Okay, it's a bold statement, but I stand by it: 1984 was the year that Top 40 radio achieved perfection. Spurred by the twin successes of MTV and Michael Jackson's Thriller, radio playlists were fully shaken out of the doldrums they'd been in since the disco slump of 1979. Colorful and photogenic British new wave and synth pop acts had been making slow inroads into the Billboard Top 40 since Gary Numan's "Cars" back in early 1980. But the UK pop stars of the day were making overt plays for the American airwaves, and established stateside artists ranging from Prince and Bruce Springsteen to Billy Joel and Tina Turner were responding with some of their biggest-selling albums. And in the middle of it all, two newcomers named Cyndi Lauper and Madonna Ciccone were offering very different -- although equally interesting -- new takes on what it meant to be a female pop star. Here, in chronological order by the week they debuted on the chart, are a baker's dozen of 1984's biggest and best. We could have chosen at least as many more.
Tina Turner -- "Let's Stay Together" (chart debut February 18, reached #26)
In one of the first cases of a vintage R&B star being brought back by younger musicians, a thoroughly washed up Tina Turner was recruited by Martyn Ware and Ian Craig Marsh of the electro-pop trio Heaven 17 to record vocals for a song by their side project the British Electric Foundation. That track led to a hit single with a stark but impassioned synth-driven take on the Al Green classic "Let's Stay Together." That single's U.K. chart success led Capitol Records to sign Turner to an album deal, resulting in the massive-selling Private Dancer LP. She had bigger songs later in the year, including the career-defining #1 "What's Love Got To Do With It," but this smaller hit still sounds the best.
Tracey Ullman -- "They Don't Know" (chart debut March 17, reached #8)
British actress and comedian Tracey Ullman later became a beloved TV figure (not least because she gifted us with The Simpsons), but this note-for-note cover of the late Kirsty MacColl's brilliant 1979 girl-group homage was the first we ever heard of either of these talented women. Literally: that explosive "BABY!" that slams home the final verse is MacColl's powerful voice, not Ullman's charming but thin instrument. And yes, that's Paul McCartney at the end: Ullman was co-starring in his big-budget vanity project Give My Regards To Broad Street when the video was filmed.
Billy Joel -- "The Longest Time" (chart debut April 7, reached #14)
After a string of albums that seemed like increasingly naked attempts to be taken seriously as a songwriter, Billy Joel made the best album of his career just by going back to the '50s R&B and pop singles that had been his first musical love. An Innocent Man had bigger hits, like "Tell Her About It" and "Uptown Girl," but perhaps the best was this doo-wop homage that doubled as an atypically sincere love song for his then-new sweetheart Christie Brinkley. Both his later albums and the marriage went south, but whadaya gonna do? To their credit, Joel and his touring band were unafraid to look like complete ninnies in this silly video taking place at a high school reunion.
Madonna -- "Borderline" (chart debut April 14, reached #10)
After the dancefloor-centric singles "Everybody," "Burning Up" and "Holiday," Madonna proved her pop suss with this incredibly hooky single. It's as easy to move to as any of her other early tracks, but the beat was de-emphasized by the bell-like synth riffs and addictive synth-bass pulse. Brazilians call the sense of aggreeable melancholy on display here saudade, and it gives "Borderline" an elegance that her next couple of singles, "Lucky Star" (the video of which was extremely important to my 14-year-old self for obvious reasons) and "Like A Virgin," would lack.
Cyndi Lauper -- "Time After Time" (chart debut April 21, reached #1)
The goofy "Girls Just Want To Have Fun" made it seem like Cyndi Lauper was going to follow Nena's "99 Luftballoons" into the annals of one-hit-wonders, but this heartbreaking ballad made it clear that despite her perhaps-questionable fashion sense, she was a genuine talent. She's So Unusual was jam-packed with hits ranging from "She Bop," the most overt hit about female masturbation until DiVinyls' "I Touch Myself," to a gorgeously minimal cover of Jules Shear's "All Through the Night." But "Time After Time" was the only one awesome enough that no less than Miles Freakin' Davis recorded it.
