An interesting article on Please at 40...
https://enterstageright.com/archive/art ... YTqVkZU7Yw
Please Reappraised.
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y3potential
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Re: Please Reappraised.
Quite interesting, but a little overcooked I think.
Heaven is possible,
AFTER ALL.
AFTER ALL.
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tottenhammattspurs
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Re: Please Reappraised.
Couldn't get past the first paragraph. A complete overblown word-salad.
is is and isnt isnt
Re: Please Reappraised.
reads like it was written by one of my A level students...trying to sound sophisticated
Hello my name is Neil Tennant and I'm Chris Lowe and we're of the Pet Shop Boys.
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Stockholm monster
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Re: Please Reappraised.
Sounds like someone taking Let's Make Lots of Money literally again. Very shallow reading, and misses the queer perspective completely.
Re: Please Reappraised.
I used AI to try redacting it more legible. the author clearly used AI to make it more intellectual and erudite. So here it goes. Actually what he's got to say is somehow interesting once you're able to read it.
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**Rewritten version (clearer and more readable):**
Where do cultural trends really come from—especially in music, fashion, and film? Are they imposed from above by industry executives and designers, or do they emerge from deeper forces within society itself?
The early success of the Pet Shop Boys offers an interesting case. Their debut album, *Please*, became hugely popular despite limited radio play or traditional promotion. Neil Tennant, the group’s main creative force, had previously been the editor of *Smash Hits*, Britain’s most successful pop magazine. That experience likely gave him an acute understanding of mass culture—both its surface tastes and the deeper impulses that drive them.
This helps explain how songs like “West End Girls” and “Opportunities,” first released in 1985, became club hits in Canada and elsewhere before receiving mainstream exposure. Rather than being manufactured by corporate marketing, the Pet Shop Boys’ popularity initially grew from the ground up, especially among young people. That suggests their music resonated with something deeper than simple fashion or hype.
So why were they so successful? Understanding this may offer insight into the mindset of a large segment of 1980s society—and perhaps today’s as well.
Musically, the Pet Shop Boys belong to the electropop or New Wave tradition. Their songs rely heavily on synthesizers, electronic effects, and a style of delivery that often feels spoken rather than sung. The sound evokes a technological world of screens, instant communication, and remote power—an exciting and fast-moving contrast to the dull reality of bureaucratic institutions, social decay, and stagnant urban life.
Lyrically, the album often criticizes the emptiness of modern society while hinting at the possibility of a more meaningful alternative. The opening track, “Two Divided by Zero,” expresses a desire to escape conventional middle-class life in favor of adventure, risk, and financial freedom. Lines about fleeing to New York or another continent capture the fantasy of breaking away from routine and boredom.
“West End Girls” takes a darker tone, portraying a society obsessed with choice, status, and material success but lacking spiritual depth. Its famous line, “from Lake Geneva to the Finland Station,” alludes to Lenin’s journey back to Russia in 1917, suggesting—ironically—that revolutionary energy has since dissipated into cynicism and consumerism.
In “Opportunities (Let’s Make Lots of Money),” the album presents a provocative idea: if anyone can get rich, then intelligence and ambition should make it even easier. The song mocks shallow ambition while also encouraging self-assertion. Rather than passively consuming images created by others, listeners are urged to become image-makers themselves.
The following track, “Love Comes Quickly,” introduces an important counterbalance. Whether someone lives in lonely isolation or indulgent luxury, the song suggests that love—not money or status—is what ultimately matters. Technology and power may be exciting, but they are not enough on their own.
“Suburbia” criticizes the emptiness and frustration of modern urban and suburban life. Its closing explosions suggest violence as an outlet for alienation, though the song makes clear that such violence is chaotic and misguided, unable to address the real causes of social decay.
The album’s second half explores nightlife, desire, and relationships. Songs like “Tonight Is Forever” and “Violence” highlight a society caught between pleasure and pessimism, excitement and emptiness. “I Want a Lover” and “Later Tonight” present male and female perspectives on casual encounters, revealing their underlying dissatisfaction.
The final song, “Why Don’t We Live Together?”, offers a resolution. It suggests that lasting intimacy and shared life are more fulfilling than endless parties, casual sex, or material success. As the album’s conclusion, it frames love as the most meaningful answer to the problems it raises.
Taken as a whole, *Please* seems to suggest that intelligent, self-aware people can succeed in a media-driven society by understanding how images, technology, and emotion interact. At the same time, it warns that true fulfillment requires more than power or wealth—it requires human connection.
