Subway Safety: Sleep Awareness For Commuters

The song Don't Sleep in the Subway is a playful warning to a lover, advising them not to fall asleep on a subway train and risk missing their stop. The song's lighthearted message serves as a reminder to stay alert and aware of one's surroundings, especially in a busy and bustling city like London, where the song is set. The song's title and lyrics capture the unique charm and challenges of navigating the city's vast underground transport system, which can be both a convenient and confusing experience for locals and visitors alike.

The song's message

"Don't Sleep in the Subway" is a song about a relationship and the narrator's advice to her partner after an argument. The lyrics convey a message of compromise and mutual understanding, with the narrator urging her partner to set aside his ""foolish pride" and not to "sleep in the subway" or "stand in the pouring rain" just to prove a point.

The song also highlights the narrator's understanding of her partner's feelings, acknowledging the hurt and deflation of their ego that may have led them to walk out. However, she tries to help him see that their problems are "over-rated" and can be solved through compromise. She reassures him that there is "nothing wrong" and that they can move past their differences.

Additionally, the song's title and lyrics use the subway as a metaphor for the partner's tendency to withdraw or distance himself from the relationship when faced with conflict. By advising him not to "sleep in the subway", the narrator is encouraging him to stay and work through their issues together. The use of "subway" here refers to a pedestrian underpass in England, rather than an underground transit system.

Overall, "Don't Sleep in the Subway" delivers a message of love, compromise, and the importance of putting aside pride for the sake of the relationship. It encourages open communication and mutual understanding, reminding listeners that relationships require give and take to endure.

Petula Clark's career

Petula Clark is a British singer, actress, and songwriter with the longest career of any British entertainer, spanning more than 85 years. She was born Sally Clark on November 15, 1932, in Ewell, Surrey, England, and began her professional career as a child performer during World War II. Clark made her radio debut on the BBC Empire Service in 1942, singing "Mighty Lak a Rose" for her uncle, who was serving in Iraq. The reaction was so positive that she was soon invited to perform for the troops on the radio and in concert, becoming known as "Britain's Shirley Temple" and "Radio's Merry Mimic".

Clark's first film role came in 1944 with "Medal for the General", and she went on to appear in over 30 British films, including classics such as "I Know Where I'm Going" (1945) and "London Town" (1946). In the 1950s, she co-starred in films such as "Dance Hall", "The Card", and "White Corridors", for which she received a BAFTA nomination for Best Supporting Actress. Clark's recording career also took off in the 1950s, with her first official Top 10 chart success, "The Little Shoemaker", in 1954.

In the late 1950s, Clark was invited to perform in France, and she soon fell in love with Frenchman Claude Wolff, whom she married in 1961. She began recording in French, German, Italian, and Spanish, and by the early 1960s, she had established herself as a superstar throughout Europe. Clark's international success included hits such as "Prends mon cœur", "Sailor" (a UK number one), "Romeo", and "Chariot".

In 1964, Clark's career took off in the United States with the release of "Downtown", which became the first single by a British woman to reach number one on the American pop charts. "Downtown" earned Clark a Grammy for Best Rock and Roll Recording, and she followed up this success with a string of American Top Ten hits, including "I Know a Place", "My Love", "A Sign of the Times", and "I Couldn't Live Without Your Love". Clark became the first British female to sell a million copies in the USA and to win two Grammys.

In addition to her recording career, Clark continued to appear in films and on television. She starred in two Hollywood musicals, "Finian's Rainbow" (1968) and "Goodbye, Mr. Chips" (1969), and hosted several variety series for British and American television. Clark also made history when she insisted on broadcasting a duet with Harry Belafonte, a black man, despite sponsor concerns about racial backlash.

In the 1970s, Clark continued to tour and record, with chart singles on both sides of the Atlantic, and appeared in television commercials and print ads. She scaled back her career in the mid-1970s to focus on her family but returned to the stage in the 1980s, starring in "The Sound of Music" in London's West End. Clark made her Broadway debut in 1993 with "Blood Brothers" and went on to appear in other stage productions, including "Sunset Boulevard" and "Mary Poppins".

Clark has continued to tour and record new material into the 2010s and was honoured with a Commander of the Order of the British Empire (CBE) in 1998 and a "Bob Harrington Lifetime Achievement Award" in 2021. In 2022, the BBC celebrated her 80th anniversary in show business and her 90th birthday with a special evening of programming.

The song's place on the 'Collection' album

"Don't Sleep in the Subway, Darlin'" is a song written by Tony Hatch and Jackie Trent. It was recorded and released as a single by Petula Clark in April 1967. The song was constructed from three different sections of music previously composed by Hatch, and it changes in style from pop to symphonic, and then to a Beach Boys-like melody for the chorus.

The song's lyrics feature a narrator advising her sweetheart not to storm out after an argument due to his "foolish pride". If he does, he will "sleep in the subway" or "stand in the pouring rain" to prove his point. The term "subway" is used in the North American sense, referring to an underground transit system, rather than the British sense of a pedestrian underpass.

"Don't Sleep in the Subway" was Petula Clark's final US Top Ten single, peaking at #5 on the US charts in July 1967. It was also her second of two #1 hits on the Billboard Easy Listening chart. The song was nominated for a 1968 Grammy Award for Best Contemporary Song but lost to "Up, Up and Away" by The 5th Dimension.

"Don't Sleep in the Subway" was originally featured on Petula Clark's 1967 album "These Are My Songs". It has since been included in various compilation albums, including "60s Jukebox: The Ultimate Collection". The song has also been covered by several artists, such as Frank Sinatra, Matt Monro, and Mari Wilson.

The song's duration

"Don't Sleep in the Subway, Darlin'" is a song with a duration that varies depending on the artist and version. The original version by Petula Clark, released in April 1967, has a duration of 3 minutes and 4 seconds. This version was included in her album "These Are My Songs," released in 1967.

The song has also been covered by various artists, including Frank Sinatra, Betty Chung, Rita Hovink, Marilyn Maye, Matt Monro, Patti Page, Caterina Valente, and Mari Wilson. While I cannot find the exact duration of these covers, they likely have similar durations to the original, if not slightly different due to artistic interpretation.

Additionally, the song has been featured in various television shows and films, such as Malcolm in the Middle and Glee. The duration of the song in these appearances may vary depending on the specific performance and the context within the show or film.

The song's release date

"Don't Sleep in the Subway, Darlin'" was released as a single in April 1967 by the British singer Petula Clark. It was also included in her 1967 album "These Are My Songs".

The song entered the Billboard Hot Top 100 chart on 28 May 1967, at position #76. It peaked at #5 on the US charts in July 1967, becoming Clark's final US Top Ten single. It was also her second of two #1 hits on the Billboard Easy Listening chart, following "I Couldn't Live Without Your Love".

In the UK, "Don't Sleep in the Subway" had a July 1967 chart peak of #12, marking a decline in Clark's UK chart profile. The song reached #1 on the Australian charts on 16 and 23 September 1967, marking Clark's final appearance at #1 on an official national chart.

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