Night Ranger -- "Sister Christian" (chart debut April 21, reached #5)
All together now: MOTORIN'! The archetypal power ballad, "Sister Christian" was the song that made it okay for girls to like poodle-haired dudes in spandex and mascara. Although this means Night Ranger were therefore partially responsible for some of the worst hits of the pre-"Smells Like Teen Spirit" era, the song's use in the supremely bizarre home invasion scene in Paul Thomas Anderson's Boogie Nights almost makes up for "When I See You Smile" by Bad English.
Duran Duran -- "The Reflex" (chart debut April 28, reached #1)
The original mix of "The Reflex" that opened Duran Duran's third album, Seven and the Ragged Tiger, was kind of a botch, sluggish and overlong. For the single, the Durans enlisted Chic's Nile Rodgers (yes, the same dude who made Daft Punk's "Get Lucky" so awesome) to remix the song from top to bottom, and his tighter, punchier and more inventive take scored the band their first American #1 hit. As primitive as it seems now, this video looked positively state of the art in the spring of 1984. It was mildly controversial in the halls of Levelland Junior High, as I recall: the sequence that starts around 3:20 was rumored to suggest...um, y'know...it's a giant wave of white fluid hitting audience members in the face, you figure it out.
Bruce Springsteen -- "Dancing in the Dark" (chart debut May 26, reached #2)
Born in the USA was lavishly praised from nearly all corners critically, but living in a small west Texas town at the time, I distinctly remember a lot of Springsteen's biggest fans around me finding "Dancing in the Dark" an overt slap in the face. Powered by a nagging synth riff and a booming, Phil Collins-like four-on-the-floor snare, it sounded like a "f---y little disco song" to the "Born To Run"-loving jocks. I found his willingness to listen to recent musical trends rather encouraging, but I was mostly just into the video for the really cute girl he pulls out of the audience at the end, who a decade or so later turned out to be Courteney Cox.
Dan Hartman -- "I Can Dream About You" (chart debut June 2, reached #6)
A primo piece of Hall and Oates-style '80s blue-eyed soul from a writer-producer who'd had a minor disco-era hit called "Instant Replay," "I Can Dream About You" was somewhat notorious at the time for its video. Not the one above, which was rarely if ever shown on MTV, but the actual clip that MTV had in heavy rotation at the time, which is seen in the TV screens in this version. That clip was a scene from the now-forgotten teen-angst flick Streets of Fire, in which a doo-wop quartet (including future indie director Robert Townshend and Forrest Gump costar Mykelti Williamson) lip-syncs Hartman's vocal. To this day, there are probably people who adore this song who have no idea that it was sung by a baby-faced white guy with a really bad perm.
Prince and the Revolution -- "When Doves Cry" (chart debut June 9, reached #1)
Nearly three decades later, it can be hard to remember just how weird this song sounded when it first hit the airwaves with a burst of Hendrixian feedback and some mumbled chanting. As skeletal as it is undeniable (ever notice that it doesn't have a bass line?), "When Doves Cry" was the song that confirmed that Prince was even weirder, and even more talented, than we had thought. As a musician, anyway: Purple Rain is a strong contender for the coveted title of Worst Film With The Greatest Soundtrack.
John Waite -- "Missing You" (chart debut July 21, reached #1)
The thing about John Waite, who had been the leader of a short-lived rock band called The Babys before he went on to a solo career (and who later was the frontman of the aforementioned Bad English), is that there's this weirdly cynical vibe about him. You just can't believe a word the guy sings. Ironically, that's what makes the chorus "I ain't missing you at all" work as well as it does: a more empathetic singer wouldn't put across the paradox nearly so well.
