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Tunes Du Jour Presents 1993
The music of 1993 was a vibrant mix of genres and styles that reflected the diverse cultural landscape of the early ’90s. This year saw the continued dominance of hip-hop, the rise of alternative rock, and the evolution of pop music, all while established artists pushed their creative boundaries.
Hip-hop was undeniably a driving force in 1993’s musical landscape. Dr. Dre featuring Snoop Dogg’s “Nuthin’ but a G Thang,” with its laid-back groove, epitomized the G-funk sound that defined West Coast rap. Ice Cube’s “It Was a Good Day” painted a vivid picture of a perfect day in the hood, showcasing the humor and storytelling skills that made him a beloved figure in the rap world. Meanwhile, East Coast artists like Wu-Tang Clan made their mark with the gritty “Protect Ya Neck.” The genre’s influence extended beyond coastal rivalry, with Naughty By Nature’s “Hip Hop Hooray” and Tag Team’s “Whoomp! (There It Is)” becoming nationwide party anthems.
Alternative rock continued its ascent into the mainstream. Radiohead’s “Creep” showcased the band’s angsty beginnings, its melancholic melody and introspective lyrics striking a chord with those struggling with feelings of inadequacy, while Rage Against the Machine’s “Killing in the Name,” a powerful anthem of rebellion, its aggressive sound and socially conscious lyrics that captured the angst and disillusionment of a generation, sparking protests and inspiring a generation of activists, brought politically charged rap-rock to the forefront. R.E.M., already established icons, delivered an anthem for those seeking comfort through emotional vulnerability with the poignant “Everybody Hurts.” Blind Melon’s “No Rain” became an iconic track with its unforgettable music video, featuring the “bee girl” that resonated with audiences worldwide. The year also saw the emergence of Britpop with Blur’s “For Tomorrow” and Suede’s “Animal Nitrate” hinting at the UK’s impending musical revolution.
Pop music in 1993 was anything but one-note. Janet Jackson’s “That’s the Way Love Goes” exemplified smooth R&B-infused pop, while Madonna continued to push boundaries with “Deeper and Deeper,” blending house music with her signature pop style. Whitney Houston’s cover of “I’m Every Woman” breathed new life into a classic, and Prince continued to defy categorization with “7.”
Nineteen ninety-three also saw female artists making bold statements across genres. PJ Harvey’s raw “Rid of Me,” Björk’s ethereal “Venus as a Boy,” and Liz Phair’s unapologetic “Fuck and Run” challenged conventions and expanded the scope of women’s voices in rock. In the realm of hip-hop, Salt-N-Pepa’s “Shoop” showcased women owning their sexuality, while Bikini Kill’s “Rebel Girl” became an anthem for the riot grrrl movement.
The year also highlighted the genre-blending creativity that would come to define the decade. Digable Planets’ “Rebirth Of Slick (Cool Like Dat)” brought jazz-rap into the mainstream, showcasing hip-hop’s versatility and its ability to incorporate sophisticated musical elements. This fusion of styles demonstrated how artists were increasingly willing to experiment and push the boundaries of their respective genres, setting the stage for the eclectic musical landscape that would unfold throughout the rest of the 1990s.
From the gritty sounds of West Coast hip-hop to the introspective lyrics of alternative rock, from the bold statements of female artists across genres to the genre-bending experiments that defied classification, the music scene of 1993 was bursting with creativity. This rich variety not only reflected the cultural zeitgeist of the early ’90s but also laid the groundwork for the musical evolution that would define the rest of the decade and beyond.
Tunes Du Jour Presents Disco
This fall marks fifty years since Billboard magazine began publishing its disco chart, an acknowledgment of a genre that danced its way into the hearts of millions. Disco music, with its infectious rhythms and vibrant energy, was more than just a soundtrack for nightlife; it was a cultural phenomenon rooted in the experiences of Black, Latinx, and gay communities. The genre’s pulsating beats and soulful melodies offered an escape, a place where people could come together and express themselves freely on the dance floor.
Disco’s origins can be traced back to the dance halls of New York City, where marginalized communities created spaces for celebration and expression. Early tracks like The Trammps’ “That’s Where the Happy People Go” and Shirley & Co’s “Shame, Shame, Shame” laid the foundation for what would become a global movement. These songs, along with others from the era, were not just about the beats but also about creating a sense of community and shared experience on the dance floor, where people from all walks of life could come together and express themselves freely.
