Born In 1955?
Check the date to find the # 1 song when you were conceived nine months ago!

Biologists James D. Watson and Francis Crick published “Molecular Structure of Nucleic Acids: A Structure for Deoxyribose Nucleic Acid.” (DNA)
Your parents put DNA to practical use.

Born on January 1, 1955 – January 14, 1955:
Jo Stafford – Make Love To Me!

Right out of the gate, we have the title “Make Love To Me!” It’s not a request, it’s not a plea; it’s an exclamation! It’s like she’s a love drill sergeant demanding affection. One can’t help but wonder, has she tried saying please? It could go a long way. Now, she starts off with “Take me in your arms, roll me through the night.” Roll her through the night? Is this a romantic endeavor or a bowling tournament? And more importantly, are helmets involved? Because safety first, folks.

“Until the early light,” she continues. Well, someone’s got some stamina. That’s a marathon, not a sprint! Hopefully, there’s a well-timed nap and perhaps some light snacking involved. Then she says, “Come into my arms, come into my heart.” Well, that escalated quickly. One moment we’re rolling around, next she wants you in her heart? It’s all fun and games until someone needs a cardiologist. Further in, Stafford sings, “I’m a ship on a stormy sea, won’t you come to me, come to me?” With all this rolling and stormy sea talk, one has to wonder if motion sickness could be a concern here. Might be best to keep a few seasickness tablets handy.

All in all, Jo Stafford’s “Make Love To Me!” is a wild ride. It’s got demanding love, night rolling, stormy seas, and questionable anatomy. It’s not just a song—it’s an adventure, and potentially, a health hazard. Here’s to hoping that everyone involved is wearing their safety gear and is prepared for a potential rescue mission on the stormy seas of love. Buckle up!

Born on January 15, 1955 – March 10, 1955:
Perry Como – Wanted

Perry Como’s “Wanted” is a love song that makes one thing perfectly clear; Perry Como might have a slight misunderstanding of how legal procedures work. The title “Wanted,” is enough to give anyone pause. Is it a love song, or is Perry just really good at avoiding the authorities? It sounds like it could be more appropriate for a wild west bounty poster than a swooning ballad. Our first clue is in the lines “Wanted, someone who kissed me and held me closely, then stole my heart.” Here’s where things start to take a peculiar turn. Perry’s heart has been stolen, but instead of calling the cops or consulting a cardiologist, he’s writing a love song. Priorities, am I right?

Next, we have, “Wanted, someone I trusted who gave no warning we’d ever part.” So, he’s been heart-stolen, and now he’s been ditched without warning. But wait, there’s more—Perry doesn’t want justice, no. He wants the culprit back. I mean, talk about being forgiving! He then adds, “She was last seen hiding out in someone’s arms, He, who’s arms, I’d like to know.” Now, Perry’s turned into a detective, and he’s on the case! But instead of wanting to apprehend the heart-stealer, he seems more interested in her current cuddle companion.

Finally, we reach the pinnacle of Perry’s love crime spree with “Wanted, someone who’s kissed me, and held me closely, then stole my heart.” So after all this heart-stealing, parting without warning, and finding her in someone else’s arms, Perry still wants her back. Talk about unconditional love, or perhaps it’s Stockholm Syndrome?

Born on March 11, 1955- April 28, 1955:
Kitty Kalen – Little Things Mean A Lot

Now, you might be thinking, “it’s a sweet love song, how silly could it be?” Oh, just you wait.

Kitty Kallen starts off by singing, “Blow me a kiss from across the room.” This, folks, is a lawsuit waiting to happen. I mean, what if it’s a windy day? That kiss is going to hit someone else and suddenly, we’ve got a love triangle on our hands. Not to mention, it could be a choking hazard. She continues with, “Say I look nice when I’m not.” Kitty, darling, are we encouraging dishonesty now? If someone’s having a bad hair day or their shirt’s on backwards, they should know, right? Constructive criticism is the backbone of any solid relationship!

Next up, “Touch my hair as you pass my chair.” Now, I hate to be a nitpicker here, but it sounds like Kitty’s love interest might have some boundary issues. Maybe they should talk about personal space before anyone starts touching anyone’s hair. Consent is key, folks! But then, Kitty takes a surprising turn with, “Give me your arm as we cross the street.” This, my friends, is an accident waiting to happen. What if there’s an incoming bicycle, or a skateboarder doing tricks? Maybe Kitty should consider looking both ways before crossing instead of focusing on arm procurement.

