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((short description|Music-related events during the 1980s))
: ''For music from a year in the 1980s, go to [[1980 in music|80]] | [[1981 in music|81]] | [[1982 in music|82]] | [[1983 in music|83]] | [[1984 in music|84]] | [[1985 in music|85]] | [[1986 in music|86]] | [[1987 in music|87]] | [[1988 in music|88]] | [[1989 in music|89]]''
((Multiple issues|
((more citations needed|date=October 2008)) 
((original research|date=January 2021))
))
((Popular music))
This article includes an overview of the famous events and trends in '''[[popular music]] in the 1980s'''.

The 1980s saw the emergence of [[electronic dance music]] and [[New wave music|new wave]], also known as Modern Rock. As [[disco]] fell out of fashion in the decade's early years,<ref name=":0">((cite web|archive-url = https://web.archive.org/web/20101025103728/http://allmusic.com/explore/essay/disco-t2151 |title = Disco|website = AllMusic|first = Alex|last = Henderson|archive-date = 25 October 2010|url = http://allmusic.com/explore/essay/disco-t2151))</ref> genres such as [[post-disco]], [[Italo disco]], [[Euro disco]], and [[dance-pop]] became more popular. [[Rock music]] continued to enjoy a wide audience.<ref>((cite web|url=https://www.allmusic.com/style/new-wave-ma0000002750|title=New Wave Music Genre Overview|website=AllMusic))</ref> [[Soft rock]],<ref>((cite web|url=https://www.allmusic.com/style/soft-rock-ma0000011841|title=Soft Rock Music Genre Overview|website=AllMusic))</ref> [[glam metal]], [[thrash metal]], [[shred guitar]] characterized by heavy distortion, pinch harmonics, and whammy bar abuse became very popular.<ref>((cite web|url=https://www.allmusic.com/style/pop-metal-ma0000002785|title=Pop-Metal Music Genre Overview|website=AllMusic))</ref> [[Adult contemporary music|Adult contemporary]],<ref>((cite web|url=https://www.allmusic.com/style/adult-contemporary-ma0000004445|title=Adult Contemporary Music Genre Overview|website=AllMusic))</ref> [[quiet storm]],<ref>((cite web|archive-url = https://web.archive.org/web/20101025114541/http://allmusic.com/explore/essay/quiet-storm-t2153|title = Quiet Storm|website = AllMusic|first = Alex|last = Henderson|archive-date = 25 October 2010 | url = http://allmusic.com/explore/essay/quiet-storm-t2153))</ref> and [[smooth jazz]] gained popularity. In the late 1980s, [[glam metal]] became the largest, most commercially successful brand of music worldwide.<ref>((cite web|url=https://consequenceofsound.net/2010/09/whatever-happened-to-the-b-listers-of-hair-metal/|title=Whatever Happened To: The B-Listers of Hair Metal |date=September 26, 2010))</ref>

The 1980s are commonly remembered for a great increase in the use of [[digital recording]], associated with the usage of [[synthesizer]]s, with [[synth-pop]] music and other [[electronic music|electronic]] genres featuring non-traditional instruments increasing in popularity. Also during this decade, several major electronic genres were developed, including [[electro (music)|electro]], [[techno]], [[house music|house]], [[Latin freestyle|freestyle]], and [[Eurodance]], rising in prominence during the 1990s and beyond.  Throughout the decade, [[contemporary R&B|R&B]], [[hip hop]], and [[urban contemporary|urban]] genres were becoming commonplace, particularly in the inner-city areas of large, metropolitan cities; rap was especially successful in the latter part of the decade,<ref>((cite news| url=https://www.nytimes.com/1988/08/29/arts/rap-music-brash-and-swaggering-enters-mainstream.html | work=The New York Times | first=Glenn | last=Collins | title=Rap Music, Brash And Swaggering, Enters Mainstream | date=1988-08-29))</ref> with the advent of the [[golden age of hip hop]]. These urban genres—particularly rap and hip hop—would continue their rise in popularity through the 1990s and 2000s.

A 2010 survey conducted by the digital broadcaster [[Music Choice]], which polled over 11,000 European participants, revealed that the 1980s was the most favoured tune decade of the last 40 years.<ref>((cite web |title=1980s voted most popular decade of music |url=https://www.music-news.com/news/UK/32865/Read |website=Music News |access-date=9 January 2021 |date=7 March 2010))</ref>

Popular artists from the 1980s include [[Michael Jackson]], [[Madonna]], [[Prince (musician)|Prince]], [[Whitney Houston]], [[U2]], [[Bruce Springsteen]], [[George Michael]], and [[the Police]].<ref>[https://middermusic.com/80s-musicians/ "40 Best 80s Musicians (Most Iconic Artists of the 80s)"] ''Midder Music''. Retrieved 2023-09-05.</ref>

== Economics ==
[[File:Aankomst zangeres Olivia Newton John op Schiphol Olivia Newton John in de persk, Bestanddeelnr 930-0132.jpg|thumb|upright=0.6|[[Olivia Newton-John]]'s song "[[Physical (Olivia Newton-John song)|Physical]]" spent the most  number of weeks during the 1980s in number one.]]
Reflecting on changes in the [[music industry]] during the 1980s, [[Robert Christgau]] later wrote in ''[[Christgau's Record Guide: The '80s]]'' (1990):

((quote|The '80s were above all a time of international [[corporatization]], as one [[major record label|major]] after another gave it up to media moguls in Europe and Japan. By 1990, only two of the six dominant American record companies were headquartered in the U.S. Bizzers acted locally while thinking globally [[in re]] audiences/markets (will it sell in Germany? Australia? Venezuela? Indonesia now that we've sunk the [[music piracy|pirates]]? the U.S.S.R.?) and artists/suppliers ([[world music]] was a concept whose geoeconomic time had come). After a feisty start, [[independent label]]s accepted [[farm team|farm-team]] status that could lead to killings with the bigs. Cross-promotional hookah became the rule—the [[soundtrack album]], the sponsored tour, the golden-oldie commercial, the T-shirt franchise, the [[music video|video as song ad]] and [[pay to play#In music|pay-for-play]] programming and commodity fetish. Record executives became fewer impresarios than [[arbitrage]]rs, speculating in abstract bundles of rights whose physical characteristics meant little or nothing to them. [[Rock music|Rock]] was mere music no longer. It was reconceived as [[intellectual property]], as a form of [[Capital (economics)|capital]] itself.<ref name="CG">((cite web|url=https://www.robertchristgau.com/xg/bk-cg80/in_decade.php|title=CG 80s: Decade|last=Christgau|first=Robert|author-link=Robert Christgau|year=1990|website=robertchristgau.com|access-date=April 12, 2019))</ref>))

According to Christgau, commercial stardom, as measured by [[music recording sales certification]]s, replaced artistry as an indication of a musician's significance. "When art is intellectual property, image and aura subsume aesthetic substance, whatever exactly that is", he explained. "When art is the capital, sales interface with aesthetic quality—''[[Thriller (Michael Jackson album)|Thriller]]''(('))s numbers are part of its experience."<ref name="CG"/>

== North America ==
((See also|Music history of the United States in the 1980s))

=== Pop ===
The 1980s saw the reinvention of [[Michael Jackson]], and the worldwide superstardom of [[Prince (musician)|Prince]], [[Madonna]], and [[Whitney Houston]], who were all among the most successful musicians during this time.

Michael Jackson, also with [[Prince (musician)|Prince]], was the first African American artist to have his music videos in heavy rotation on [[MTV]], with "[[Beat It]]", and "[[Billie Jean]]". ([[Donna Summer]] placed the first two videos by an African American female artist, with "[[She Works Hard for the Money]]" and "[[Unconditional Love (Donna Summer song)|Unconditional Love]]", both in 1983.) Jackson's ''[[Thriller (album)|Thriller]]'' (1982) is the [[List of best-selling albums|best-selling album of all time]], selling 25 million copies during the decade. The album had sold over 65 million copies. His other album, 1987's ''[[Bad (album)|Bad]]'', has the honour of being the first album in history to have five number-one singles on the [[Billboard Hot 100|'' Billboard'' Hot 100]]. Its accompanying world tour also made history by being the highest-grossing tour by a solo artist in the 1980s, as well as the highest-grossing at the time. In addition to being the biggest-selling artist of the decade, Jackson had nine number-one singles – more than any other artists during the decade – and spent the longest time at number one (27 weeks) in the 1980s. He won numerous awards, including "Artist of the Decade" and "Artist of the Century", and was arguably the biggest star of the 1980s.<ref>((cite news|url=http://www.mtv.com/news/articles/1616537/20090720/jackson_michael.jhtml|title=Michael Jackson's Thriller Set To Become Top-Selling Album Of All Time|last=Anderson|first=Kyle|date=July 20, 2009|work=[[MTV]]|publisher=[[MTV Network]]|access-date=December 29, 2009| archive-url= https://web.archive.org/web/20100109023506/http://www.mtv.com/news/articles/1616537/20090720/jackson_michael.jhtml| archive-date= 9 January 2010 | url-status= live))</ref>

[[Madonna]] was the best-selling female pop music artist of the decade. Her third studio release, ''[[True Blue (Madonna album)|True Blue]]'', became the [[List of best-selling albums|best-selling female album of the 1980s]]. Other Madonna albums from the decade include ''[[Like a Virgin (album)|Like a Virgin]]'', one of the best selling albums of all-time, and ''[[Like a Prayer (album)|Like a Prayer]]'' ("As close to art as pop music gets," said ''[[Rolling Stone]]''). Madonna made music videos a marketing tool and was among the first to make them an art form. Her songs topped several charts, such as: "[[Like a Virgin (song)|Like a Virgin]]", "[[Papa Don't Preach]]", "[[La Isla Bonita]]" and "[[Like a Prayer (song)|Like a Prayer]]". Madonna was named artist of the decade by several magazines and awards.

[[Whitney Houston]] was one of the most successful artists of the decade. Her [[Whitney Houston (album)|eponymous debut studio album]] was the best-selling debut album by a solo artist at the time, and her sophomore album ''[[Whitney (album)|Whitney]]'' is the first female album to debut at No. 1 in the [[Billboard 200|''Billboard'' 200]]. She also became the first and only artist to earn seven consecutive number-one songs on the ''Billboard'' Hot 100,  from "[[Saving All My Love for You]]" in 1985 to "[[Where Do Broken Hearts Go]]" in 1988. Her [[Crossover music|crossover appeal]] on the popular music charts as well as her prominence on [[MTV]] influenced generations of [[African Americans|African American]] artists.<ref>((Cite web|title=Whitney Houston's life, death and musical legacy|url=https://www.france24.com/en/20120212-whitney-houston-troubled-superstar-death-pop-singer-diva|url-status=live|access-date=June 18, 2021|website=France 24|date=12 February 2012|archive-url=https://web.archive.org/web/20120213203221/http://www.france24.com/en/20120212-whitney-houston-troubled-superstar-death-pop-singer-diva |archive-date=2012-02-13 ))</ref>

[[Paula Abdul]] hit it big in 1988. With her debut album ''[[Forever Your Girl]]'', she was the first female to have four number-one singles from a debut album (only [[The Jackson 5]] had done the same with their debut). She had five top ten hits from the album.