Black artists played a central role in shaping disco’s sound and message. Chic’s “Le Freak” and Sister Sledge’s “He’s the Greatest Dancer” brought sophisticated grooves that transcended race, while Marvin Gaye’s “Got to Give It Up” and Diana Ross’s “Upside Down” combined soul with danceable rhythms, pushing the genre into mainstream consciousness. The smooth yet dynamic production styles and vocals showcased a depth that went beyond the glittering surface often associated with disco.
Latinx influences also left an indelible mark on the genre. Songs like “Turn The Beat Around” by Vicki Sue Robinson and “Cherchez La Femme” by Dr. Buzzard’s Original Savannah Band infused Latin rhythms with disco beats, creating a vibrant and eclectic sound. This cross-pollination of cultures on the dance floor reflected the diversity of the communities that embraced disco, making it a genre that celebrated inclusivity long before it became a mainstream value.
As we commemorate fifty years since Billboard recognized disco’s impact, it’s important to remember that disco was more than just a moment in time. It was a movement that broke down social barriers and created a space where joy and liberation could thrive. Whether it’s the enduring appeal of “Stayin’ Alive” by the Bee Gees or the timeless groove of KC & the Sunshine Band’s “That’s the Way (I Like It),” disco’s legacy lives on, reminding us of the power of music to unite and uplift.
#74: Prince – Controversy (1981)
Throughout the next however many months I’ll be counting down my 100 favorite albums, because why not. I’m up to number seventy-four.
“Am I straight or gay?”
– Prince, “Controversy”
From my earliest memory, I was heterosexual. But it was not until I started sleepaway camp at nine years old that I realized just how heterosexual I was. As straight as a stick of spaghetti before it’s cooked.
Most of the activities we did at sleepaway camp struck me as weird, as they were all-boy activities. I had to play softball with the boys, soccer with the boys, volleyball with the boys, eat with the boys, sleep with the boys.
While the other boys my age were happy to be with other boys, I enjoyed the company of girls. I loved girls. Girls were easier to get along with, they were more interesting to talk to, and they did not place undue emphasis on my ability to throw a ball.
The only place where you would see the boys and girls together was in the camp shows. After viewing the summer’s first production, I knew I had to pursue the theater. Performing awakened something in me. I get to put on a costume and pretend I’m someone I’m not. My giving Oscar-worthy performances in my day-to-day life started there and then! Plus acting in shows was the best way to meet girls, and I loved girls. I might even have a better shot at hooking up with one of the girls if I were someone other than who I was.
When I was twelve, one of my few male friends, Frances, invited me to sleep over at his house. After we put on our pajamas, we got into our sleeping bags on Frances’ floor. Frances said “Let’s play a game. Let’s pretend we’re both locked up in jail, and I’m a homo.” I thought a homo was the same thing as a hobo. I remember Frances pulling my mouth to his and kissing me. With his tongue. Clearly he knew a bit more about Boxcar Willie than I. Then he took my hand and thrust it down the front of his pajama bottoms. I went along with all of this – I was into theater and acting, and I enjoyed games that involved role-playing. I threw myself into my character.
I slept over Frances’ house every chance I got over the next couple of years, just so I could further my skills. We would pretend we were doctor and patient, or husband and wife. I was convinced that all of these games would make me a much better actor. I was sure that similar games were played by some of Hollywood’s biggest stars.
Every year at camp, we put on a musical. Something about the stage, the costumes, and those songs called out to me like a siren to a sailor who’d never seen the ocean but was certain he belonged there. “Glenn,” they whispered, “come here. Sports aren’t for someone like you – someone intelligent, sensitive, and so interested in the opposite sex that you’re too intimidated to ask them out.” The theater beckoned with promises of spotlights and standing ovations, a world where my inability to throw a ball is forgotten once the audience sees my Fosse walk, hears my vibrato, and is awestruck by my mastery of the dramatic pause. Check me out, boys – this is what being a man is. I impress the boys, but more importantly, I impress the girls, which is what I wanted to do. Definitely. Without a doubt. Fosse walks and all. Nothing impresses a girl more than a perfectly-executed Fosse walk. What girl wouldn’t swoon over a guy who could belt out “Aquarius” or “Beauty School Dropout” or “I Feel Pretty” while accomplishing a flawless pivot turn? All that time spent rehearsing with the female cast members was sure to spark some romance. Any day now.
