This blog is dedicated to the irrefutable, undeniable fact that in the year of our lord, Nineteen Hundred and Eighty Four, the pop culture gods smiled down and bestowed upon us the single greatest year of pop music the world has ever known.
Why not ‘83 or ’85 or ‘64 of ‘92 or any other year that contained a number of great singles and albums? Well, it’s my belief that in 1984 the pop world coalesced in a way it had never coalesced before (and most likely will never again). Call it Karma or call it blessed coincidence – but this was a unique moment in time when musicians were creating masterpieces AND music labels were making the right decisions AND the general public was ready to hear and see and embrace it all. The result? 12 months of great (the greatest) pop music; from January when Michael Jackson’s Thriller – THRILLER!! – sat in the top 10; through December when Band Aid released “Do They Know Its Christmas?”
1984 brought ascension (RUN-D.M.C., Madonna, R.E.M.,), resurrection (Tina Turner, Chaka Khan) and evolution (Bruce Springsteen, Patti Labelle) for countless musicians (and listeners).
1984 also brought us the seminal song, soundtrack and film all sharing the two-word title:
(MUCH MUCH MUCH SO MUCH MORE on Prince and Wendy and Lisa and Doc Fink and Brown Mark and Bobby Z in future posts!)
I have to admit my love of 1984 has just as much to do with who I was during that year as it does with the great music I listened to. Does anyone love or connect to music as much as they do as a teenager?
At age 16 I was ready to tackle the radical political commentary of Frankie Goes to Hollywood‘s Two Tribes and the subtle sexual lyricism of Depeche Mode‘s Master and Servant. I also believed that the analytical muscles I developed studying Lord of the Flies and Julius Caesar fully empowered me to decipher the deeper meaning of songs like New Moon on Monday, Pretty Persuasion, and Karma Chameleon.
In ’84 I also fell in with a group of friends who became my group. We came from all 5 boroughs of NYC and were black and white and Asian and Latino and biracial. That level of diversity seemed rare but it felt comfortable and it fit (People are People, indeed). So when I saw Mikey Craig in Culture Club or The System or General Public or Hall & Oates‘ live band or The Revolution – all of the decisions I was making (at the time I didn’t realize they were decisions) felt affirmed.
During this year I also noticed a number of music artists who were playing with gender and sexuality just enough to intrigue, but not freak out an adolescent who had recently become aware of some unexpected desires. Whether it was Annie Lennox or Boy George‘s gender bending or Bronski Beat‘s lyrics or Rockwell‘s eyeliner (and his alleged romantic relationship with Michael) – some of my favorite artists seemed to take their inner most desires and literally wear them on their sleeves. I was far from ready to do that, but felt grateful they were willing to do it for me.
So here’s to the music that entertained me, changed me, guided me, and inspired me to such an extent that 30 years later I’m compelled to return for a visit.