By 1980, the [[disco]] genre, largely dependent on [[orchestra]]s, was replaced by a lighter [[synthpop]] production, which subsequently fuelled dance music.

In the latter half of the 1980s, [[teen pop]] experienced its first wave, with bands and artists including [[Exposé (group)|Exposé]], [[Debbie Gibson]], [[Tiffany Darwish|Tiffany]], [[Belinda Carlisle]], [[New Edition]], [[Taylor Dayne]], [[Stacey Q]], [[The Bangles]], [[New Kids on the Block]], [[Laura Branigan]], [[Boy George]] and others becoming teen idols.

Prominent American [[urban pop]] acts of the 1980s include [[Tina Turner]], [[Lionel Richie]], Michael Jackson, Donna Summer, Whitney Houston, [[Chaka Khan]], and [[Diana Ross]]. African-American artists like [[Lionel Richie]] and [[Prince (musician)|Prince]] became some of the decade's biggest stars. Their hit albums included ''[[1999 (Prince album)|1999]]'', ''[[Purple Rain (album)|Purple Rain]]'', and ''[[Sign o' the Times]]'' by Prince and ''[[Lionel Richie (album)|Lionel Richie]]'', ''[[Can't Slow Down (Lionel Richie album)|Can't Slow Down]]'', and ''[[Dancing on the Ceiling]]'' by Richie.

Prince was one of the decade's most prolific artists. He was responsible for artists such as [[Vanity 6]], for whom he wrote the dance chart-topping "[[Nasty Girl (Vanity 6 song)|Nasty Girl]]"; [[Morris Day]] and [[The Time (band)|The Time]], for whom he wrote the top 20 "[[Jungle Love (The Time song)|Jungle Love]]"; [[Sheila E.]], for whom he wrote the top ten songs "[[The Glamorous Life]]" and number 11 "[[A Love Bizarre]]"; and [[Wendy & Lisa]] and [[Apollonia 6]]. He wrote "[[I Feel for You]]" for [[Chaka Khan]], which won him a Grammy for best R&B song; "[[Sugar Walls]]" for [[Sheena Easton]]; and as well as doing a duet with "[[U Got the Look]]", he wrote "[[Manic Monday]]", a number two pop hit for The Bangles. Artists that covered his music included [[Tom Jones (singer)|Tom Jones]], who brought his version of the song "[[Kiss (Prince song)|Kiss]]" into the top 40 for the second time in the decade. [[Melissa Morgan]] brought her cover of "[[Do Me, Baby]]" to the top of the R&B charts in 1986. Other notable artists that covered Prince during the 1980s were [[The Pointer Sisters]] and [[Cyndi Lauper]].<ref>((cite magazine|last=Doyle |first=Patrick |url=https://www.rollingstone.com/music/lists/15-great-prince-songs-that-were-hits-for-other-artists-20160421 |title=15 Great Prince Songs That Were Hits for Other Artists |magazine=Rolling Stone |date=2020-04-14 ))</ref> He also won an Academy Award for the song "[[Purple Rain (song)|Purple Rain]]". In 1989, Irish singer [[Sinéad O'Connor]] recorded a cover of his song "[[Nothing Compares 2 U]]", which would become the biggest song of the year worldwide in the new decade to follow. Prince had four number-one singles and 14 top-ten hits on the Hot 100 Chart.

Lionel Richie teamed with [[Diana Ross]] to record one of the decade's biggest hits "[[Endless Love (song)|Endless Love]]", which topped the Billboard charts for nine weeks. Other songs by Richie, such as "[[All Night Long (All Night)|All Night Long]]" and "[[Hello (Lionel Richie song)|Hello]]" also topped the charts, and he would have a total of five number one hits and thirteen top ten singles. [[Diana Ross]] brought "[[Upside Down (Diana Ross song)|Upside Down]]" to the top spot in 1980; she would have two number-one singles and eight top ten hits in the decade. [[Tina Turner]] topped the charts with "[[What's Love Got to Do with It (song)|What's Love Got to Do with It]]" and scored a total of six top ten singles. [[Donna Summer]]'s "[[She Works Hard for the Money]]" was a continuation of the feminist movement started in the 70s and a rallying cry for those who worked hard and wanted to be treated fairly. She would have five top-ten singles in the decade.

[[Bruce Springsteen]]'s ''[[Born in the U.S.A.]]'', [[AC/DC]]'s ''[[Back in Black]]'', [[Def Leppard]]'s ''[[Hysteria (Def Leppard album)|Hysteria]]'', and [[Bon Jovi]]'s ''[[Slippery When Wet]]'' were some of the decade's biggest-selling albums on the Billboard Top 200 chart.

During the mid-1980s American pop singer [[Cyndi Lauper]] was considered((By whom|date=April 2020)) the "Voice of the [[MTV]] Generation of '80s" and so different visual style that made the world for teens. Her first two albums ''[[She's So Unusual]]'' (1984) and ''[[True Colors (Cyndi Lauper album)|True Colors]]'' (1986) were critically and commercially successful, spawning the hits, "[[Girls Just Want to Have Fun]]", "[[Time After Time (Cyndi Lauper song)|Time After Time]]", "[[She Bop]]", "[[All Through the Night (Cyndi Lauper song)|All Through the Night]]", "[[The Goonies 'R' Good Enough]]", "[[True Colors (Cyndi Lauper song)|True Colors]]" and "[[Change of Heart (Cyndi Lauper song)|Change of Heart]]".

Several British artists made the successful transition to pop during the 1980s and saw great commercial success, such as [[David Bowie]], [[Phil Collins]], [[John Lennon]], [[Billy Ocean]], [[Sheena Easton]] and [[Paul McCartney]]. Many British pop bands also dominated the American charts in the early 1980s. Many of them became popular due to their constant exposure on [[MTV]], these bands included [[The Human League]], [[Culture Club]], [[Duran Duran]], and [[Wham!]]. Between the four, they have had 9 U.S. number ones with hits like "[[Don't You Want Me]]", "[[Karma Chameleon]]", "[[The Reflex]]" and "[[Wake Me Up Before You Go-Go]]". In the later part of the decade, [[Rick Astley]], [[George Michael]] as a solo artist, [[Terence Trent D'Arby]], and [[Fine Young Cannibals]] all found chart success.

At the beginning of the 1980s, Australian artists like [[Olivia Newton-John]], [[Men at Work]], [[Air Supply]], and [[AC/DC]] all had chart success, later in the decade [[INXS]] and [[Crowded House]] scored hits. Olivia Newton-John's hit "[[Physical (Olivia Newton-John song)|Physical]]" would top the Hot 100 for 10 weeks and be the decade's biggest hit in the US; she would have six top ten singles during the 80s.

Canadian artists such as [[Men Without Hats]], [[Bryan Adams]], and [[Corey Hart (singer)|Corey Hart]] achieved huge success during the decade.

American artists such as [[Blondie (band)|Blondie]], [[Christopher Cross]], [[Steve Perry]], [[Toni Basil]], [[Michael Sembello]], [[Matthew Wilder]], [[Kim Carnes]], [[Devo]], [[Karla Bonoff]], [[The Weather Girls]], [[Ray Parker Jr.]], [[Billy Crystal]], [[Eddie Money]], [[Don Johnson]], [[Bruce Willis]], [[Bobby McFerrin]], [[The B-52's]], and [[Eddie Murphy]] also had at least one big hit. 

American artists such as [[Michael Jackson]], [[Whitney Houston]], [[Phil Collins]], [[Madonna]], [[Bruce Springsteen]], [[Kenny Loggins]], [[Kool & the Gang]], [[The Pointer Sisters]], [[Huey Lewis and the News]], [[Billy Joel]], [[Hall & Oates]], [[Prince (musician)|Prince]], [[The Go-Go's]], [[Kenny Rogers]] and [[John Mellencamp]], then known as John Cougar, ruled the charts throughout the decade in the US.<ref>((cite web|url=https://rateyourmusic.com/list/abyss89/who-ruled-the-80s_the-200-biggest-artists-of-the-decade-in-the-usa/|title=Who ruled the 80's:The 200 biggest artists of the decade in the USA|website=RateYourMusic))</ref>  Jackson, Houston, Prince, Madonna, Joel and Springsteen along with [[U2]], [[Dire Straits]], [[Phil Collins]], [[The Police]], [[Queen (band)|Queen]], [[The Rolling Stones]] and [[Eurythmics]] achieved tremendous success worldwide.<ref>((cite web|url = https://tsort.info/music/faq_decade_artists.htm|title = Who were the most successful artists of each decade?|website = Tsort|first = Steve|last = Harwin|date = 13 September 2019))</ref> 

<gallery mode=packed heights=200px>
File:Michael Jackson 1984.jpg|[[Michael Jackson]] is one of the most successful [[Pop music|pop]] music artists in history and has been nicknamed the "[[Honorific nicknames in popular music|King of Pop]]"
File:Madonna_in_concert_wearing_fishnets_1987_(cropped).jpg|[[Madonna]] was the best-selling female pop music artist of the decade
File:Whitney Houston Welcome Heroes 8 (cropped).JPEG|[[Whitney Houston]], nicknamed <nowiki>''</nowiki>[[Honorific nicknames in popular music|The Voice]]<nowiki>''</nowiki>, is one of the biggest selling music artists of all time, with over 220 million records sold worldwide.
File:Prince_by_jimieye.jpg|Recording artist [[Prince (musician)|Prince]] was one of the most influential musicians of the decade. His 1984 [[Purple Rain (album)|''Purple Rain'']] album was certified 13× Platinum by the [[Recording Industry Association of America|RIAA.]]
</gallery>

=== ((anchor|North American rock)) Rock ===
In the 1980s, rock music was more precisely defined and split up into multiple subgenres.