Kitty rounds it off with, “Send me the warmth of a secret smile.” Well, I hope that smile comes with instructions, because otherwise, how is anyone supposed to know it’s a secret? And what if someone else sees it? The secret’s out and then what? Mass hysteria!

Born on April 29 – May 5, 1955:
Four Aces – Three Coins In The Fountain

“Three Coins in the Fountain” by the Four Aces is a classic pop ballad hailing from the golden age of cinema. The song is derived from the movie of the same name, both taking inspiration from the famed Trevi Fountain in Rome. The title refers to the tradition of throwing coins into the fountain while making a wish, a practice steeped in romance and desire. Now, let’s get down to the nitty-gritty.

To start, we’re met with the opening line, “Three coins in the fountain. Each one seeking happiness.” Seems straightforward enough, right? But then, you begin to wonder. These are coins we’re talking about. Last time I checked, coins don’t have feelings or aspirations. They’re not sitting in someone’s pocket thinking, “Gosh, I really wish I could be tossed into a fountain today. That’s where the real action is.”

Following this, the lyrics mention “Thrown by three hopeful lovers.” Now, I can’t help but picture these “hopeful lovers” at the fountain’s edge, embroiled in a competitive coin toss. I mean, are they aiming for a particular spot? Is there a scoreboard? Are the coins graded on distance, trajectory, or splash size? We’re veering into Olympic sport territory here.

The song continues with, “Which one will the fountain bless?” This raises the question, when did the fountain get this authority? Is there a Fountain Blessing Committee? Does it have a checklist for determining which wish is worthy? Maybe it’s a Tuesday thing, or it only blesses on public holidays.

And finally, the classic ending line: “Make it mine, make it mine, make it mine!” Here, the singer implores the fountain to grant their wish. However, this begs the question, what happens when all three lovers wish for the same thing? Is it a first-come, first-served basis? Or does the fountain play eeny, meeny, miny, moe?

To wrap it up, “Three Coins in the Fountain” by the Four Aces may seem like a sweet serenade to love and hope, but when you dig a little deeper, it unveils a humorous world of sentient coins, competitive lovers, and an all-powerful wishing fountain with a rigorous blessing schedule. It’s a whimsical ride, that, at the very least, will leave you chuckling and possibly considering the serious business of coin tossing.

Born on May 6, 1955 – May 12, 1955:
Kitty Kalen – Little Things Mean A Lot

(Another viewpoint) Kitty Kallen’s “Little Things Mean a Lot” is a sultry journey into the intimate depths of romance. It’s a tantalizing whisper across a pillow, a provocative wink from across a crowded room, a tender serenade to the small gestures that stoke the fires of passion.

The song starts with the line, “Blow me a kiss from across the room.” Imagine, dear listener, the seductive power of that moment. A stolen glance, a hint of promise in the eyes, and the soft, almost imperceptible touch of lips forming that kiss—sent to sail through the air, carrying a cargo of allure and intrigue. “Say I look nice when I’m not,” she sings, encouraging the sweetest of lies. It’s an invitation into the delicious deceit of love, where reality is shrouded in the soft focus of affection. Even in your worst moments, through the eyes of your lover, you are irresistible—a disheveled goddess, a champion in pajamas.

“Touch my hair as you pass my chair,” Kitty continues, taking us into the realm of tactile sensuality. The thrill of that fleeting contact, the gentle caress that sends shivers racing down your spine—it’s an electrifying love language all its own. “Give me your arm as we cross the street.” Ah, the cavalier charm of that gesture, the protective embrace of the arm. It’s a proclamation of affection, a silent declaration that says, “I am here, I will guide you, I will keep you safe.”

Finally, “Send me the warmth of a secret smile,” Kitty concludes. The exchange of smiles, intimate and conspiratorial, is perhaps the sexiest communication of all. It’s the shared knowledge of something precious and private, a quiet understanding that bonds two souls together.

So, there you have it. “Little Things Mean a Lot,” a song that spins everyday gestures into a web of seductive enchantment. It’s a testament to the power of subtlety in the grand dance of romance, reminding us that sometimes, it’s the smallest actions that have the most potent, most intoxicating effects.

Born on May 13, 1955 – June 30, 1955:
The Crew-cuts – Sh-Boom

Ka-Pow! If there was ever a song that exploded onto the scene with the boisterous energy of a firecracker, it’s “Sh-Boom” by The Crew-Cuts. Picture this: You’re rolling down the street on a warm summer day, the breeze zinging past you like Zzzt! When from the open window of a nearby diner, the catchy opening “Life could be a dream” hums out. It’s like the universe is strumming a lighthearted melody just for you.

