me and definitely one I'll wear.' Hair: Dayna Vaughan-Teague at Carol Hayes using L'Oréal Professionnel. Make-up: Levi-Jade Taylor at Carol Hayes using Tatcha and Anastasia Beverly Hills.
Irish Times
06-06-2025
- Climate
- Irish Times
Young people more likely to stay in if it's raining, but it's not a problem for those in their sixties
Four out of 10 young people say bad weather is an obstacle to spending more time outside. This is in contrast to those in their 60s, who are more likely to venture out in hail or shine . The data has been provided by the Central Statistics Office (CSO) in a new study, entitled Recreation in Nature – How We Spent Summer 2024. It drew on responses from 3,916 people, which were compiled between June and August of last year. Forty per cent of people aged 16-29 cited bad weather as an obstacle to getting out and about, compared to just eight per cent of those aged 60-69. Nine out of 10 people report that they feel happier after spending time in nature, the data shows. READ MORE Around 60 per cent of people spent time in nature for physical health and exercise, while 55 per cent did so for mental health reasons. Breakdown of data from the Central Statistics Office study Urban green spaces were the most visited type of ecosystem in 2024, with 63 per cent of people visiting them at least once a week. The CSO classifies an urban greenspace as a public park, sports ground or a green on a housing estate. Twenty-one per cent of people living in rural areas reported that a lack of safe footpaths prevented them from spending more time in nature. Just eight per cent of people in urban areas cited this problem. [ Irish economy expands by almost 10% as exporters rush to beat tariff deadlines Opens in new window ] Lack of reliable public transport was also a barrier to spending time in nature, as indicated by 20 per cent of respondents. Thirty-six per cent of younger people cited it as a barrier, compared with 11 per cent of those aged 60-69. Nova Sharkey, statistician in the ecosystem accounts section of the CSO, said the survey was 'aimed at getting a better understanding of how people in Ireland enjoy our natural environment'. The findings will also inform related national policy initiatives.