==== Hard rock and heavy/glam metal ====
((unreferenced section|date=January 2017))
[[Image:Metallica_Damaged_Justice_Tour.jpg|thumb|left|upright=1.1|[[Metallica]] in concert, 1988]]
Beginning in 1983 and peaking in success in 1986-1990, the decade saw the resurgence of [[hard rock]] music and the emergence of its [[glam metal]] subgenre. Bands such as [[AC/DC]], [[Queen (band)|Queen]], [[Chicago (band)|Chicago]], [[Def Leppard]], [[Kiss (band)|Kiss]], [[Mötley Crüe]], [[Bon Jovi]], [[Quiet Riot]], [[Scorpions (band)|Scorpions]], [[Europe (band)|Europe]], [[Ratt (band)|Ratt]], [[Twisted Sister]], [[Poison (American band)|Poison]], [[Dokken]], [[Whitesnake]], and [[Cinderella (band)|Cinderella]] were among the most popular acts of the decade. The 1980s saw the emergence of wildly popular hard rock band [[Guns N' Roses]] and the successful comebacks of [[Aerosmith]] and [[Alice Cooper]] in the late 1980s. The success of hard rock act [[Van Halen]] spanned throughout the entire decade, first with singer [[David Lee Roth]] and later with [[Sammy Hagar]]. Queen, which had expanded its music to experimental and crossover genres in the early 1980s, returned to guitar-driven hard rock with ''[[The Miracle (album)|The Miracle]]'' in 1989. Additionally, a few women managed to achieve stardom in the 1980s hard rock scene, including: [[Pat Benatar]], Ann and Nancy Wilson of [[Heart (band)|Heart]], and former [[The Runaways|Runaways]] members [[Joan Jett]] and [[Lita Ford]].

[[File:GNRChorzow090718-77_(42227860380)_(cropped).jpg|thumb|[[Duff McKagan]] and [[Slash (musician)|Slash]] of Guns N' Roses]]
The [[arena rock]] trend of the 1970s continued in the 1980s with bands like [[Styx (band)|Styx]], [[Rush (band)|Rush]], [[Journey (band)|Journey]], [[Foreigner (band)|Foreigner]], [[Starship (band)|Starship]], [[REO Speedwagon]], [[Heart (band)|Heart]], [[ZZ Top]], and [[Aerosmith]].

Traditionally associated (and often confused) with hard rock, heavy metal was also extremely popular throughout the decade, with [[Ozzy Osbourne]] achieving success during his solo career; bands like [[Iron Maiden]], [[Judas Priest]] and [[Dio (band)|Dio]] were also widely popular British acts. [[Speed metal]] pioneer [[Motörhead]] maintained its popularity through the release of several albums. [[Underground music|Underground scenes]] produced an array of more extreme, aggressive metal subgenres: [[thrash metal]] broke into the mainstream with numerous bands, including the genre's U.S. "Big Four" ([[Metallica]], [[Slayer]], [[Anthrax (American band)|Anthrax]] and [[Megadeth]]), as well as [[Exodus (band)|Exodus]], [[Testament (band)|Testament]], [[Overkill (band)|Overkill]], Brazil's [[Sepultura]] and Germany's "[[Teutonic thrash metal|Big Teutonic Four]]": [[Kreator]], [[Destruction (band)|Destruction]], [[Sodom (band)|Sodom]] and [[Tankard (band)|Tankard]]. By the late 1980s, Metallica would achieve mainstream success and would become one of the best-selling music artists of all time. Other styles like [[power metal]], [[death metal]] and [[black metal]] would remain a [[subculture|subcultural]] phenomena.

The decade also saw the emergence of a string of guitar virtuosi: [[Eddie Van Halen]], [[George Lynch (musician)|George Lynch]], [[Joe Satriani]], [[Steve Vai]], [[Randy Rhoads]], [[Jason Becker]] and [[Yngwie Malmsteen]] achieved international recognition for their skills. While considerably less numerous, [[bass guitar]] virtuosi also gained momentum in the 1980s: [[Geddy Lee]] (of [[Rush (band)|Rush]]), [[Billy Sheehan]] (of [[David Lee Roth]] and [[Mr. Big (American band)|Mr. Big]] fame), [[Cliff Burton]] (of [[Metallica]]) and alternative/funk metal bassist [[Les Claypool]] (of [[Primus (band)|Primus]] fame) became famous during that period. Iron Maiden founder and bassist [[Steve Harris (musician)|Steve Harris]] has also been praised numerous times for his galloping style of bass playing.

Both hard rock and heavy metal were extremely popular live genres and bands toured extensively around the globe.

==== Alternative rock ====
[[File: R.E.M., Belgium, 1985.jpg|thumb|One of the first alternative rock bands, [[R.E.M.]] relied on [[campus radio|college radio]] airplay, constant touring, and a grassroots fanbase to break into the musical mainstream.]]

By 1984, a majority of groups signed to [[independent record label]]s were mining from a variety of rock and particularly 1960s rock influences. This represented a sharp break from the futuristic, hyper-rational post-punk years.<ref>Reynolds, p. 392-93.</ref>

Throughout the 1980s, alternative rock was mainly an underground phenomenon. While on occasion a song would become a commercial hit or albums would receive critical praise in mainstream publications like ''[[Rolling Stone]]'', alternative rock in the 1980s was primarily relegated to independent record labels, [[fanzines]] and [[college radio]] stations. Alternative bands built underground followings by touring constantly and regularly releasing low-budget albums. In the case of the United States, new bands would form in the wake of previous bands, which created an extensive underground circuit in America, filled with different scenes in various parts of the country.<ref name="American alt-rock">Erlewine, Stephen Thomas. "[((Allmusic|class=explore|id=essay/|pure_url=yes)) American Alternative Rock/Post-Punk]". [[Allmusic]]. Retrieved May 20, 2006.</ref> Although American alternative artists of the 1980s never generated spectacular album sales, they exerted a considerable influence on later alternative musicians and laid the groundwork for their success.<ref>((cite book|last = Azerrad |first = Michael|date =2001|pages = [https://archive.org/details/ourbandcouldbeyo00mich/page/3 3-5] |title = Our Band Could be Your Life: Scenes from the American Indie Underground, 1981-1991|url = https://archive.org/details/ourbandcouldbeyo00mich |url-access = registration |isbn = 9780316063791|publisher = Little, Brown))</ref>

[[File: The Bangles 2007.jpg|thumb|left|[[The Bangles]] performing at The House of Blues in Cleveland]]
Early American alternative bands such as [[R.E.M.]], The Hits, [[The Feelies]], and [[Violent Femmes]] combined punk influences with [[folk music]] and mainstream music influences. R.E.M. was the most immediately successful; its debut album, ''[[Murmur (album)|Murmur]]'' (1983), entered the Top 40 and spawned a number of [[jangle pop]] followers.<ref name="American alt-rock"/> Alternative and [[indie pop]] movements sprang up in other parts of the world, from the [[Paisley Underground]] of Los Angeles ([[The Bangles]], [[Rain Parade]]) to Scotland ([[Aztec Camera]], [[Orange Juice (band)|Orange Juice]]), Australia ([[The Church (band)|The Church]], [[The Triffids]]), and New Zealand's [[Dunedin sound]] ([[The Clean]], [[The Chills]]).

American indie record labels [[SST Records]], [[Twin/Tone Records]], [[Touch and Go Records]], and [[Dischord Records]] presided over the shift from the [[hardcore punk]] that then dominated the American underground scene to the more diverse styles of alternative rock that were emerging.<ref>Reynolds, p. 390</ref> [[Music of Minnesota|Minnesota]] bands [[Hüsker Dü]] and [[The Replacements (band)|The Replacements]] were indicative of this shift. Both started as punk rock bands but soon diversified their sounds and became more melodic.<ref name="American alt-rock"/>

[[File:NineInchNails.jpg|thumb|alt=Three men performing on stage, one plays guitar, another sings into a microphone and the other plays bass.|[[Nine Inch Nails]]]]

By the late 1980s, the American alternative scene was dominated by styles ranging from quirky alternative pop ([[They Might Be Giants]] and [[Camper Van Beethoven]]), to [[noise rock]] ([[Big Black]], [[Swans (band)|Swans]]) to [[industrial rock]] ([[Ministry (band)|Ministry]], [[Nine Inch Nails]]) and to early [[grunge]] ([[Mudhoney]], [[Nirvana (band)|Nirvana]]). These sounds were in turn followed by the advent of [[Boston (band)|Boston]]'s the [[Pixies (band)|Pixies]] and [[Los Angeles]]' [[Jane's Addiction]].<ref name="American alt-rock"/>

American [[alternative rock]] bands of the 1980s included [[Hüsker Dü]], [[The Replacements (band)|The Replacements]], [[Minutemen (band)|Minutemen]], [[R.E.M.]], [[Dinosaur Jr.]], [[Pixies (band)|Pixies]], and [[Sonic Youth]] which were popular long before the [[grunge]] movement of the early 1990s.

New singers and songwriters included [[Michael Jackson]], [[Bruce Springsteen]], [[Tom Petty]], [[Mark Heard]], [[Lucinda Williams]], [[Patti Smith]], [[Rickie Lee Jones]], [[Terence Trent D'Arby]], [[Stevie Nicks]], [[Suzanne Vega]], [[Cheryl Wheeler]] and [[Warren Zevon]]. Rock and even [[punk rock]] artists such as [[Belinda Carlisle]], [[Michael McDonald (musician)|Michael McDonald]], [[Peter Case]], [[Phil Collins]] and [[Paul Westerberg]] transitioned to careers as solo singers.

In the late 1980s, the term was applied to a group of predominantly female U.S. artists, beginning with [[Suzanne Vega]] whose first album sold unexpectedly well, followed by the likes of [[Tracy Chapman]], [[Nanci Griffith]], [[k.d. lang]] and [[Tori Amos]], who found success first in the United Kingdom, then in her home market.

==== Other trends ====
[[File:Jim Suhler performing with George Thorogood.jpg|thumb|left|[[George Thorogood]] and Jim Suhler performing]]
[[File:Journeymm2002.jpg|thumb|[[Journey (band)|Journey]]]]
Various older rock bands made a comeback. Bands originating from the early to mid-1960s such as [[The Beach Boys]] and [[The Kinks]] had hits with "[[Kokomo (song)|Kokomo]]", "[[Come Dancing (song)|Come Dancing]]" . Bands with popularity in the mid-1970s such as the [[Steve Miller Band]] and [[Steely Dan]] also had hits with "[[Abracadabra (Steve Miller Band song)|Abracadabra]]" and "[[Hey Nineteen]]". Singer and songwriter [[Bruce Springsteen]] released his blockbuster album ''[[Born in the U.S.A.]]'', which produced a record-tying 7 hit singles. [[Stevie Ray Vaughan]] and [[George Thorogood]] sparked a revival of [[Atomic blues]] and [[Blues rock]]. Massively successful hard rock band [[Led Zeppelin]] disbanded after drummer [[John Bonham]]'s 1980 death, while contemporaries [[AC/DC]] continued to have success after the death of former frontman [[Bon Scott]]. [[Country rock]] saw a decline after [[Lynyrd Skynyrd]]'s 1977 plane crash and the 1980 disbanding of the genre's most successful band, [[Eagles (band)|the Eagles]]. [[The Grateful Dead]] had their biggest hit in band history with "[[Touch of Grey]]". [[The Who]] managed to provide the hit songs "[[You Better You Bet]]" and "[[Eminence Front]]" before burning out after the death of their drummer [[Keith Moon]]. [[Neil Diamond]] make a comeback with his 1981 hit song "[[America (Neil Diamond song)|America]]".