Through the next nine summers at camp, my love for girls increased, as did my love for musical theater. One summer at camp, I met Steven Rabinowitz, who also loved musical theater, and was as actively heterosexual as I was. Steven had a girlfriend back home. One day during our rest hour after lunch, Steven told me what he and his girlfriend did when they made out, which was more than just kissing and touching each other. My response was something like “Ewww. Gross,” which compelled Steven to lead me to the back of the bunk, pull me into the closet, and show me how wrong I was. He proved his case. Over the course of the summer, Steven showed me several more things that hopefully, one day, I could convince a girl to do to me. None of the other boys in our bunk knew what we were doing during out “rest” hour, which was good – they wouldn’t understand, as they were not into girls as Steven and I were.
Just before my last summer at sleepaway camp, while shopping with my mom for camp clothes, we stumbled upon a rack of bathing suits made by a company called Speedo. I grabbed a pair to try on, unaware of the transformative effect it would have on my sexuality.
It took me an eternity to emerge from the dressing room, convinced I hadn’t pulled them up all the way. Turns out, I had – they were just designed to save on excess fabric. The Speedo made me feel, oh, I don’t know – sexy, I guess. No, more than sexy. Invincible, the way a superhero feels when donning their cape, though in reverse.
The Speedos were flattering to my legs, and elsewhere. While I was mortified at the thought of my mother seeing me in this state of undress, I couldn’t wait for all the girls at camp to feast their eyes on my confidence. In my mind, I was a teenage Adonis, ready to strut my stuff and leave a trail of swooning females in my wake.
It turns out the only person at camp who noticed me in my Speedos was Mitch, a college student who worked in the drama department and who wore Speedos during afternoon swim time. Man, if I look even half as good in my Speedos as Mitch does in his I’ll be drowning in girls.
“If you ever need someone to talk to, you can come to me. I understand,” Mitch said to me with a wink.
“Um, okay.” What on earth was that about? Am I now part of a secret society of guys who wear Speedos?
I was such a horny heterosexual teenager. My bedroom was plastered with posters of the girls I loved. Diana Ross, Bette Midler, Joan Collins, Joan Rivers, Olivia Newton-John, Donna Summer, Miss Piggy. Girls, girls, girls. Olivia was my favorite. I had a MAJOR crush on her. I was in her fan club. I even invited her to my bar mitzvah. On her invitation I wrote “They named a country after you called Bolivia. The ‘b’ is for beautiful.”
She didn’t come.
Shortly after, Olivia married Matt Lattanzi, a muscular dancer eleven years younger than she. By chance at the newsstand I noticed that Matt was mentioned in Playgirl, a women’s magazine. It was an article about up-and-coming actors. There was a photo of him leaning against a tree in jeans, no shirt. Nice looking guy. Good for you, Olivia. Good for you! Out of my devotion to my favorite female singer, I had to buy a copy of this issue. Sure, since I had the magazine, I did browse through it a handful of times. There were some interesting articles that gave me insight into how females think (“Mate Swapping: It’s Not For Everyone – But Is It For You?”). Also, I thought the guys were nice-looking, objectively speaking – I can see why girls would like this magazine.
One day I asked Mitch, the drama counselor who noticed my bathing suit, to go into town and buy me a porno magazine (he was of age, I was not). And not Playboy or one of those magazines that just showed women lying around naked. I wanted to see the real hardcore stuff. I wanted to see men and women together, the way nature intended, with the men showing the women what they’ve got and what it’s for. I knew that other guys may not want to see men in their porn, but not me. I was not intimidated by their presence. I was comfortable with my heterosexuality, and had no problem seeing guys naked and aroused.
At a family circle thrown by my parents toward the end of my high school years, a relative asked me where I planned on going to college. When I told him Brandeis, he said “There are a lot of gays there.” “Oh, whatever,” was my reply. “What will you major in?” “Theater.” Though he did not say another word, I knew what his look meant. “You’re a gay.” I knew I wasn’t. I had never messed around with other boys, except for France and Steven, but they didn’t count. I knew that I absolutely, definitely was not a gay.
But what if I was? There were many times in gym class when I would find myself staring at Michael Gray’s incredibly well-chiseled body – such a muscular chest, and big arms, and washboard abs.
As if to provide an answer to my questioning, I came across an article in People magazine about how many skinny boys think they are homosexual because they look at non-skinny boys’ bodies. What a relief! I’m not gay – I’m skinny! That explains why I would look at Michael Gray’s body in the locker room and think about him the rest of the day, even when I went to bed at night. I found myself daydreaming about running my hands across his chest and biceps, which I now knew was a purely heterosexual impulse. However, out of concern for my safety, I could not tell him that, as there was a good chance he did not read People magazine.