Bananarama -- "Cruel Summer" (chart debut August 11, reached #9)
Back in the pre-internet 1980s, it sometimes took literally years for a British hit single to attract enough of an American audience to hit the U.S. charts. Bananarama's "Cruel Summer" was the "Blurred Lines" of the summer of 1983 in their native land, but unless you were the kind of person who haunted the import section of your local record shop, it was a little over a year later before it reached your ears. Even though it had been the opening track on the trio's self-titled second album, released in the spring of 1984, it hadn't been London Records' first choice for an American single off the album. That honor went to "Robert De Niro's Waiting," a bouncy little tune that underneath its happy-go-lucky surface appears to be about the post-traumatic stress of a sexual assault victim.
George Michael -- "Careless Whisper" (chart debut December 22, reached #1)
When George Michael and Andrew Ridgeley started Wham!, the duo meant for their music to be a cynical commentary on Thatcherite economic policy. Seriously: go listen to their first single, "Wham Rap! (Enjoy What You Do)." Or better yet, don't: it's absolute rubbish. When a song as fluffy as "Wake Me Up Before You Go-Go" is a huge improvement over your prior output, it's clear that you started from a bad, bad place. But that first American hit's follow-up "Careless Whisper" (released as a George Michael solo single everywhere but the US, where it was somewhat confusingly credited to "Wham! featuring George Michael") was the first indication of Michael's Elton John-like talent. And you can't fault that sax solo: it just encapsulates the 1980s, doesn't it?
More:What's Up With The New Arcade Fire Album Cover?That Badfinger Song from the 'Breaking Bad' FinaleAn Introduction To Fleetwood Mac Before Buckingham Nicks
From Our Partners:40 Most Revealing See-Through Red Carpet Looks (Vh1)15 Stars Share Secrets of their Sex Lives (Celebuzz)
Some celebrities sincerely do like to try to keep their personal lives private, and Janet Jackson is one of those people. Rumors have been circulating recently that Jackson is planning her third marriage to businessman Wissam Al Mana — but there's a catch: the two married last year and have kept their nuptials a secret until this week.
The couple has now decided to reveal that they are in fact married. "The rumors regarding an extravagant wedding are simply not true," Jackson and Al Mana tell Entertainment Tonight. "Last year we were married in a quiet, private, and beautiful ceremony."
RELATED: Christina Applegate and Martyn LeNoble Marry During Oscars Weekend
"Our wedding gifts to one another were contributions to our respective favorite children’s charities," the couple continues. "We would appreciate that our privacy is respected and that we are allowed this time for celebration and joy. With love, Wissam and Janet."
Jackson has always been somewhat private about her life. After a brief marriage to her childhood friend James DeBarge that was annulled in 1985, Jackson again got married in 1991 to Rene Elizondo Jr. And just like she has done with her third marriage, she kept her nuptials a secret until she divorced Elizondo Jr. in 2000.
This just goes to say that not everyone in Hollywood wants their personal lives flashed on the cover of the tabloids.
Follow Lindsey on Twitter @LDiMat.
[Photo Credit: Michel Dufour/WireImage]
From Our Partners:25 Most Scandalous Celeb Twitpics (Vh1)33 Child Stars: Where Are They Now? (Celebuzz)
Just in case you were starting to work on your holiday wish list you can cross off "Ask Santa for a new Home Alone movie". According to ABC Family, the memorable holiday film will be back at the end of the year with Home Alone 5: Alone in the Dark. But fans of the film don't need to worry if they missed Home Alone 4: Taking Back the House -- the fifth installment will introduce entirely new characters. The story follows eight-year-old Finn (played by Christian Martyn) and his sister (Jodelle Ferland) who are left alone in a new house they deem haunted. While the two work to set up ghost traps, they are later forced to protect their house from intruders (played by Debi Mazar, Malcolm McDowell, and Eddie Steeples).
The film is currently under production and is set to air sometime during ABC Family's "25 Days of Christmas" -- giving a whole new meaning to happy holidays.
The Anchorman star gave birth to little Sadie Grace in January, 2011, and she admits that she and fiance Martyn LeNoble are keen to have another child.
The 40 year old tells Health magazine, "I would love to have one more. I know I'm 40, and people are gonna say, 'Hmm...' I'll probably have to harvest (eggs) in the next year to make sure we have a back-up plan."