[[Hardcore punk]] flourished throughout the early to mid-1980s, with bands leading the genre such as [[Black Flag (band)|Black Flag]], [[Bad Brains]], [[Minor Threat]], [[Suicidal Tendencies]], [[D.O.A. (band)|D.O.A.]], and [[Dead Kennedys]] amongst others. It began to wane in the latter half of the decade, with the [[New York hardcore|New York hardcore scene]] dominating the genre. However, it experienced a jumpstart in the late 1980s with emerging bands such as [[Operation Ivy (band)|Operation Ivy]] and [[Green Day]] that would define not just the so-called "East Bay" sound but impact the next decade's punk and alternative sound. Some of which are still around today.

The 1980s proved a difficult time for many 1960s-70s veterans, many of them unable or unwilling to adapt to current trends. Music icons such as [[Bob Dylan]], [[Neil Young]], and [[The Rolling Stones]] released albums that were often poor quality and critically panned as they attempted to grapple with the changing times. MTV in particular was a problem for many artists, as it put a premium on youthfulness, good looks, and showmanship. Artists who became strongly associated with disco music also fell from grace and were often banned from radio play.

=== Contemporary R&B ===
((See also|Contemporary R&B))
[[File:Janet Jackson 1986 (A&M Publicity photo).jpg|thumb|upright|[[Janet Jackson]]]]
Contemporary R&B originated in the 1980s, when musicians started adding [[disco]]-like beats, high-tech production, and elements of [[hip hop music|hip hop]], [[soul music|soul]] and [[funk]] to [[rhythm and blues]], making it more danceable and modern.<ref name="Rhythms and Rhymes">((Citation | last = Gazzah | first = Miriam | title = Rhythms and Rhymes of Life: music and Identification Processes of Dutch-Moroccan Youth | publisher = Amsterdam University Press | year = 2008 | page = 98 | isbn = 978-90-8964-062-8))</ref> The top mainstream [[R&B]] artists of 1980s included [[Michael Jackson]], [[Whitney Houston]], [[Prince (musician)|Prince]], [[Jermaine Jackson]], [[James Ingram]], [[The S.O.S. Band]], [[Stevie Wonder]], [[Kool & the Gang]], [[Jeffrey Osborne]], [[Al Jarreau]], [[Carl Carlton]], [[Imagination (band)|Imagination]], [[Bill Withers]], [[Smokey Robinson]], [[Rick James]], [[Diana Ross]], [[Lionel Richie]], [[James Brown]], [[Earth, Wind & Fire]], [[New Edition]], [[Evelyn King (singer)|Evelyn King]], [[Patrice Rushen]], [[Lipps Inc.]], [[Chaka Khan]], [[Musical Youth]], [[KC and the Sunshine Band]], [[The Gap Band]], [[The Brothers Johnson]], [[Marvin Gaye]], [[The Jets (Minnesota band)|The Jets]], [[George Benson]], [[DeBarge]], [[Midnight Star (band)|Midnight Star]], [[Deniece Williams]], [[Cheryl Lynn]], [[Club Nouveau]], [[Val Young]], [[Frankie Smith]], [[Linda Clifford]], [[Grover Washington Jr.]], [[Stephanie Mills]], [[Jody Watley]], [[Rockwell (musician)|Rockwell]], [[Rene and Angela]], [[The Whispers]], and [[Freddie Jackson]].<ref name="The New Blue Music">((Citation | last = Ripani | first = Richard J. | title = The New Blue Music: Changes in Rhythm & Blues, 1950-1999 | publisher = Univ. Press of Mississippi | year = 2006 | pages = 130–155, 186–188 | isbn = 1-57806-862-2))</ref>

In the mid-1980s, many of the recordings by artists [[Luther Vandross]], [[Freddie Jackson]], [[Sade Adu|Sade]], [[Anita Baker]], [[Teddy Pendergrass]], [[Peabo Bryson]] and others became widely heard on the new [[quiet storm]] radio format.<ref name="The New Blue Music"/> The term had originated with Smokey Robinson's 1975 album ''[[A Quiet Storm]]''. Quiet storm has been described as "R&B's answer to [[soft rock]] and [[adult contemporary]]—while it was primarily intended for black audiences, quiet storm had the same understated dynamics, relaxed tempos and rhythms, and romantic sentiment."<ref name="Allmusic guide to R&B">((Citation | last = Bogdanov | first = Vladimir |author2= Chris Woodstra, Stephen Thomas Erlewine| title = The New Blue Music: Changes in Rhythm & Blues, 1950-1999 | publisher = Hal Leonard | year = 2003 | pages = xi, 114 | isbn = 978-0-87930-744-8))</ref>

[[File:Donna_Summer_1977.JPG|thumb|left|upright=0.7|[[Donna Summer]]]]
[[Tina Turner]] made a huge comeback during the mid-1980s, while [[Donna Summer]], [[Diana Ross]], [[The Pointer Sisters]] and [[Irene Cara]] had success on the pop charts first half of the decade. [[Whitney Houston]], [[Janet Jackson]], and [[Jody Watley]] had it in the second half of the decade. [[Irene Cara]]'s "[[Flashdance... What a Feeling]]" was the number one song worldwide in 1983, and for the decade of the 80s.<ref>((cite web|url=https://tsort.info/music/ds1980.htm |title=Songs from the 1980s |website=tsort.info ))</ref> Richard J. Ripani wrote that Janet Jackson's third studio album ''[[Control (Janet Jackson album)|Control]]'' (1986) was "important to the development of R&B for several reasons", as she and her producers, [[Jimmy Jam and Terry Lewis]], "crafted a new sound that fuses the rhythmic elements of funk and disco, along with heavy doses of synthesizers, percussion, sound effects, and a rap music sensibility."<ref name="The New Blue Music"/> Ripani wrote that "the success of ''Control'' led to the incorporation of stylistic traits of rap over the next few years, and Janet Jackson was to continue to be one of the leaders in that development."<ref name="The New Blue Music"/> That same year, [[Teddy Riley (new jack swing)|Teddy Riley]] began producing R&B recordings that included hip hop influences. This combination of R&B style and hip hop rhythms was termed ''[[new jack swing]]'', and was applied to artists such as [[Bobby Brown]], [[Keith Sweat]], [[Guy (band)|Guy]], Today, [[Wreckx-n-Effect]], [[Big Daddy Kane]], [[Kool Moe Dee]], Heavy D & the Boyz, Tammy Lucas, Nayobe, Abstrac, Deja, Starpoint, and [[Bell Biv DeVoe]].<ref>J. D. Considine. "After a great 1990, Bell Biv DeVoe to ring in the new year: FINAL Edition". 28 Dec. 1990, The Baltimore Sun. Web. 1 Apr. 2010.</ref>

Michael Jackson remained a prominent figure in the genre in the late 1980s, following the release of his album ''[[Bad (album)|Bad]]'' (1987) which sold 6 million copies in the US in the 80s, and went on to sell more than 30 million copies worldwide.<ref name="Bad 30 million copies">((cite news|url=http://news.bbc.co.uk/2/hi/entertainment/7448908.stm|title=Pop Superstars turn 50|first=Mark|last=Savage|date=2008-08-29|access-date=2008-11-25  | work=BBC News| archive-url= https://web.archive.org/web/20081124013413/http://news.bbc.co.uk/2/hi/entertainment/7448908.stm| archive-date= 24 November 2008 | url-status= live))</ref> Janet Jackson's 1989 album ''[[Janet Jackson's Rhythm Nation 1814]]'' continued the development of contemporary R&B into the 1990s, as the album's title track "[[Rhythm Nation]]" made "use of elements from across the R&B spectrum, including use of a sample loop, triplet swing, rapped vocal parts and blues notes."<ref name="The New Blue Music"/> The release of ''[[Janet Jackson's Rhythm Nation 1814]]'' became the only album in history to produce number one hits on the [[Billboard Charts]] Hot 100 in three separate calendar years—"[[Miss You Much]]" in 1989, "[[Escapade (song)|Escapade]]" and "[[Black Cat (song)|Black Cat]]" in 1990, and "[[Love Will Never Do (Without You)]]" in 1991—and the only album in the history of the Hot 100 to have seven top 5 hit singles.

=== Hip hop ===
[[File:Beastie-boys.jpg|thumb|[[Beastie Boys]] in concert, 1992]]
Encompassing graffiti art, break dancing, rap music, and fashion, hip-hop became the dominant cultural movement of the [[African American]] communities in the 1980s. The Hip hop musical genre had a strong influence on pop music in the late 1980s which continues to the present day.

[[File:Afrika_Bambaataa_and_DJ_Yutaka_(2004).jpg|thumb|left|upright=0.9|[[Afrika Bambaataa]]]]
During the 1980s, the hip-hop genre started embracing the creation of rhythm by using the human body, via the [[vocal percussion]] technique of [[beatboxing]]. Pioneers such as [[Africa Bambaataa]], [[DJ Kool Herc]], [[Melle Mel]], [[Grandmaster Flash and the Furious Five]], [[Whodini]], [[Sugarhill Gang]], [[Doug E. Fresh]],<ref>((cite web|url=http://www.jamaicans.com/news/announcements/IRAWMAdougefresh.shtml |title=Hip Hop Pioneer Doug E. Fresh & Soca Sensation Machel Montano To Host 26th Int'l Reggae & World Music Awards (IRAWMA) |publisher=Jamaicans.com |access-date=2011-04-14 |archive-url=https://web.archive.org/web/20110512223315/http://www.jamaicans.com/news/announcements/IRAWMAdougefresh.shtml |archive-date=12 May 2011 |url-status=dead ))</ref> [[Biz Markie]] and Buffy from the [[Fat Boys]] made beats, rhythm, and musical sounds using their mouth, lips, tongue, voice, and other body parts. "Human Beatbox" artists would also sing or imitate [[turntablism]] scratching or other instrument sounds.