Suddenly, BAM! The harmonies kick in, harmonizing like a perfectly tuned quartet of mischievous alley cats. “If only all my precious plans would come true.” You can’t help but nod along, your foot tap-tap-tapping with the beat.

And then it happens. The infectious chorus: “Sh-Boom Sh-Boom, Ya-da-da Da-da-da Da-da-da Da,” rings out. It’s like an exhilarating roller-coaster ride, looping and twisting, lifting your spirits sky-high. Those nonsensical syllables turn into a universal language, saying everything by saying nothing at all. The song swings along, carrying you with it, turning your humdrum day into a foot-tapping musical. Every “Sh-Boom” echoes like the beating of your heart, pulsing with the rhythm of the melody, until you can’t help but sing along. And when it finally ends, you’re left with a grin plastered on your face and the irresistibly catchy tune lodged in your brain, ready to break out in spontaneous song at the slightest provocation.

In conclusion, “Sh-Boom” by The Crew-Cuts isn’t just a song—it’s a wild, onomatopoeic ride that transforms the world around you into a rollicking jukebox musical. It’s a Wham! Bam! Thank you, ma’am! kind of track that leaves you breathless, grinning, and eager for more. So, buckle up, friends. The ride’s just getting started.

Born on July 1, 1955 – August 12, 1955:
Rosemary Clooney – Hey There

The song opens with Rosemary crooning to herself in the mirror, and right off the bat, we’re plunged into a world that’s one part Shakespearean soliloquy, one part bathroom pep talk. “Hey there, you with the stars in your eyes.” Sounds lovely, right? But here’s the twist: she’s talking to herself. That’s right, ladies and gentlemen, we’re dealing with a one-woman show here. She’s her own pep squad, her own motivational speaker. It’s a “you go girl!” moment with a side of old-school charm.

“Love never made a fool of you. You used to be too wise.” Ah, the delicious irony. This is her basically saying, “Remember when you thought you knew stuff about love? Yeah, you were cute back then.” It’s like watching someone give themselves a reality check in real time. The song continues with more of these self-reflective zingers. “Hey there, you on that high flying cloud,” she sings, calling herself out for getting caught up in the dreamy world of romance. It’s like she’s her own best friend, ready to yank her back down to earth when her head gets stuck in the clouds.

And finally, the pièce de résistance: “Won’t you keep all your charms in view? They’ll work on him.” Here she is, devising a strategy to win her man. It’s like she’s her own love coach, giving herself the pep talk of a lifetime. You almost expect her to whip out a clipboard and start planning tactics.

So, in the end, “Hey There” is a comedic dive into the mind of a woman in love; navigating the perils of romance, giving herself pep talks, and reminding herself to stay grounded. It’s like overhearing a hilarious, heartfelt conversation… with oneself. It’s a bit of a roller coaster ride, but hey, isn’t that what love’s all about?

Born on August 13, 1955 – August 18, 1955:
Rosemary Clooney – This Ole House

Rosemary Clooney’s “This Ole House” is a home renovation show masquerading as a hit record. The track opens with the unforgettable line, “This ole house once knew his children,” which is a poetic way of saying, “This place is a dump.” It’s almost like you can see the dust motes swirling in the sunlight and hear the floorboards creaking under the weight of nostalgia.

The next line, “This ole house once knew a wife,” might lead you to believe we’re going to get a heart-wrenching tale of lost love. But nope! Instead, we get a laundry list of household maintenance issues that would make any DIY enthusiast break out in hives. The song is chock-full of lines like, “This ole house is getting shaky,” and “This ole house is ailing.” It’s less of a sweet serenade to a beloved family home and more of a damning home inspection report. You can almost picture Clooney in a pair of overalls, pointing out all the property’s flaws with a steely glint in her eye.

Then there’s the wonderfully absurd chorus, “Ain’t gonna need this house no longer, ain’t gonna need this house no more.” You can’t help but imagine Rosemary deciding to ditch her fixer-upper and run off to a shiny, new condo in the city. By the end of the song, you’re left with an image of a house that’s less “charming fixer-upper” and more “haunted house from a horror movie.” But Clooney sells it with her powerhouse vocals and infectious energy, turning a song about a dilapidated old house into an absolute bop.

Born on August 19, 1955 – September 9, 1955:
Eddie Fisher – I Need You Now

Let me introduce you to Eddie Fisher’s “I Need You Now,” an anthem for every broken-hearted soul who’s ever thought it was a good idea to drunk dial an ex at 2 a.m.