The star and her fiance, musician Martyn LeNoble, became parents last month (Jan11) to little Sadie Grace and the actress can see the couple adding another tot to its brood.
But Applegate, who beat breast cancer in 2009, is adamant it will be some time before they decide to have another child.
She tells People magazine, "I just can't fathom it happening for at least three, four, five years."
And the Anchorman actress is confident her health history won't prevent her from having more kids, because there are other options available if she doesn't want to put herself at the increased risk of developing ovarian cancer.
She adds, "There are an awful lot of things you can do. You can remove your ovaries, and you can still carry (a child). My doctors talked to me about it all. I think we can make sure we have everything proper, one way or the other."
The Anchorman actress overcame the illness in 2009 after undergoing a double mastectomy.
Applegate has since gone on to become engaged to musician Martyn LeNoble, and the pair welcomed daughter Sadie Grace into the world last month (27Jan11).
Now the actress has spoken out about the birth for the first time, revealing becoming a mum has made her life "so much better".
She tells People.com, "I felt my heart literally open up for the first time and like wrap itself around her. It was profound. And I'm more in love with her every minute of the day...
"I've had to talk about that word (cancer) more than I've ever had to talk about a word in my life. After a while you're like, 'There's got to be something else to me.'
"Yeah, now I'm Mom. She's healed me in so many ways. She's just made my life so much better. She's opened my whole soul."
As the fifth year at Hogwarts begins most of the wizardry world is having a hard time believing Voldemort (Ralph Fiennes) has returned further propagated by the Ministry of Magic who refuses to recognize anything evil is brewing and blames all the hullabaloo on Harry (Daniel Radcliffe) and Dumbledore (Michael Gambon). The Ministry even interferes with Hogwarts business by making Ministry employee Dolores Umbridge (Imelda Staunton) the new Defense Against the Dark Arts professor whose outwardly sweet demeanor hides a sadistic streak a mile wide. She thinks the children should only learn about the Dark Arts “theoretically” and tortures all those who disagree. But the Voldemort threat is a reality and Dumbledore has re-formed the Order of the Phoenix a group of witches and wizards that prepares to battle the Dark Lord. Harry is unfortunately being kept in the dark for his protection of course even as his connection to Voldemort grows stronger and he’s royally peeved at being ignored. Urged on by Hermione (Emma Watson) and Ron (Rupert Grint) he forms his own order of Hogwarts students called Dumbledore’s Army to teach them what defenses against the Dark Arts he has already learned. Oh yeah Harry also shares his first kiss but make no bones about it—love is the furthest thing on Harry’s mind when the crap hits the fan. War is imminent. Everyone steps up their game in Order of the Phoenix. Radcliffe Watson and Grint have shed their adolescent whininess and aw-shucks goofiness to give their characters the greatest depth so far. They are forced to grow up pretty quickly in Order with little time for any playfulness and the three actors handle the seriousness with aplomb. Of course both Radcliffe and Grint have already ventured out of the Potter world—Radcliffe shed more than just adolescence on stage in a production of Equus while Grint lost his virginity in the indie Driving Lessons--and their extra experience shows in Order. Also good are Matthew Lewis as the usually clumsy Neville Longbottom who shows his mettle in more ways than one and newcomer Evanna Lynch as the slightly off-kilter Luna Lovegood who proves to be a loyal member of Dumbledore’s Army. But the kids have to keep up with the talented adult cast especially Oscar-nominated Staunton (Vera Drake) as Umbridge. The veteran actress’ interpretation of one of J.K. Rowling’s nastiest characters so far in the Potter lore is spot-on down to the pink wool suits and irritating twitter “ahem” she uses when she wants your undivided attention. Helena Bonham Carter also makes an impression however over the top it is as the evil Voldemort follower Bellatrix Lestrange. Does she ever want to look pretty onscreen? Then there’s the laundry list of Brits whose time onscreen may be short but is nonetheless memorable including Alan Rickman as the sneering Prof. Snape; Gambon as the wise but flawed Dumbledore; Gary Oldman as the kindly Sirius Black Harry’s only real family; and of course Fiennes as He-Who-Must-Not-Be-Named. His late-in-the-game appearance once again throws you for a loop. It stands to reason that at five movies in moviegoers would have a favorite Harry Potter flick by now. Those who love those Triwizard Tournament special effects might feel The Goblet of Fire was the best; or Prisoner of Azkaban for its time-bending action. Yet The Order of the Phoenix may be the one movie that speaks directly to the fans of the books. Without as much wide-eyed wonderment or wizardry flash the story is still chockfull of compelling details that are absolutely pivotal to the continuing Harry Potter saga. Screenwriter Michael Goldenberg (Peter Pan) and director David Yates (HBO’s The Girl in the Café) manage to wade through this volume of information and cut successfully to the chase with great effect. Yates who has signed on to do the sixth movie Harry Potter and the Half-Blood Prince even shows an affinity for action in the final dramatic confrontation between good witches and wizards and bad ones. But overall Order of the Phoenix may leave audiences not as well-versed in the novels a little itchy for some good old-fashioned wand-waving and Disney special effects. Thing is it’s just going to keep getting darker and darker for Harry and his crew. The days of happy fun playtime are over.