The 1980s also saw many artists make social statements through hip-hop. In 1982, [[Melle Mel]] and Duke Bootee recorded "[[The Message (Grandmaster Flash and the Furious Five song)|The Message]]" (officially credited to Grandmaster Flash and The Furious Five),<ref>((cite web|author=Grandmaster Flash |url=http://www.prefixmag.com/features/grandmaster-flash/interview/26354/ |title=Grandmaster Flash: Interview |publisher=Prefixmag.com |date=2009-02-23 |access-date=2011-04-14| archive-url= https://web.archive.org/web/20110514023542/http://www.prefixmag.com/features/grandmaster-flash/interview/26354/| archive-date= 14 May 2011 | url-status= live))</ref> a song that foreshadowed the socially conscious statements of [[Run-DMC]]'s "[[It's Like That (Run-D.M.C. song)|It's Like That]]" and [[Public Enemy (band)|Public Enemy]]'s "[[Black Steel in the Hour of Chaos]]".<ref>((Harvnb|Rose|1994|pp=53–55)).</ref>

Popular hip hop artists of the 1980s include [[Kurtis Blow]], [[Run D.M.C.]], [[Beastie Boys]], [[N.W.A|NWA]], [[LL Cool J]], [[Public Enemy (group)|Public Enemy]], [[Eric B. & Rakim]], [[Big Daddy Kane]], [[Boogie Down Productions]], [[Kid N Play]], [[MC Lyte]], [[EPMD]], [[Salt N Pepa]],  and [[Ice-T]], [[Schooly D]], [[Slick Rick]], [[Kool Moe Dee]], [[Whodini]], [[MC Hammer]], among others.

=== Electronic music ===
[[File:Model_500.jpg|thumb|[[Juan Atkins|Model 500]]]]
In the 1980s, [[dance music]] records made using only [[Electronic musical instrument|electronic instruments]] became increasingly popular, largely influenced by the electronic music of [[Kraftwerk]] and 1970s [[disco music]]. Such music was originally born of and popularized via regional [[nightclub]] scenes in the 1980s and became the predominant type of music played in [[discothèques]] as well as the [[rave]] scene.

[[House music]] is a style of [[electronic dance music]] which originated in [[Chicago]], Illinois, in the early 1980s.<ref name="Fikentscher">((citation|title=Youth's sonic forces: The club DJ: a brief history of a cultural icon|last=Fikentscher|first=Kai|journal=[[UNESCO Courier]]|publisher=[[UNESCO]]|date=July–August 2000|page=45))</ref> House music was strongly influenced by elements of [[soul music|soul]]- and [[funk]]-infused varieties of [[disco]]. Club play from pioneering DJs like [[Ron Hardy]] and [[Lil Louis]], local dance music record shops, and the popular Hot Mix 5 shows on radio station [[WVAZ|WBMX-FM]] helped popularize house music in Chicago and among visiting DJs & producers from [[Detroit]]. Trax Records and DJ International Records, local labels with wider distribution, helped popularize house music outside of Chicago. It eventually reached Europe before becoming infused in mainstream pop & dance music worldwide during the 1990s.

It has been widely cited that the initial blueprint for [[techno]] was developed during the mid-1980s in Detroit, [[Michigan]], by [[Juan Atkins]], [[Kevin Saunderson]], [[Derrick May (musician)|Derrick May]] (the so-called "Belleville Three"), and [[Eddie Fowlkes]], all of whom attended school together at [[Belleville High School (Belleville, Michigan)|Belleville High]], near Detroit.<ref>Brewster 2006:340–359</ref><ref>Cosgrove 1988a.</ref><ref name=SICKO_UNKNOWN>Sicko 1999</ref><ref>Reynolds 1999:12–40</ref> Though initially conceived as party music that was played on daily mixed radio programs and played at parties given by cliquish, Detroit high school clubs, it has grown to be a global phenomenon.

=== Country music ===
[[Image:WIKI KENNY ROGERS.jpg|thumb|left|upright=0.7|[[Kenny Rogers]], 2004]]
As the 1980s dawned, [[country pop|pop-influenced country music]] was the dominant style, through such acts as [[Kenny Rogers]], [[Ronnie Milsap]], [[T.G. Sheppard]], [[Eddie Rabbitt]], [[Crystal Gayle]], [[Anne Murray]] and [[Dolly Parton]]. The 1980 movie ''[[Urban Cowboy]]'', a romantic comedy starring [[John Travolta]] and [[Debra Winger]], spawned a successful soundtrack album featuring pop-styled country songs, including "[[Lookin' for Love]]" by [[Johnny Lee (singer)|Johnny Lee]], "[[The Devil Went Down to Georgia]]" by the [[Charlie Daniels Band]], "[[Could I Have This Dance]]" by Murray and "[[Love the World Away]]" by Rogers. The songs, and the movie itself, resulted in an early 1980s boom in pop-style country music, and the era is sometimes known as the "Urban Cowboy Movement".

[[File:Randy_Travis_2007.jpg|thumb|upright=0.7|[[Randy Travis]]]]
By the mid-1980s, country music audiences were beginning to tire of country-pop. Although some pop-country artists continued to record and release successful songs and albums, the genre, in general, was beginning to suffer. By 1985, a ''New York Times'' article declared country music "dead". However, by this time, several newcomers were working behind the scenes to reverse this perception.

The year 1986 brought forth several new artists who performed in traditional country styles, such as honky-tonk. This sparked the "new traditionalist" movement, or a return to traditional country music. The most successful of these artists included [[Randy Travis]], [[Dwight Yoakam]], [[Ricky Van Shelton]] and [[Holly Dunn]]. Also, artists like [[Kathy Mattea]] and [[Keith Whitley]], both of whom had been performing for a few years prior, had their first major hits in 1986; Mattea was more folk-styled, while Whitley was pure honky-tonk. But the new traditionalist movement had already taken hold as early as 1981 when newcomers such as [[Ricky Skaggs]] and [[George Strait]] had their first big hits. [[Reba McEntire]] had her first big hit in 1980 followed by 15 other number-one hit singles during the decade. Also, songwriter–guitarist and [[Chet Atkins]] protégée [[Steve Wariner]] also emerged as a popular act starting in the early 1980s. Another boom period for newcomers with new traditionalist styles was in 1989, when artists such as [[Clint Black]], [[Garth Brooks]], [[Mary Chapin Carpenter]], [[Lorrie Morgan]], and [[Travis Tritt]] had their first big hits. It was Whitley who was seen as being one of the torchbearers of the new traditionalist movement, thanks to his pure honky-tonk style in the vein of Lefty Frizzell and others, and his star power was set to rise into the 1990s; however, Whitley was a known heavy drinker, and it was alcohol poisoning that ended his life in May 1989, just weeks after a song about triumph over personal demons – "[[I'm No Stranger to the Rain]]"—became a huge country hit. In keeping with the neotraditionalist movement, [[Dolly Parton]], [[Linda Ronstadt]] and [[Emmylou Harris]] teamed up to release 1987's Platinum-selling ''[[Trio (Dolly Parton, Linda Ronstadt and Emmylou Harris album)|Trio]]'' album.  Composed mostly of traditional songs set to acoustic arrangements, the album won a Grammy in 1988 for best country collaboration.

[[File:RebaMcEntire (cropped).jpg|thumb|left|upright=0.7|[[Reba McEntire]]]]
Vocal duos were also popular because of their harmonies, most notably [[The Bellamy Brothers]] and [[The Judds]]. Several of the Bellamy Brothers' songs included double-entendre' laden [[hook (rhetoric)|hooks]], on songs such as "Do You Love as Good As You Look". The Judds, a mother-and-daughter duo, combined elements of contemporary pop and traditional country music on songs such as "Why Not Me" and "[[Grandpa (Tell Me 'Bout the Good Ol' Days)]]".

[[File:Dolly_Parton_with_square_red_earrings.jpg|thumb|upright=0.7|[[Dolly Parton]]]]
Country music groups and bands continued to rise in popularity during the 1980s. The most successful of the lot was [[Alabama (American band)|Alabama]], a [[Fort Payne, Alabama|Fort Payne]]-based band that blended traditional and pop-country sounds with [[southern rock]]. Their concerts regularly sold out, while their single releases regularly reached No. 1 on the ''Billboard'' [[Hot Country Singles|Hot Country Songs]] chart. Their mellow love ballad side would be most prominent in songs like "[[Feels So Right (song)|Feels So Right]]," "[[When We Make Love (Alabama song)|When We Make Love]]," "[[There's No Way (Alabama song)|There's No Way]]" and "[[If I Had You (Alabama song)|If I Had You]]," while their southern rock influences and Southern pride were most evident on songs like "[[Tennessee River (song)|Tennessee River]]," "[[Dixieland Delight]]" and "Song Of the South." In 1989, Alabama was named the Artist of the Decade by the [[Academy of Country Music]]. By the end of the 1980s, the group had sold more than 24 million albums in the United States.

Ranking just behind Alabama in popularity, as far as groups were concerned, were [[The Oak Ridge Boys]] and [[The Statler Brothers]], both four-part harmony groups with gospel and country-pop stylings. The Oak Ridge Boys found their biggest successes with songs like "Elvira," "Bobbie Sue" and "American Made." The Statlers began the decade with tenor singer [[Lew DeWitt]], but health issues forced his retirement, and he'd be succeeded by [[Jimmy Fortune]]; with Fortune, the Statlers had three No. 1 hits, the biggest of which was "[[Elizabeth (The Statler Brothers song)|Elizabeth]]." The popularity of those three groups sparked a boom in new groups and bands, and by the end of the 1980s, fans were listening to such acts as [[Restless Heart]] and [[Exile (American band)|Exile]], the latter which previously enjoyed success with the pop hit "[[Kiss You All Over]]".

Despite the prevailing pop-country sound, enduring acts from the 1970s and earlier continued to enjoy great success with fans. [[George Jones]], one of the longest-running acts of the time, recorded several successful singles, including the critically acclaimed "[[He Stopped Loving Her Today]]". [[Conway Twitty]] continued to have a series of No. 1 hits, with 1986's "Desperado Love" becoming his 40th chart-topper on the ''Billboard'' Hot Country Singles chart, a record that stood for nearly 20 years. The movie ''[[Coal Miner's Daughter (film)|Coal Miner's Daughter]]'' profiled the life of [[Loretta Lynn]] (with [[Sissy Spacek]] in the lead role), while [[Willie Nelson]] also had a series of acting credits. [[Dolly Parton]] had much success in the 1980s, with several leading movie roles, two No. 1 albums and 13 number-one hits, and many successful tours; she also teamed up with [[Emmylou Harris]] and [[Linda Ronstadt]] in 1987 for the multi-platinum ''[[Trio (Dolly Parton, Linda Ronstadt and Emmylou Harris album)|Trio]]'' album. Others who had been around for a while and continued to have great success were [[Eddy Arnold]], [[Johnny Cash]], [[Merle Haggard]], [[Waylon Jennings]], [[Ray Price (musician)|Ray Price]], [[Hank Williams Jr.]] and [[Tammy Wynette]].