The album may also hint at the emergence of a new kind of consciousness, one that seeks to reclaim imagination and creativity from bureaucratic systems and technological domination. If popular music reflects deep psychological needs, then the success of the Pet Shop Boys may point to long-standing desires—especially among young people—that remain unfulfilled.
The question, then, is not only why this music resonated—but what it says about where we are now, and how we move beyond it.
---
**Rewritten version (clearer and more readable):**
Where do cultural trends really come from—especially in music, fashion, and film? Are they imposed from above by industry executives and designers, or do they emerge from deeper forces within society itself?
The early success of the Pet Shop Boys offers an interesting case. Their debut album, *Please*, became hugely popular despite limited radio play or traditional promotion. Neil Tennant, the group’s main creative force, had previously been the editor of *Smash Hits*, Britain’s most successful pop magazine. That experience likely gave him an acute understanding of mass culture—both its surface tastes and the deeper impulses that drive them.
This helps explain how songs like “West End Girls” and “Opportunities,” first released in 1985, became club hits in Canada and elsewhere before receiving mainstream exposure. Rather than being manufactured by corporate marketing, the Pet Shop Boys’ popularity initially grew from the ground up, especially among young people. That suggests their music resonated with something deeper than simple fashion or hype.
So why were they so successful? Understanding this may offer insight into the mindset of a large segment of 1980s society—and perhaps today’s as well.
Musically, the Pet Shop Boys belong to the electropop or New Wave tradition. Their songs rely heavily on synthesizers, electronic effects, and a style of delivery that often feels spoken rather than sung. The sound evokes a technological world of screens, instant communication, and remote power—an exciting and fast-moving contrast to the dull reality of bureaucratic institutions, social decay, and stagnant urban life.
Lyrically, the album often criticizes the emptiness of modern society while hinting at the possibility of a more meaningful alternative. The opening track, “Two Divided by Zero,” expresses a desire to escape conventional middle-class life in favor of adventure, risk, and financial freedom. Lines about fleeing to New York or another continent capture the fantasy of breaking away from routine and boredom.
“West End Girls” takes a darker tone, portraying a society obsessed with choice, status, and material success but lacking spiritual depth. Its famous line, “from Lake Geneva to the Finland Station,” alludes to Lenin’s journey back to Russia in 1917, suggesting—ironically—that revolutionary energy has since dissipated into cynicism and consumerism.
In “Opportunities (Let’s Make Lots of Money),” the album presents a provocative idea: if anyone can get rich, then intelligence and ambition should make it even easier. The song mocks shallow ambition while also encouraging self-assertion. Rather than passively consuming images created by others, listeners are urged to become image-makers themselves.
The following track, “Love Comes Quickly,” introduces an important counterbalance. Whether someone lives in lonely isolation or indulgent luxury, the song suggests that love—not money or status—is what ultimately matters. Technology and power may be exciting, but they are not enough on their own.
“Suburbia” criticizes the emptiness and frustration of modern urban and suburban life. Its closing explosions suggest violence as an outlet for alienation, though the song makes clear that such violence is chaotic and misguided, unable to address the real causes of social decay.
The album’s second half explores nightlife, desire, and relationships. Songs like “Tonight Is Forever” and “Violence” highlight a society caught between pleasure and pessimism, excitement and emptiness. “I Want a Lover” and “Later Tonight” present male and female perspectives on casual encounters, revealing their underlying dissatisfaction.
The final song, “Why Don’t We Live Together?”, offers a resolution. It suggests that lasting intimacy and shared life are more fulfilling than endless parties, casual sex, or material success. As the album’s conclusion, it frames love as the most meaningful answer to the problems it raises.
Taken as a whole, *Please* seems to suggest that intelligent, self-aware people can succeed in a media-driven society by understanding how images, technology, and emotion interact. At the same time, it warns that true fulfillment requires more than power or wealth—it requires human connection.
The album may also hint at the emergence of a new kind of consciousness, one that seeks to reclaim imagination and creativity from bureaucratic systems and technological domination. If popular music reflects deep psychological needs, then the success of the Pet Shop Boys may point to long-standing desires—especially among young people—that remain unfulfilled.
The question, then, is not only why this music resonated—but what it says about where we are now, and how we move beyond it.
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OakeyDokey
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Re: Please Reappraised.
Pet Shop Boys, “the thinking man’s favourite pop group.” How is it possible they became so popular? Well, the first album, is mostly about dating and love life, so duh. What’s Taylor Swift’s recipe for success? When their lyrics started to challenge society, and people started thinking, bye-bye popularity.
Last edited by markus on Sun 18 Jan 2026, 1:39 pm, edited 1 time in total.
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g_m
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Re: Please Reappraised.
I stopped reading at the start of the second paragraph - "clearly the leader"...