In twelfth grade I heard my friend Laura and her friend Jackie raving about a book called Buns, which consisted entirely of photographs of men’s butts. I couldn’t understand how an entire book with photos of men’s butts could hold one’s attention; however, I decided that if that is what girls are interested in, I owe it to myself to check out this book. I went to the Barnes & Noble in the Paramus Park Mall, and found the book in the Photography section. I browsed through it, but I wasn’t able to give the book a fair assessment. After all, I was in a store in a popular mall, where anyone might notice me. Seeing me looking through a book called Buns, they might not realize I’m just being skinny. I knew I had to study each page in more detail, so I decided to buy the book. I also bought another Photography book called Up Front, which had close-ups of men’s crotches. If the cashier asked, I would tell her I’m into photography. Over the course of the next year I spent over $500 on books on photography.
Though I continued my interest in portrait photography, developing an aesthetic criteria regarding lighting and angles and how to best showcase a man’s assets, music remained my main passion. It was in 1981 that I began my weekly tradition of maintaining a list of my favorite current songs. During my freshman year of college, on November 14, 1981 to be exact, “Controversy” by Prince entered Glenn’s Ten, landing between Diana Ross’s “Why Do Fools Fall in Love” and Olivia Newton-John’s “Physical,” with The J. Geils Band’s “Centerfold” holding the #1 spot that week. Beautiful women Diana and Livvy and a song about a centerfold – the only way I could be straighter would be if I spent more time at the gym and had a girlfriend.
I was aware of Prince before then. I knew his 1980 hit song “I Wanna Be Your Lover.” I knew that he tried to crossbreed his cat and dog and that his favorite food was Bubble Yum bubblegum, according to what VJ, my friend and 33.3% of my high school’s Black population, read in Right On magazine. Starting in the fall of 1980, each time I visited the Harmony Hut in the Paramus Park Mall, I considered buying Prince’s then-new album Dirty Mind. Despite never hearing any song from it (“I Wanna Be Your Lover” was on his prior album), the album’s striking cover photo—featuring Prince wearing only a jacket, a kerchief, and black bikini underwear—always caught my attention. I appreciated the masterful use of minimalist composition and provocative imagery, employing high-contrast lighting to accentuate the artist’s silhouette and physique and the cut of his undergarment. I didn’t end up buying the album until a year later, after the release of Controversy. If I were to run into someone I know at the mall while holding a book of photographs called Man Bulges and an album called Dirty Mind with a bikini-clad male singer on the cover and NO HIT SONGS they would totally get the wrong impression. Heck, I would get the wrong impression if I didn’t know myself better.
The song “Controversy” opens with Prince singing “I just can’t believe all the things people say / Am I black or white, am I straight or gay?” “Am I straight or gay?” He’s asking us? I’m puzzled. How could someone not know if they are straight or gay? In regards to myself, the answer was crystal clear, but I hadn’t yet realized the process of self-discovery that others might face.
I snagged the 45 first, then the album. The LP version of “Controversy” stretched on for an extra three and a half minutes. When it comes to dance tracks, I like ’em long. I’ve always preferred a 12-inch to a 7-inch. Feel free to call that foreshadowing.
Prince captivated me, though I couldn’t quite put my finger on why. Maybe it was because I avoided drawing attention to myself, yet here was this man, boldly rocking eyeliner and high heels, defying gender norms without a care for what anyone thought. I’d never seen someone challenge societal expectations so openly and confidently.
(For my younger readers, this was pre-Boy George. Who’s Boy George, you ask? He was the flamboyant androgynous lead singer of Culture Club. What’s Culture Club? A massively successful pop group. Look, there are plenty of books you can read about this. What’s a book? A book is a bunch of paper containing tons of words, glued together so…you know what? Just Google it! Now where was I? Oh, yes.)
Was shy, awkward me in awe of Prince’s unapologetic self-expression? As someone who always felt “different,” did I find inspiration in his celebration of uniqueness? Perhaps Prince showed that it was possible to be true to oneself and still be accepted – a revelation for a college student rejected for not being interested in sports, abstaining from the alcohol and the marijuana, and preferring pop and dance music over much so-called classic rock.