In 1981, [[Jim Reeves]] and [[Patsy Cline]], two artists who died in the 1960s (both in plane crashes), re-emerged in the spotlight when producer Bob Ferguson electronically created the "duet" "[[Have You Ever Been Lonely?|Have You Ever Been Lonely (Have You Ever Been Blue)]]." Neither Reeves nor Cline recorded together during their lifetimes but both recorded some of the same songs, and it was the style of "Have You Ever Been Lonely" that was the most conducive to a duet. The song was a top-5 success on the country chart in early 1982 and even got minor pop airplay.

In addition to newcomer Whitley, top [[classic country]] and influential performers who died during the decade included [[Red Sovine]], [[The Duke of Paducah|Whitey Ford]], [[Marty Robbins]], [[Merle Travis]], [[Ernest Tubb]], [[Wynn Stewart]] and [[Tex Williams]]. Although not directly associated with country music, [[Roy Orbison]], a popular performer with many country music fans and whose styles wound up being influential with many newcomers, died in 1988.

== Europe ==
((See also|Music of the United Kingdom (1980s)||Neue Deutsche Welle))

=== ((anchor|European rock)) Rock ===

==== Post-punk ====
[[File:ThePolice_2007.jpg|thumb|right|[[The Police]], regarded by ''Rolling Stone'' as "possibly the biggest band in the world", November 1983.<ref>((cite magazine |title=Anglomania: The Second British Invasion |url=https://www.rollingstone.com/music/music-news/anglomania-the-second-british-invasion-52016/ |access-date=29 April 2019 |magazine=Rolling Stone))</ref>]]

Some of the most successful [[post-punk]] bands at the beginning of the decade, such as [[Siouxsie and the Banshees]] and [[the Psychedelic Furs]], also continued their success during the 1980s. Members of [[Bauhaus (band)|Bauhaus]] and [[Joy Division]] explored new stylistic territory as [[Love and Rockets (band)|Love and Rockets]] and [[New Order (band)|New Order]] respectively.<ref name=Bogdanov2002NewWave1337-8/>

The second generation of British post-punk bands that broke through in the early 1980s, including [[the Smiths]], [[the Jesus and Mary Chain]], [[the Cure]], [[The Fall (band)|the Fall]], [[the Pop Group]], [[the Mekons]], [[Echo and the Bunnymen]] and [[Teardrop Explodes]], tended to move away from dark sonic landscapes.<ref name=Bogdanov2002NewWave1337-8>V. Bogdanov, C. Woodstra and S. T. Erlewine, ''All Music Guide to Rock: the Definitive Guide to Rock, Pop, and Soul'' (Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ((ISBN|0-87930-653-X)), pp. 1337-8.</ref>

Even though [[the Police]]'s first hit song "[[Roxanne (The Police song)|Roxanne]]" was written by [[Sting (musician)|Sting]] in 1978 (reaching number 12 in the UK Charts that year), the song continued to grow in popularity in the 1980s along with the band. Even though The Police had their roots in post-punk, their eventual success (four consecutive UK number-one studio albums) and mega-stardom came from being able to pack the biggest stadium rock venues such as [[Wembley Stadium|Wembley]], the [[Oakland Coliseum]] and the [[Estádio do Maracanã|Maracanã]] in [[Rio de Janeiro]]. Aside from U2, they are the only other band with post-punk origins to go on and achieve the kind of global success they did. Ireland's [[U2]] incorporated elements of religious imagery together with political commentary into their often anthemic music, and by the late 1980s had become one of the biggest bands in the world.<ref>F. W. Hoffmann and H. Ferstler, ''Encyclopedia of Recorded Sound, Volume 1'' (New York, NY: CRC Press, 2nd edn., 2004), ((ISBN|0-415-93835-X)), p. 1135.</ref>

Although many post-punk bands continued to record and perform, it declined as a movement in the mid-1980s as acts disbanded or moved off to explore other musical areas, but it has continued to influence the development of rock music and has been seen as a major element in the creation of the alternative rock movement.<ref>D. Hesmondhaigh, "Indie: the institutional political and aesthetics of a popular music genre" in ''Cultural Studies'', 13 (2002), p. 46.</ref>

==== New wave music ====
The arrival of [[MTV]] in 1981 would usher in [[New wave music|new wave's]] most successful era. British artists, unlike many of their American counterparts, had learned how to use the music video early on.<ref name=StJames>((Cite web|url=http://findarticles.com/p/articles/mi_g1epc/is_tov/ai_2419100891/pg_1?tag=artBody;col1|title=St. James encyclopedia of Pop Culture))((dead link|date=December 2016|fix-attempted=yes))</ref><ref name=Reynolds>''Rip It Up and Start Again Postpunk 1978-1984'' by [[Simon Reynolds]] Pages 340,342-343</ref> Several British acts signed to independent labels were able to outmarket and outsell American artists that were signed with major labels. Journalists labelled this phenomenon a "[[Second British Invasion]]".<ref name=Reynolds/><ref>((cite web|url=http://nl.newsbank.com/nl-search/we/Archives?p_product=WE&s_site=kansas&p_multi=WE&p_theme=realcities&p_action=search&p_maxdocs=200&p_topdoc=1&p_text_direct-0=0EADB2EE79F08981&p_field_direct-0=document_id&p_perpage=10&p_sort=YMD_date:D&s_trackval=GooglePM|title=Wichita Eagle: Search Results|website=nl.newsbank.com))</ref>

In autumn 1982, "[[I Ran (So Far Away)]]" by [[A Flock of Seagulls]] entered the ''Billboard'' Top Ten, arguably the first successful song that owed almost everything to video.<ref name=Reynolds/> They would be followed by bands like [[Duran Duran]] whose glossy videos would come to symbolize the power of MTV.<ref name=Reynolds/> [[Dire Straits]]' "[[Money for Nothing (song)|Money for Nothing]]" gently poked fun at MTV which had helped make them international rock stars.<ref>M. Haig, ''Brand Royalty: How the World's Top 100 Brands Thrive & Survive'' (Kogan Page Publishers, 2006), p. 54.</ref> In 1983, 30% of the record sales were from British acts. 18 of the top 40 and 6 of the top 10 singles on July 18 were by British artists. Overall record sales would rise by 10% from 1982.<ref name=Reynolds/><ref>((cite web|url=http://www.us.oup.com/us/pdf/ampop2/SR13-Chapter_Outline.pdf|archive-url=https://web.archive.org/web/20120308095041/http://www.us.oup.com/us/pdf/ampop2/SR13-Chapter_Outline.pdf|url-status=dead|title=The 1980s: the digital technology, MTV, and the popular mainstream |website=us.oup.com |archive-date=March 8, 2012))</ref> ''[[Newsweek]]'' magazine featured [[Annie Lennox]] and [[Boy George]] on the cover of one of its issues while ''[[Rolling Stone Magazine]]'' would release an ''England Swings'' issue.<ref name=Reynolds/> In April 1984 40 of the top 100 singles were from British acts while 8 of the top 10 singles in a May 1985 survey were of British origin.<ref>"[http://news.bbc.co.uk/1/hi/entertainment/1946331.stm UK acts disappear from US charts]", ''BBC News'', retrieved 01/07/09.</ref> Veteran music journalist [[Simon Reynolds]] theorized that similar to the first British Invasion the use of black American influences by the British acts helped to spur success.<ref name=Reynolds/> Commentators in the mainstream media credited [[MTV]] and the British acts with bringing colour and energy to back to pop music while rock journalists were generally hostile to the phenomenon because they felt it represented image over content.<ref name=Reynolds/> MTV continued its heavy rotation of videos by new wave-oriented acts until 1987 when it changed to a [[Heavy metal music|heavy metal]] and rock-dominated format.<ref>((cite news|url=https://www.nytimes.com/1988/06/15/arts/the-pop-life-681988.html|title=The Pop Life|first=Stephen|last=Holden|work=The New York Times |date=June 15, 1988 ))</ref>

<gallery mode=packed heights=200px>
File:Depeche_Mode_1985.jpg|[[Depeche Mode]], 1985
File:Frankie Goes to Hollywood in London cropped.jpg|Controversial dance-pop band [[Frankie Goes to Hollywood]], 1985
</gallery>

===== New Romantics =====
[[Image:Duran Duran 1983.jpg|thumb|[[Duran Duran]], circa 1983]]
[[File:Julio Iglesias (Spanje), Bestanddeelnr 923-3697.jpg|thumb|left|upright=0.5|[[Julio Iglesias]] at the [[Eurovision Song Contest 1970]]]]
[[New Romantic]]ism emerged as part of the [[new wave music]] movement in London's nightclub including Billy's and The [[Blitz Kids|Blitz Club]] towards the end of the 1970s. Influenced by [[David Bowie]] and [[Roxy Music]], it developed [[glam rock]] fashions, gaining its name from the frilly [[fop]] shirts of early [[Romanticism]]. New Romantic music often made extensive use of synthesisers. Pioneers included [[Visage (band)|Visage]] and [[Ultravox]] and among the commercially most successful acts associated with the movement were [[Culture Club]], [[Spandau Ballet]] and [[Duran Duran]].<ref name="NRTL">Rimmer, Dave. ''New Romantics: The Look'' (2003), Omnibus Press, ((ISBN|0-7119-9396-3)).</ref> By about 1983, the original movement had dissolved, with surviving acts dropping most of the fashion elements to pursue mainstream careers. Other New Romantic artists included [[Classix Nouveaux]], [[A Flock of Seagulls]], [[Gary Numan]], [[Japan (band)|Japan]], [[Landscape (band)|Landscape]], [[Thompson Twins]], [[Soft Cell]], [[ABC (band)|ABC]], [[the Teardrop Explodes]], [[Yazoo (band)|Yazoo]] and [[Talk Talk]].
((clear))

==== Gothic rock ====
[[Image:The Cure Live Roma 2008 - 4.jpg|thumb|upright=0.8|[[The Cure]] on stage, 2008]]

[[Gothic rock]] music developed out of the post-punk scene in the later 1970s. Notable early gothic rock bands include [[Bauhaus (band)|Bauhaus]] (whose "[[Bela Lugosi's Dead]]" is often cited as the first goth record), [[Siouxsie and the Banshees]], [[The Cure]], [[The Sisters of Mercy]], and [[Fields of the Nephilim]].<ref name=Shuker2005>R. Shuker, ''Popular music: the key concepts'' (Routledge, 2005), p. 128.</ref> Gothic rock gave rise to a broader [[goth subculture]] that included clubs, [[Gothic fashion|various fashion trends]] and numerous publications that grew in popularity in the 1980s, gaining notoriety by being associated by several [[moral panic]]s over suicide and Satanism.<ref>L. M. E. Goodlad and M. Bibby, eds, ''Goth: Undead Subculture'' (Duke University Press, 2007).</ref>