The song opens with a declaration that’s as much of a cry for help as it is a statement of fact: “If I ever needed you, I need you now.” With this line, Fisher instantly crowns himself the king of love-sick laments. It’s like he’s standing on the edge of a cliff, the wind whipping through his hair, screaming into the void about his lost love. Dramatic much?

But wait, there’s more. Fisher proceeds to croon, “I can’t remember when I’ve ever been so blue.” Cue the violins. This is the point where you might expect a concerned friend to step in and suggest a good therapist or at least a hobby. The entire song is filled with lines like these, painting a picture of a man who’s not just nursing a broken heart but performing open-heart surgery on himself. It’s as if Fisher is trying to outdo Romeo in the angst department. And then, to top it all off, he hits us with the chorus: “Oh my darling, I need you now.” It’s the lyrical equivalent of standing outside your ex’s house with a boombox over your head, hoping they’ll take you back.

In the end, “I Need You Now” is a masterclass in how to express heartache in the most melodramatic way possible. It’s the ultimate break-up song for the overly emotional, the drama queens, and anyone who’s ever been so in love they couldn’t see straight. So, if you’ve ever found yourself weeping into a tub of ice cream at 3 a.m., this song’s for you.

Born on September 10, 1955 – October 29, 1955:
The Chordettes – Mr. Sandman

A song that whisks us off to the Land of Nod with a delightful four-part harmony and an infectious bouncy rhythm.

Right off the bat, “Mr. Sandman” serves up a hefty dose of whimsy with the opening line, “Mr. Sandman, bring me a dream.” It’s an invitation into a dreamscape that’s more charming than a basket of puppies wearing tiny hats. The Sandman, that mythical figure who sprinkles dream dust into the eyes of sleeping children, is given a promotion here. He’s not just in charge of dreams, but apparently, he’s running a dream matchmaking service as well!

The Chordettes continue their song order like they’re at a Build-a-Dream-Boy workshop: “Make him the cutest that I’ve ever seen” and “give him two lips like roses and clover.” The meticulous detailing here is so extravagantly precise, you can practically see this dream man materializing before your very eyes. The Chordettes deliver their request in a seamless barbershop harmony that’s smoother than a hot knife through butter. It’s like listening to a quartet of nightingales serenading the moon.

But what makes “Mr. Sandman” so special, and still remembered today? For starters, it’s brimming with an irresistible blend of whimsy and nostalgia. It evokes an era of innocence and romantic yearning that, let’s face it, can be quite appealing in today’s hustle-bustle world. On top of that, the song taps into the universal desire for perfect love, delivered to us in our dreams, no less! Who hasn’t yearned for a picture-perfect romance that’s as delightful and trouble-free as a well-crafted dream?

In a nutshell, “Mr. Sandman” is an enchanting slice of 1950s pop that captures a simpler time of charming innocence and whimsical dreams. It’s a vintage lullaby that continues to resonate because it speaks to the dreamer in all of us, reminding us that sometimes, the sweetest dreams can be spun from the simplest wishes.

Born on October 30, 1955 – November 10, 1955:
Joan Weber – Let Me Go Lover

Joan Weber’s “Let Me Go Lover” is a tune that straddles the line between a heartache anthem and a comedic goldmine. The song starts off strong with Weber’s emotive crooning, “Oh, let me go. Let me go. Let me go, lover.” It’s the sort of desperate plea that could wring tears from a stone, but there’s also an element of over-the-top melodrama that’s hard to ignore. It’s like watching a soap opera actress deliver her lines with such gusto that it borders on comedy.

The lyrics continue in the same vein, like a play-by-play account of a tragic love story that’s on its last legs. But Weber’s theatrical rendition could easily be mistaken for a parody. The more she insists her lover let her go, the more you start to suspect she’s having a bit of a laugh at her own expense. And then there’s the music. The dramatic instrumentation, complete with heavy percussion and moody strings, lends a sense of urgency to Weber’s pleas. Yet, the overblown production also has an element of comedic exaggeration. It’s as if the orchestra is in on the joke, turning each musical phrase into a musical wink.

But let’s not overlook the touch of sadness that underpins “Let Me Go Lover.” After all, this is a song about heartbreak, and Weber does a commendable job conveying the anguish of love gone sour. You can almost picture her tearing at her hair, falling to her knees, and delivering her lines with a dramatic flair worthy of a Shakespearean tragedy.