While his presentation intrigued me, it was the music that drew me in. On the album version of the song “Controversy,” Prince recites “People call me rude / I wish we all were nude / I wish there was no black and white / I wish there were no rules.” Was there an anarchist living inside me who was drawn to the idea of “no rules?” Did these lyrics awaken a deep, unacknowledged desire to be free from societal expectations and labels? Did the boldness of these words make me feel both uncomfortable (due to internalized norms) and excited (for reasons I couldn’t explain)? Did I feel liberated hearing someone express these thoughts openly? Did I admire Prince’s boldness and freedom of expression, hoping to one day feel as comfortable in my own skin? Did the lyrics instill hope for a world where everyone could be fully accepted?
Then there’s “Do Me, Baby.” Why did I find this song so… hot? Prince seducing a woman with such directness – did I wish I could be like him? On further listens I noticed that Prince never specifies the partner’s gender. And yet I still found it alluring. Not even my future wife Olivia N-J suggesting we get physical had that effect on me. I concluded that it was his falsetto. Made him sound like a girl. That must be it.
The song “Sexuality” preached a message of sexual liberation as a path to freedom and enlightenment, railing against “a bunch of double drags who teach their kids that love is bad.” Embrace your sexuality without shame or restriction, Prince advised. That was easy enough for some of us, but what of those in society who were maligned for who they love, the homosexuals, for instance? I’m with Prince – let the homosexuals love who they love. That has nothing to do with me, of course. Live and let live, right?
The album ends with the song “Jack U Off,” a provocative meditation on carnal desire, exploring the primal aspects of human connection, pleasure, and the physical manifestation of libidinal energy – ah, screw that. It’s Prince offering to jack u off, specifying the u is a woman. U r so confusing to me, Prince.
Sandwiched between the revolutionary Dirty Mind and the widely successful 1999, Controversy is the crucial link that transformed Prince from a brash newcomer into a musical legend. It signifies a notable progression in his creativity, fusing rock, funk, disco, soul, and pop, and anticipating the boundary-pushing sound that would define his career. This album marks when Prince began to expand his lyrical horizons beyond love and sex, delving into broader themes such as politics (“Ronnie Talk To Russia”) and morality and society’s lack thereof (“Annie Christian”). It should be more celebrated than it usually is. It’s a crucial part of Prince’s legacy and deserves reconsideration and honor.
The answer to many of my questions came later in the ’80s, when after some, ahem, “experimentation” with both genders (except women) and indulging my interest in photography via magazines with names like Blueboy, Honcho and Inches, I had an epiphany: turns out one can be skinny AND gay. Apparently, People magazine wasn’t the oracle of sexual identity I’d thought it was. My subscription to Inches proved far more enlightening. I wish I had come to that realization sooner. If only there were some clues.
On the last weekend in June 1992 I was manning a booth at New York City’s Gay Pride Festival. Coincidentally, working at the neighboring booth was someone I hadn’t seen or spoken with in 15 years – Steven Rabinowitz. In the ensuing years he also must have been listening to Prince albums such as Controversy and reading psychological journals like Inches. I didn’t say hello, though I privately reminisced about our time at summer camp and how to this day, no girl has done to me what Steven Rabinowitz did to me when we were both in the closet.
Tunes Du Jour Presents 1980
As the calendar turned to 1980, the music world stood at a fascinating crossroads. The year marked not just the dawn of a new decade, but also a pivotal moment in popular music, where established genres evolved and new sounds emerged to captivate listeners.
The influence of disco could still be felt, though its dominance was waning. Michael Jackson’s “Rock With You” showcased his exceptional vocal talents and danceable rhythms, while Diana Ross’s “Upside Down” demonstrated the sophisticated production techniques that defined the era. These tracks, along with hits like Lipps, Inc.’s “Funkytown” and The Brothers Johnson’s “Stomp!”, proved that disco’s infectious energy still had the power to fill dance floors.
Stevie Wonder’s “Master Blaster (Jammin’)” further exemplified how established artists were adapting to the changing musical landscape, infusing reggae influences into his signature soulful sound.
However, 1980 also heralded the rise of new wave and synth-pop, genres that would come to define much of the decade’s sound. Gary Numan’s “Cars” introduced many listeners to the futuristic possibilities of synthesizer-driven music, creating an atmospheric soundscape that was both innovative and influential. Blondie’s “Call Me” further exemplified the genre’s versatility, blending punk aesthetics with disco beats to create a chart-topping hit that appealed to a broad audience. Pretenders established themselves with “Brass in Pocket,” a song that showcased Chrissie Hynde’s distinctive vocals and the band’s unique blend of punk energy and pop sensibility.
