November 2010ĮAC extraction logfile from 16. Lest I completely ignore its substance, Madonna’s message is clear (“Beauty is where you find it”), but the track’s origins are part and parcel with its star’s mining of gay club trends and Old Hollywood: Inspired by the Salsoul Orchestra’s “Ooh, I Love It (Love Break)” by way of Danny Krivit’s remix of MFSB’s “Love Is the Message,” the song has a family tree that even includes producer/DJ Shep Pettibone’s remix of Janet Jackson’s “Miss You Much” and serves as a sort of musical map of disco.Exact Audio Copy V1.0 beta 1 from 15. Much has been written (specifically on this site) about the cultural impact of the appropriation of queer and nonwhite motifs in Madonna’s “Vogue,” so I’ll focus instead on the song’s musical archaeology and influence. With perfectly acceptable gems right at the heart of the mainstream (Nirvana’s “Come As You Are,” Deee-Lite’s “Groove Is in the Heart,” Aaliyah’s “Are You That Somebody?”), who even wanted to entertain wanderlust? Eric Henderson More to the point, the ’90s may have been the last full decade during which stepping outside of the box to broaden one’s musical horizons was not necessarily the given-whereas the iPod era has turned us all into active musical scavengers, always seeking out the next obscure download. And yet it’s sort of impossible to not feel a twinge of nostalgia for the finitude of solid-matter, extended-play singles with copious remixes, to feel gratitude for the chemically balanced variety that emerged from the rigid discipline-and, yes, probably payola-of radio DJ charts. Many of the songs on this list don’t actually feel like part of our past, but still linger as representations of our eternal present. Consequently, the songs that so many of us cherished in the ’90s lived on in our own personal “shuffle play” soundtracks long after the likes of Janet Jackson, Prince, and Alanis Morissette couldn’t land a Billboard number one hit for love or money. In a more philosophical sense, the decade ended just as MP3 culture was really starting to forever change the way singles operate in our lives. Maybe it was simply that the ’90s represented nostalgia’s last big blowout in tandem with the death throes of physical media. And need I mention that few songs sat at the top of the charts in the ’90s longer than a 1973 ditty by Elton John?
The first time I heard “Vogue” on the radio, I wondered why my local pop music station was playing a disco song from 1978.
And if that tidbit weren’t enough to boot you off the good-time train trip alongside memory lane, you could still arguably never compete with the decade itself in terms of how much it deified the past.
Is it fair to say that many of us attach no actual “nostalgia,” in the strictest sense of the word, to the singles of the 1990s? In one putrid sense, the decade began with back-to-back number one hits from Phil Collins and Michael Bolton.
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