==== Heavy metal ====
[[File: Iron Maiden in the Palais Omnisports of Paris-Bercy (France).jpg|thumb|left|[[Iron Maiden]], pioneers of the [[new wave of British heavy metal]]]]
[[File:OzzyChangingHands02-20-2010.jpg|thumb|upright=0.7|[[Ozzy Osbourne]]]]

In the early 1980s, the [[new wave of British heavy metal]] broke into the mainstream, as albums by [[Judas Priest]], [[Iron Maiden]], [[Saxon (band)|Saxon]] and [[Motörhead]], reached the British top 10. In 1981, Motörhead became the first of this new breed of metal bands to top the UK charts with ''[[No Sleep 'til Hammersmith]]''. After a string of UK top 10 albums, [[Whitesnake]]'s 1987 [[Whitesnake (album)|self-titled album]] was their most commercially successful, with hits, "[[Here I Go Again]]" and "[[Is This Love (Whitesnake song)|Is This Love]]", earning them a nomination for the [[Brit Award]] for Best British Group.<ref name="BritNom">[https://web.archive.org/web/20100920224828/http://brits.co.uk/artist/whitesnake Whitesnake BRITS Profile] BRIT Awards Ltd</ref> Many metal artists, including [[Def Leppard]], benefited from the exposure they received on [[Associated Television|ATV]] and became the inspiration for American [[glam metal]].<ref name=Christie79>I. Christe ''Sound of the Beast: The Complete Headbanging History of Heavy Metal'' (London: HarperCollins, 2003), ((ISBN|0-380-81127-8)), p. 79.</ref> However, as the subgenre fragmented, much of the creative impetus shifted towards America and continental Europe (particularly Germany and Scandinavia), which produced most of the major new subgenres of metal, which were then taken up by British acts. These included [[thrash metal]] and [[death metal]], both developed in the UK; [[black metal]] and [[power metal]], both developed in continental Europe, but influenced by the British band [[Venom (band)|Venom]]; and [[doom metal|doom]], which was developed in the US, but which soon were adopted by many bands from England, including [[Pagan Altar]] and [[Witchfinder General (band)|Witchfinder General]].<ref>D. Weinstein, ''Heavy Metal: The Music and its Culture'' (Cambridge MA: Da Capo, 2000), ((ISBN|0-306-80970-2)), p. 21.</ref>

=== Pop ===
[[Phil Collins]] had three UK number-one singles in the 80s, seven US number-one singles, another with [[Genesis (band)|Genesis]], and when his work with Genesis, his work with other artists, as well as his solo career is totalled, Collins had more top 40 hits on the [[Billboard Hot 100|'' Billboard'' Hot 100]] chart during the 1980s than any other artist.<ref name=Top>((Cite news |first= John |last= Anderson |title= Pop Notes |work= Newsday |date= 7 January 1990 ))</ref> His former Genesis colleague, [[Peter Gabriel]], also had a very successful solo career, which included a US number-one single and three top ten UK hits (including a duet with [[Kate Bush]]). Genesis guitarist [[Mike Rutherford]] also enjoyed several UK and US hits with his project [[Mike + The Mechanics]], which included a US number-one single. [[David Bowie]] saw much greater commercial success in the 1980s than he had in the previous decade, scoring four UK number-one singles, including [[Let's Dance (David Bowie song)|"Let's Dance"]] which proved to be his biggest ever hit. He had a total of ten UK top ten hits during the decade, two in collaboration with other artists.

[[Boy George]] and his band [[Culture Club]] had great success in both the UK and US charts with major hits like "[[Do You Really Want to Hurt Me]]", "[[Time (Clock of the Heart)]]" and "[[Karma Chameleon]]". As well as [[Boy George]] having his own UK number one with his cover of [[Bread (band)|Bread]]'s "[[Everything I Own]]", he is considered a major icon of this era. Liverpool band [[Frankie Goes to Hollywood]]'s initially controversial [[dance-pop]] gave them three consecutive UK number ones in 1984, until they faded away in the mid-1980s.<ref name=Gambaccini1985/> [[Dead or Alive (band)|Dead or Alive]], also from Liverpool, was another popular dance-pop band in the mid-1980s. It was fronted by lead singer [[Pete Burns]].
<!-- Commented out: [[File:JohnLennon-albums-doublefantasy.jpg|thumb|right|200px|The 1980 [[John Lennon]] album, ''[[Double Fantasy]]'', was his last album before his death in December 1980]] -->
Probably the most successful British pop band of the era was the duo [[Wham!]] with an unusual mix of [[disco]], [[Soul music|soul]], [[ballads]], and even [[Rapping|rap]], who had eleven top ten hits in the UK, six of them number ones, between 1982 and 1986.<ref name=Gambaccini1985>P. Gambaccini, T. Rice and J. Rice, ''British Hit Singles'' (6th edn., 1985), pp. 338-9.</ref> [[George Michael]] released his debut solo album, ''[[Faith (George Michael album)|Faith]]'' in 1987, and would go on to have seven UK number-one singles. The 1985 concert [[Live Aid]] held at Wembley Stadium would see some of the biggest British artists of the era perform, with [[Queen (band)|Queen]] widely regarded as stealing the show.<ref>[http://news.bbc.co.uk/1/hi/entertainment/music/4420308.stm "Queen win greatest live gig poll"]. BBC News. 9 November 2005</ref><ref>[https://www.rollingstone.com/music/videos/flashback-queen-steal-the-show-at-live-aid-20130205 "Flashback: Queen Steal the Show at Live Aid"] ((Webarchive|url=https://web.archive.org/web/20171029013749/https://www.rollingstone.com/music/videos/flashback-queen-steal-the-show-at-live-aid-20130205 |date=2017-10-29 )). Rolling Stone. Retrieved 4 April 2013.</ref>

[[Bonnie Tyler]] had major hits with "[[Total Eclipse of the Heart]]" and  "[[Holding Out for a Hero]]", while [[Robert Palmer (singer)|Robert Palmer]]'s had two iconic music videos for "[[Addicted to Love (song)|Addicted to Love]]" and "[[Simply Irresistible (song)|Simply Irresistible]]". The [[Bee Gees]] 1987 single "[[You Win Again (Bee Gees song)|You Win Again]]" reached number one, making them the first group to score a UK #1 hit in each of three decades: the 1960s, '70s, and '80s.<ref>((cite web|url=https://www.songfacts.com/facts/bee-gees/you-win-again|title=You Win Again by Bee Gees - Songfacts|website=www.songfacts.com))</ref> Other British artists who achieved success in the pop charts in the 80s included [[Paul McCartney]], [[Elton John]], [[Culture Club]], [[John Waite]], [[Kim Wilde]], [[The Fixx]], [[Joe Cocker]], [[Rod Stewart]], [[Kate Bush]], [[Billy Idol]], [[Rupert Holmes]], [[Aneka]], [[Mel and Kim]], [[Eddy Grant]], [[Paul Young]], [[Steve Winwood]], [[Elvis Costello]], [[Simple Minds]], [[Billy Ocean]], [[Tears for Fears]], [[UB40]], [[Rick Astley]], [[John Parr]], [[Madness (band)|Madness]] and [[Sade (band)|Sade]].

In 1988, Irish singer [[Enya]] achieved a breakthrough in her career with the album ''[[Watermark (Enya album)|Watermark]]'' which sold over eleven million copies worldwide and helped launch Enya's successful career as a leading [[New-age music|new-age]], [[Celtic music|Celtic]], [[World music|World]] singer.  Dutch band [[Tambourine (band)|Tambourine]] received some notoriety in The Netherlands and Belgium toward the end of the decade.

<gallery mode=packed heights=200px>
File:Bowie 1983 serious moonlight.jpg|[[David Bowie]] saw commercial success during the early 1980s.
File:Phil Collins 1981.jpg|[[Phil Collins]] had more top 40 hits on the Billboard Hot 100 chart during the 1980s
File:George Michael.jpeg|[[George Michael]] was the most successful British pop artist of the 1980s. His debut solo album [[Faith (George Michael album)|''Faith'']] (1987) is one of the best-selling albums of all time, with sales of over 25 million copies.
</gallery>

==== Synthpop ====
((main|Synth-pop))
[[Synthpop]] emerged from [[New wave music|new wave]], producing a form of [[pop music]] that followed [[electronic rock]] pioneers in the 1970s like [[Kraftwerk]], [[Jean Michel Jarre]], and [[Tangerine Dream]], in which the [[synthesizer]] is the dominant musical instrument. The sounds of synthesizers came to dominate the pop music of the early 1980s as well as replacing disco in dance clubs in Europe.

Other successful synthpop artists of this era included [[Pet Shop Boys]], [[Alphaville (band)|Alphaville]], [[Soft Cell]], [[Depeche Mode]], [[New Order (band)|New Order]], [[Gary Numan]], [[The Human League]], [[Thomas Dolby]],  [[Howard Jones (English musician)|Howard Jones]], [[Yazoo (band)|Yazoo]], [[Art of Noise]], [[Bow Wow Wow]], [[Heaven 17]], [[A Flock of Seagulls]], [[Orchestral Manoeuvres in the Dark|OMD]], [[Japan (band)|Japan]], [[Thompson Twins]], [[Visage (band)|Visage]], [[Baltimora]], [[Ultravox]], [[Kano (band)|Kano]], [[Tears for Fears]], [[Eurythmics]], [[Frankie Goes to Hollywood]], [[Kajagoogoo]], [[a-ha]], [[Telex (band)|Telex]], [[Real Life (band)|Real Life]], [[Erasure (duo)|Erasure]], [[Camouflage (band)|Camouflage]], [[London Boys]], [[Modern Talking]], [[Bananarama]], [[Yellow Magic Orchestra]].