Born on November 11, 1955 – November 18, 1955:
The Fontaine Sisters – Hearts of Stone

From the very first line, “Hearts made of stone will never break,” we’re thrust into a world where love is as elusive as a butterfly in the wind. The Fontaine Sisters’ sweet, harmonious voices create an atmosphere of poignant longing, kind of like watching a sunset while holding a single red rose.

Now, these ladies aren’t just singing about any old hearts. No, these are hearts made of stone. You can almost picture these love-resistant organs, cold and unyielding, the Fort Knox of feelings. But oh, the desperation in their voices! It’s like they’re archaeologists, chipping away at these stone hearts with tiny, delicate love-hammers. The lyrics continue to serve up a heaping helping of melodrama. We hear about the stone-hearted lover, how they “will never break, for the love you have for them, they just won’t take.” It’s a classic tale of love unreturned, like Romeo without his Juliet, or peanut butter without its jelly. The music itself is a swelling sea of emotion, punctuated by the Sisters’ pitch-perfect harmonies. The way they navigate the melody is akin to watching a beautiful ballet—each note is a pirouette, each harmony a grand jeté.

In summary, “Hearts of Stone” is a deliciously cheesy ballad of love and longing, drenched in syrupy sentiment. It’s a musical Hallmark card, a heart-shaped box of auditory chocolates. So if you’re a sucker for a good love song—or a bad one—this is the tune for you. Just be sure to have your dentist on speed dial, because this level of sweetness might just give you a cavity.

Born on November 19, 1955 – December 30, 1955:
The McGuire Sisters – Sincerely

“Sincerely” by The McGuire Sisters. It’s so sugary, even a swarm of honeybees might say, “Whoa, that’s a bit much, isn’t it?”

From the get-go, “Sincerely” sets the tone with a dramatic declaration of undying love. “Sincerely, oh yes, sincerely,” croon the Sisters, their voices layered together like a finely made mille-feuille pastry of emotion. It’s so earnest that it practically screams, “We’re serious about this love thing!” Then, we come to the lyrics, “Cause I love you so dearly, Please say you’ll be mine.” Ah, such unambiguous and straightforward confession of affection, as if they’ve taken the whole concept of subtlety, bundled it up, and gently tossed it out the window.

The melodrama is turned up to eleven as we move through the song. The McGuire Sisters paint a picture of a love so intense it would make a Nicholas Sparks novel seem cold and unfeeling in comparison. Their harmonic delivery is the aural equivalent of a puppy-eyed look, practically begging the listener to buy into their grand narrative of romantic longing. And the melody? It’s as if they’ve taken every single sweet, romantic trope from the ’50s and packed them into three minutes of song. It’s smoother than a chocolate fondue and richer than a billionaire’s bank account.

In essence, “Sincerely” is a love letter set to music, so unapologetically sappy it would make a maple tree blush. It’s as if The McGuire Sisters wanted to make sure you not only heard their feelings, but also felt them, smelt them, and probably even tasted them in the back of your mouth. But hey, who doesn’t love a bit of an emotional sugar rush from time to time? Now, excuse me while I go rinse off the syrup.

Born on December 31, 1955:
Bill Hayes – The Ballad of Davy Crockett

This song, composed by George Bruns with lyrics by Thomas W. Blackburn, chronicled the adventures of Davy Crockett, the legendary 19th-century American frontiersman who was a congressman and died at the Battle of the Alamo.

Disney had a knack for tapping into the cultural zeitgeist, and the mid-1950s were no exception. There was a rising interest in American folklore and heroes, and Davy Crockett, with his coonskin cap and wild frontier exploits, was the perfect subject. So, Disney commissioned the creation of a series centered around Crockett, and every good hero needs a theme song. Bruns and Blackburn crafted an iconic song with a catchy refrain – “Davy, Davy Crockett, king of the wild frontier” – and a narrative that followed Crockett from his birth on a mountaintop in Tennessee, to his escapades as a hunter, soldier, and politician.

When Bill Hayes recorded the song, it immediately caught on with audiences and skyrocketed up the charts, reaching number one on the Billboard Hot 100. The success of the song was so profound that it spurred what was known as “Crockett mania,” a national craze for all things Davy Crockett, including coonskin caps, toys, and more.

This Year’s Euphemism: Rocking Around The Clock

The average length of human gestation (Your ‘Conception Era’) is 280 days, or 40 weeks, from the first day of the woman’s last menstrual period. The medical term for the due date is the estimated date of confinement (EDC). If you were born late or a bit premature, add or subtract those days.
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