Within every new decade, pop culture looks back 20 years. As we get closer to 2010, ‘80s nostalgia has reached its apotheosis. Look around. Lady Gaga is channeling not just Madonna, but the theatricality of Grace Jones with the spirit and hooks of Debbie Harry from Blondie. Atlanta’s Janelle Monae fashioned a robot persona to explain her music and stagecraft, a blend of techno, soul, and rock that seems like a foward-looking black spin on Talking Heads and David Bowie, who in the ‘80s was coming out of the elegant iciness of the Thin White Duke.
Edgy artist Santigold wears the day-glo colors and polka dots of ‘80s fashion with the door knocker earrings and asymmetrical hairstyles of early hip-hop circa Salt N Pepa, while her 2007 tune “Lights Out” is new age proto-punk surf pop, like the Go-Gos on acid.
Rihanna and Keri Hilson are rocking asymmetrical ‘dos right out of the ‘80s fashion playbook, while Dorothy Hamill wedge cuts and shredded T-shirt, straight-legged jeans and wide belts are in again. Kanye West is sporting skinny ties and everyone is wearing those giant white sunglasses that didn’t look good the first time.
It happened last decade as well. By the late ‘90s, culture was all about the ‘70s. We were rocking our bellbottoms and peasant blouses again, Afros and peace signs and smiley faces were back, and rappers were no longer the only ones ripping off classic ‘70s soul tunes to fashion new records, singers were too. So we’re on a roll with the double-decade about face.
The ‘80s were a whirlwind of self-discovery and change for me. I graduated from college in the second year of the decade, then spent three years working at youth and educational publisher Scholastic wearing Oxford cloth shirts, jacquard bow ties, padded-shoulder suits, baggie pants and kitten-heeled pumps. I started as a secretary and then graduated to reprint production editor, managing the production of several manuscripts at a time. In 1984, by a fluke, I was hired by Essence Magazine and the bow ties went out the window. By 1985, so did the Pat Benatar feathered hair. This was the first place I’d ever worked that was by, for, and about women of color. I began as the Careers editor, assigning stories about business survival strategies and educational paths, profiling business success stories and editing advice columns. I then moved to the Contemporary Living department, working with Harriette Cole. I met some great people. In addition to working for Susan Taylor and with Harriette, I also met Deborah Gregory (who wore fabulous Cheetah Girl prints even then), publicity mogul Terrie Williams, who was director of publicity, Keith Clinkscales, who was just starting his first magazine Urban Profile, and Nelson George, who wrote for Essence.
In 1986, I married a part-time musician. He was an avid Billboard reader, and I read it too, keeping up with Nelson’s column and the music industry. It was tough to make ends meet on my Essence pay so I left for an ill-advised three-month stint in the public information office at the New York City Housing Authority. It paid good money but I didn’t have a city employee mentality. My hubby showed me a NY Times want ad for a copyeditor at Billboard and I leaped. I sent my resume on a Monday, they called me in for a same-day interview on a Wednesday, and on Friday I had the job. Within a year I was promoted to head copyeditor and a year after that, when Nelson left his editor post, I campaigned to management and was named R&B editor in 1989. That year was all about new jack swing.
As 2009 segues into 2010, and a new decade begins, new jack swing is about to raise its head once more. Teddy Riley has reconciled with Aaron and Damian Hall and the Kings Of New Jack Swing tour is getting off the ground, and a new Guy album is due next year. Whitney Houston is back. Al B. Sure is back. Yep, it's gonna be the '90s again in a minute.
Edgy artist Santigold wears the day-glo colors and polka dots of ‘80s fashion with the door knocker earrings and asymmetrical hairstyles of early hip-hop circa Salt N Pepa, while her 2007 tune “Lights Out” is new age proto-punk surf pop, like the Go-Gos on acid.
Rihanna and Keri Hilson are rocking asymmetrical ‘dos right out of the ‘80s fashion playbook, while Dorothy Hamill wedge cuts and shredded T-shirt, straight-legged jeans and wide belts are in again. Kanye West is sporting skinny ties and everyone is wearing those giant white sunglasses that didn’t look good the first time.
It happened last decade as well. By the late ‘90s, culture was all about the ‘70s. We were rocking our bellbottoms and peasant blouses again, Afros and peace signs and smiley faces were back, and rappers were no longer the only ones ripping off classic ‘70s soul tunes to fashion new records, singers were too. So we’re on a roll with the double-decade about face.
The ‘80s were a whirlwind of self-discovery and change for me. I graduated from college in the second year of the decade, then spent three years working at youth and educational publisher Scholastic wearing Oxford cloth shirts, jacquard bow ties, padded-shoulder suits, baggie pants and kitten-heeled pumps. I started as a secretary and then graduated to reprint production editor, managing the production of several manuscripts at a time. In 1984, by a fluke, I was hired by Essence Magazine and the bow ties went out the window. By 1985, so did the Pat Benatar feathered hair. This was the first place I’d ever worked that was by, for, and about women of color. I began as the Careers editor, assigning stories about business survival strategies and educational paths, profiling business success stories and editing advice columns. I then moved to the Contemporary Living department, working with Harriette Cole. I met some great people. In addition to working for Susan Taylor and with Harriette, I also met Deborah Gregory (who wore fabulous Cheetah Girl prints even then), publicity mogul Terrie Williams, who was director of publicity, Keith Clinkscales, who was just starting his first magazine Urban Profile, and Nelson George, who wrote for Essence.
In 1986, I married a part-time musician. He was an avid Billboard reader, and I read it too, keeping up with Nelson’s column and the music industry. It was tough to make ends meet on my Essence pay so I left for an ill-advised three-month stint in the public information office at the New York City Housing Authority. It paid good money but I didn’t have a city employee mentality. My hubby showed me a NY Times want ad for a copyeditor at Billboard and I leaped. I sent my resume on a Monday, they called me in for a same-day interview on a Wednesday, and on Friday I had the job. Within a year I was promoted to head copyeditor and a year after that, when Nelson left his editor post, I campaigned to management and was named R&B editor in 1989. That year was all about new jack swing.
As 2009 segues into 2010, and a new decade begins, new jack swing is about to raise its head once more. Teddy Riley has reconciled with Aaron and Damian Hall and the Kings Of New Jack Swing tour is getting off the ground, and a new Guy album is due next year. Whitney Houston is back. Al B. Sure is back. Yep, it's gonna be the '90s again in a minute.
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