The tragic opera tells the story of a disfigured musical genius (Gerald Butler) who haunts the catacombs beneath the Paris Opera waging a reign of terror over its occupants [cue the organ music]. Think The Elephant Man meets The Hunchback of Notre Dame--except this particular "monster" has some serious sex appeal. I mean honestly his only "disfigurement" is some scarring on one side of his face which he covers with a rather classy mask. No big whoop. But I digress. When he falls desperately in love with the lovely ingénue Christine (Emmy Rossum) who has lived in the opera house for most of her life the Phantom devotes himself to molding the young soprano into a star exerting a strange sense of control over her as he nurtures her extraordinary talents. But when Christine falls for the dashing Raoul (Patrick Wilson) all hell breaks loose as the Phantom's growing jealousies threatens to tear everyone apart [OK now it's really time to cue the organ music].
Fans will no doubt be happy their favorite musical has finally made it to the big screen but the musical's original stars Michael Crawford and Sarah Brightman have been replaced in the movie version by hot young actors. This is a very wise decision considering the film's rather longwinded nature. In other words even though the Phantom performers keep singing and singing and then sing some more at least they are appealing to watch (and they did do all their own singing). Butler (Lara Croft Tomb Raider: The Cradle of Life) is particularly effective as the Phantom all brooding mysterious and far more intriguing a suitor than pretty boy Raoul played blandly by Wilson (HBO's Angels in America). With her alabaster skin and long luscious locks Rossum (The Day After Tomorrow) also does a nice job as Christine. But she is unfortunately limited to only a few range of emotions--either all doe-eyed and somber over her Phantom doe-eyed and gushy over Raoul or just plain doe-eyed. As for the supporting players Minnie Driver nearly steals the show as the Italian soprano diva La Carlotta. As the only breath of fresh air in the musty opera house you definitely crave more of her.
It's taken about 15 years to bring Webber's smash hit to the big screen. Apparently after winning every known theater award for Phantom the legendary producer-composer approached director Joel Schumacher in 1988 to do the movie after being impressed by Schumacher's work on The Lost Boys. Hmmm The Lost Boys to Phantom of the Opera--I'm still trying to tie that one together. Anyway Webber had to postpone production for personal reasons and then Schumacher was busy doing such films as Tigerland and Phone Booth. Finally the time was ripe to make Phantom coming on the heels of the musical movie boom started by Moulin Rouge and Chicago. Schumacher certainly incorporates all the right elements from the young and talented cast to the opulent sets and magnificent costumes. The problem is the material: Phantom really isn't all that compelling of a story. Sure the stage production was and still is a theatrical event especially as the Phantom moves on catwalks all over the theater and the impressive chandelier comes crashing down on the stage. But for the film adaptation there needs to be something more than just grand posturing set pieces and operatic music. Maybe a little more dialogue? A sex scene? Anything?