Fifty Years Of Music – 1982

Fifty years ago, I made my first appeared on the Earth.  In celebration, we are going to take a look at the year-end Billboard Hot 100 singles chart for each year of my life and see what songs resonated with me at the time and if they continue to do so to this day.

We continue our look back at the music of my lifetime with 1982, the year I moved from second to third grade and turned 8.  Given my late-October birthday.  Songs from movies would be the only ones I knew from their original release.  Only 29 of the Hot 100 are familiar to me now, with 20 of them appearing in my collection in one way or another.

#96: Loverboy – Working for the Weekend
iTunes stats: N/A

The first single from the group’s second album, it topped out at #29 but was eventually ranked #100 on VH1’s 100 Greatest Songs of the 80s.

#91: Kim Wilde – Kids in America
iTunes stats: 15 plays

Released a year earlier in the UK, this first single from Wilde peaked at #25 on the Hot 100 despite heavy radio play and acclaim on MTV.

#88: Van Halen – Oh, Pretty Woman
iTunes stats: 12 plays

Intended as a non-album single before the band went on a planned hiatus, it became their second Top 20 hit, reaching #12.

#87: The Go-Go’s – Vacation
iTunes stats: 17 plays

Peaking at #8, the song was the group’s second, and final, top ten hit.

#79: The Police – Every Little Thing She Does Is Magic
iTunes stats: 21 plays

Originally written for a 1976 demo, the tune topped out at #3 on the Hot 100.

#78: Joan Jett & The Blackhearts – Crimson and Clover
iTunes stats: 10 plays

This cover of the Tommy James and the Shondells hit from 1968 reached #7 on the chart, the band’s second-highest charting single.

#75: Laura Branigan – Gloria
iTunes stats: 13 plays

Originally written and recorded as an Italian love song in 1979, Branigan’s reworking of the tune spent three weeks at #2 late in 1982.

#73: Journey – Don’t Stop Believin’
iTunes stats: 143 plays

Peaking at #8 on the Mainstream Rock chart and #9 on the Hot 100, the song gained a second life in the 21st century thanks to, among others, the final episode of The Sopranos and, locally, its use by the 2005 World Series Champion Chicago White Sox.

#68: Jackson Browne – Somebody’s Baby
iTunes stats: 17 plays

Recorded for the Fast Times at Ridgemont High soundtrack, the song reached #7, becoming Browne’s highest charting hit and his final top ten.

#63: The Go-Go’s – Our Lips Are Sealed
iTunes stats: 17 plays

The band’s debut single, it peaked at #20, but spent 30 weeks on the Hot 100.

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Book 4 (of 52) – The Revolution Was Televised

The Revolution Was Televised: The Cops, Crooks, Slingers And Slayers Who Changed TV Drama Forever - Alan Sepinwall

The Revolution Was Televised: The Cops, Crooks, Slingers And Slayers Who Changed TV Drama Forever – Alan Sepinwall

Starting in the late 1990s, as cable networks started to look to provide more viewing options than reruns of Benson and The Rockford Files and struggling netlets looked to find an identity in order to challenge the big 4, television entered what can only be described as a golden age of quality programming.  TV critic Alan Sepinwall looks at the 12 shows that blazed this new trail, garnering hundreds of Emmy nominations in their wake.

The main leader of this revolution was HBO, which aired 4 of the 12 series Sepinwall profiled.  Whether it was the goings on in Emerald City in the prison drama Oz or the dirty dealings of the western Deadwood or the drug-fueled and gang-infested streets of Baltimore in The Wire or the family run New Jersey business on The Sopranos, HBO showed that their “It’s not TV, it’s HBO” promos were more than just a slogan.

Seeing the success that HBO had with their scripted dramas, other cable networks looked to change their fortunes by following the same path.  FX was looking to reinvent itself and succeeded with The Shield.  AMC broke through in a big way with two hits, Mad Men and Breaking Bad, the only two shows in the book that are still on the air.  Even the channel formerly known as SciFi managed to find themselves a hit with the remake of Battlestar Galactica.

The one place it is much harder to be revolutionary is on network TV, but that doesn’t mean it is impossible.  Against all odds, ABC took a germ of an idea from an outgoing network chief and somehow ended up with Lost.  The WB, trying to find something to air besides “ethnic” sitcoms, turned to a re-imagined Buffy The Vampire Slayer.  NBC also looked to the cineplex for inspiration and found themselves with Friday Night Lights.  Not to be outdone, FOX managed to turn what could have become a tiring gimmick into the long running 24.

Sepinwall goes back and interviews most of the power-brokers behind the scenes of these revolutionary shows and provides an in-depth look at how they came to be and the struggles it took to get them on the air.  If I wasn’t already reading Sepinwall’s reviews, I would certainly start after finishing this book.