Rock and punk maintained a strong presence throughout the year. Pink Floyd’s “Another Brick in the Wall, Pt. 2” dominated charts worldwide, its memorable chorus and biting social commentary resonating with listeners. The Clash’s “London Calling” and AC/DC’s “You Shook Me All Night Long” brought raw energy and rebellious spirit to the airwaves. These tracks, along with Motörhead’s aggressive “Ace of Spades,” spoke to listeners seeking music that channeled their frustrations and aspirations. In contrast, Joy Division’s haunting “Love Will Tear Us Apart” showcased a more introspective side of post-punk, its emotional depth influencing countless artists in the years to come. The Cure’s “A Forest” further expanded the boundaries of post-punk, its atmospheric sound and introspective lyrics pointing towards the gothic rock movement that would flourish in the coming years.
The year was also marked by significant releases that left an indelible mark on popular culture. John Lennon’s “(Just Like) Starting Over” served as a poignant reminder of his enduring legacy, released shortly before his untimely death. Queen’s “Another One Bites the Dust” demonstrated the band’s ability to blend rock with funk, creating an anthem that remains popular decades later. David Bowie’s “Ashes to Ashes” continued his tradition of pushing musical boundaries, seamlessly merging art rock with electronic elements.
Oh, a guy named Prince had his breakthrough hit “I Wanna Be Your Lover.” We’d hear more from him throughout the 1980s.
As the year closed, it was clear that 1980 had set the stage for the decade to come. The eclectic mix of sounds reflected a world in transition. It was a year where artists embraced both the past and the future, creating music that was as much a reflection of its time as it was a precursor to the trends that would define the 1980s.
Your (Almost) Daily Playlist: 8-9-24
Lots of Whitney Houston on the playlist today, the 61st anniversary of her birth.
Tunes Du Jour Presents 1987
The year 1987 stands out as a significant moment in music history, marked by a diverse array of singles that have maintained their appeal over the decades. This year saw the release of songs that would go on to define careers, shape genres, and become enduring favorites.
The pop landscape of 1987 was populated by distinctive vocalists and memorable melodies. Whitney Houston’s exuberant “I Wanna Dance With Somebody (Who Loves Me)” captured the essence of joy in music, while George Michael’s “Faith” showcased his evolution as a solo artist. Madonna continued her prominence with “Open Your Heart,” demonstrating her knack for combining catchy hooks with provocative themes. Michael Jackson’s “Bad” further cemented his status as a pop icon, blending funk and rock elements with his signature vocal style.
Rock music saw bands crafting anthems and pushing creative boundaries. U2’s “With or Without You” exemplified their ascent to global recognition, its atmospheric sound and emotional depth marking a new era for the band. Bon Jovi’s “Livin’ on a Prayer” became a quintessential rock anthem, its narrative of perseverance resonating widely. R.E.M.’s “The One I Love” signaled their transition from college rock darlings to mainstream success. Bruce Springsteen’s “Brilliant Disguise” showcased his storytelling prowess, while Peter Gabriel’s “Big Time” continued his innovative approach to both music and video.
The year also saw the continued evolution of electronic and alternative music. New Order’s “True Faith” merged dance beats with introspective lyrics, creating a template for future electronic pop. Pet Shop Boys’ “It’s a Sin” demonstrated the potential for electronic music to tackle serious themes, while The Cure’s “Why Can’t I Be You?” showed how alternative bands could create irresistibly catchy tunes without compromising their unique sound. The Smiths’ “Girlfriend in a Coma” exemplified Morrissey and Johnny Marr’s ability to blend dark humor with infectious melodies.
1987 was a landmark year for hip-hop and R&B. The Beastie Boys’ “(You Gotta) Fight for Your Right (To Party!!!)” fused punk rock attitude with hip-hop and heavy metal styles, helping to bring rap to a wider audience. Eric B. & Rakim’s “I Know You Got Soul” set new standards for technical proficiency and lyrical complexity in hip-hop. In R&B, Anita Baker’s “Caught Up in the Rapture” showcased her sophisticated, jazz-influenced style.
The year also saw notable releases from established artists exploring new territories. Prince’s “Sign ‘☮’ The Times” demonstrated his musical versatility and social consciousness, while Paul Simon’s “You Can Call Me Al” incorporated South African musical elements, reflecting the growing interest in global music.
Nineteen eighty-seven produced an impressive number of singles that have maintained their popularity over time. From pop to rock, R&B to alternative, the year offered a variety of sounds and styles that continue to resonate. The enduring appeal of these tracks speaks to the creativity and talent that was evident in this notable year of musical history.