<gallery mode=packed heights=200px>
File:Pet shop boys boston concert.jpg|[[Pet Shop Boys]]
File:A-ha cologne1.jpg|[[A-ha]] in concert, 2005
</gallery>
((Clear))

== Latin America ==
((Expand section|date=March 2013))

=== Pop ===
[[File:Marco_Antonio_Solís_viña_del_mar_4.jpg|thumb|left|upright=0.8|[[Marco Antonio Solis]]]]
[[File: Lucía_Leticia_Méndez_Pérez.jpg|thumb|upright=0.65|[[Lucia Mendez]] in 1980, she opened herself to a wider audience of the pop music genre. By way of introduction from Gabriel, Méndez would collaborate with [[Camilo Sesto]], who was also a contributor to the theme song of the production Colorina.]]
The 1980s gave rise to the teenage groups [[Exposé (group)|Exposé]], [[Menudo (band)|Menudo]], [[Timbiriche]], and [[Los Chicos]], as well as emerging teenage stars such as [[Luis Miguel]], [[Sasha Sökol]] and [[Lucero (entertainer)|Lucero]].<ref>((cite web|url=http://www.enelbrasero.com/2014/11/04/alejandra-avalos-es-madrina-de-lujo-en-la-plaza-de-las-estrellas-fotos/|title=Alejandra Ávalos es madrina delujo en plaza de las estrellas|website=enelbrasero.com|date=November 4, 2014|access-date=September 11, 2017|archive-date=September 11, 2017|archive-url=https://web.archive.org/web/20170911205122/http://www.enelbrasero.com/2014/11/04/alejandra-avalos-es-madrina-de-lujo-en-la-plaza-de-las-estrellas-fotos/|url-status=dead))</ref> By 1988, however, the aforementioned Luis Miguel would transform into an adult superstar at age 18 with the hit ''La Incondicional'' (1989). Not too far behind was former Los Chicos' member [[Chayanne]] as he became a leading pop star by the end of the decade, with his 1987 hit ''Fiesta en America''. As young stars begin to rise in Latin music, veterans such as [[Julio Iglesias]], [[José José]], [[Juan Gabriel]], and [[José Luis Rodríguez El Puma]] continue their dominance in Latin music. 1985 saw the worldwide breakthrough success of "[[Conga (song)|Conga]]" by [[Gloria Estefan]] and [[Miami Sound Machine]]. Argentine-Venezuelan singer [[Ricardo Montaner]] joins those veterans with his 1988 hit ''Tan Enamorado''. After the slow decline of [[Fania All-Stars]], the new romantic genre of ''salsa Romantica'' would rise beginning in 1984. Younger salseros such as [[Frankie Ruiz]], [[Luis Enrique (singer)|Luis Enrique]], and [[Eddie Santiago]] would take advantage of this new genre rising salsa to new heights. [[Tejano Music]] starts to give little rise after [[Mazz]] crosses over to Mexico after their albums ''Una Noche Juntos'' and ''No Te Olvidare'' win Grammys.

In 1989, [[Juan Luis Guerra]] scores a major [[Merengue music|Merengue]] hit with ''Ojala que llueva cafe''. In the 1980s, the regional music scene in both Mexico and the Mexican-American community in the United States was dominated by ''[[grupera]]''. This style of Mexican music combines [[cumbia music|cumbia]], [[norteño (music)|norteño]], and rock music.<ref name="stavans">((cite book |last1=Stavans |first1=llan |author-link=Ilan Stavans |title=Latin music: musicians, genres, and themes |url=https://books.google.com/books?id=qE-LBAAAQBAJ&pg=PR18 |date=2014 |publisher=[[ABC-CLIO]] |location=Santa Barbara, California |isbn=978-0-313-34396-4 |page=547 |access-date=October 30, 2014))</ref> The lyrics are rooted with romantic themes including [[broken heart|heartbroken]] songs. Several notable grupera ensembles include [[Los Caminantes]], [[Los Yonic's]], [[Los Bukis]], and [[Los Temerarios]].<ref>((cite web |last1=Pineda |first1=Ricardo |title=Melodía para dos: baladas, gruperos, corazones rotos y cubas 'pintaditas' |url=https://www.vice.com/es_latam/article/r3qzj3/meloda-para-dos-baladas-gruperos-corazones-rotos-y-cubas-pintaditas |website=Vice |access-date=8 August 2019 |language=es |date=12 February 2014))</ref>

In 1985 [[Sheena Easton]] and [[Luis Miguel]] win the [[Grammy Award for Best Mexican/Mexican-American Album|Grammy Award for Best Mexican/Mexican-American Performance]] for "[[Me Gustas Tal Como Eres]]". [[Eugenia León]], representing Mexico, wins the ((interlanguage link|OTI 1985|lt=14th Annual OTI Festival|es)) with her song "El Fandango Aquí".<ref name=OTI>((Cite news |url=https://elpais.com/diario/1985/09/23/radiotv/496274404_850215.html |title=La representante de México, Eugenia León, ganadora del XVI Festival de la OTI |trans-title=Mexico's Representative, Eugenia León, Winner of the 16th OTI Festival |first=Sebastian |last=García |work=[[El País]] |location=Seville |language=es |date=September 23, 1985 |access-date=May 31, 2018))</ref> in 1986 [[Vikki Carr]] wins the [[Grammy Award for Best Mexican/Mexican-American Album|Grammy Award for Best Mexican/Mexican-American Performance]] for ''[[Simplemente Mujer]]''.

=== ((anchor|Latin American rock)) Rock ===
The [[Rock en Español]] movement began around the 1980s. Until the mid-80s the rock scene of most Spanish American countries was not connected, and it was rare for a rock band to gain acclaim and popularity outside its home country.

[[File:Facundo_Cabral.jpg|thumb|200px|right|[[Facundo Cabral]]]]
Argentina, which had the largest national rock scene and music industry, became the birthplace of several influential rock acts. [[Soda Stereo]] from [[Buenos Aires]] is often acclaimed as the most influential rock band of the 80s alongside the solo careers of [[Charly García]], [[Luis Alberto Spinetta]] and the new star [[Fito Páez]] from [[Rosario]]. Soda Stereo was among the first bands to successfully tour across most of Latin America. Argentina developed also during the 80s a ska rock and punk rock scene. The punk movement, which was pioneered by [[Los Violadores]], led to the rise of the [[Buenos Aires Hardcore]] around 1990.

[[File:Los_Jaivas_1972.jpg|thumb|left|upright=0.9|[[Los Jaivas]]]]
In Chile, which was ruled by a [[military dictatorship]] all over the 80s, [[Nueva canción]] protest songs from the 60s and 70s maintained their popularity despite severe censorship. The progressive/folk-rock band [[Los Jaivas]] made a Latin American trademark album with [[Alturas de Macchu Picchu]] [sic] based on [[Pablo Neruda]]'s homonymous poem. The rock band [[Los Prisioneros]] were successful in combining the protest song atmosphere of the 80s with newer trends in rock including punk, ska, new wave and techno. In the late 1980s, new bands such as [[Los Tres]] and [[La Ley (band)|La Ley]] would start to set the trends for the next decade.

In Brazil, even though the 1960s witnessed the phenomenon of [[Jovem Guarda]] and the 1970s saw the appearance of many prolific artists, like [[Raul Seixas]], and bands like [[Os Mutantes]], [[Brazilian rock]]'s explosion began in 1981 with the first expressions of the ''Brazilian new wave'', later renamed the ''New Jovem Guarda'' by the media.
The alterations of the English new wave movement, with its surprising variety of styles, arrived in Brazil through groups and personalities such as [[Blitz (Brazilian band)|Blitz]], [[Camisa de Vênus]], [[Barão Vermelho]], [[Kid Abelha]], [[Paralamas do Sucesso]], ((ill|Ritchie (musician)|lt=Ritchie|pt|Ritchie)), [[Lulu Santos]], [[Rádio Táxi]], [[Marina Lima]], [[Engenheiros do Hawaii]], [[RPM (Brazilian band)|RPM]], Graffiti, [[Ultraje a Rigor]], [[Legião Urbana]], [[Ira!]], [[Titãs]], [[Capital Inicial]], [[Nenhum de Nós]], [[Biquini Cavadão]], [[Lobão (musician)|Lobão]] & Os Ronaldos, [[Léo Jaime]], and innumerous others.
In January 1985, the [[Rock in Rio]] festival took place in [[Rio de Janeiro]], which brought together over one million people to the [[City of Rock|Cidade do Rock]] during the 10 days of the event and is to this day the country's biggest and most influential festival.<ref>((cite web|url=http://www.voltosegunda.com/site/10-maiores-festivais-de-musica-do-mundo/|title=10 maiores festivais de música do mundo|website=Volto Segunda|language=pt|date=March 5, 2016|access-date=February 13, 2017|archive-date=February 14, 2017|archive-url=https://web.archive.org/web/20170214003648/http://www.voltosegunda.com/site/10-maiores-festivais-de-musica-do-mundo/|url-status=dead))</ref> It represents a milestone in [[Freedom of speech|freedom of expression]], as in that same year the country saw the end of the [[Brazilian military government|dictatorship]],<ref name="pavê">((cite web|url=http://musicapave.com/artigos/rockologia-rock-in-rio-e-o-fim-da-ditadura-militar/|title=Rockologia: Rock in Rio e o fim da Ditadura Militar|last=Pinheiro|first=Matheus|website=Música Pavê|language=pt|date=May 20, 2011|access-date=February 13, 2017))</ref><ref>((cite web|url=http://www2.sidneyrezende.com/noticia/112926|title=Rock in Rio: No dia que cai Ditadura, Barão Vermelho faz show histórico|website=Sidney Rezende|language=pt|date=December 11, 2010|access-date=February 13, 2017|archive-date=February 14, 2017|archive-url=https://web.archive.org/web/20170214003501/http://www2.sidneyrezende.com/noticia/112926|url-status=dead))</ref> and it is also responsible for establishing Brazil as a venue for international artists - as, so far, foreign attractions had been rarities.<ref name="pavê"/><ref>((cite web|url=http://super.abril.com.br/cultura/rock-in-rio-todo-mundo-junto/|title=Rock in Rio: Todo mundo junto!|website=[[Superinteressante]]|language=pt|date=October 31, 2004|access-date=February 13, 2017))</ref>

[[File:Maldita_Vecindad_y_los_Hijos_del_Quinto_Patio_02.jpg|thumb|[[Maldita Vecindad]] in concert]]
In Mexico, the Rock music scene at the time first saw a heavy lack of opportunity as musical acts could not make a solid living from playing alone. Other key factors were that of economic and political instability. Many consider this decade as the [[La Década Perdida|lost decade]]. The government would not allow racy-themed content on television and airwaves, music festivals were not allowed. The music that dominated Mexico and much of Latin America during this era was mostly teen-flavored acts like [[Menudo (band)|Menudo]], [[Timbiriche]], [[Flans]] and others.

Rock acts could not land any recording deals because record label executives were much more interested in selling listeners a colourful, hip, and trendy image to the general public ranging from youngsters to middle-aged adults.

[[File:3478e3bec764590852463150b8cc014d3bfe7c84 hq.jpg|thumb|166px|left|[[Caifanes]] in 1990]]

With the strong impact of Argentine and [[La Movida Madrileña|Spanish rock bands]] by the mid-1980s, the local Mexican scene would begin to develop acts that would generate an identity of its own. Among these were bands like [[Size (band)|Size]], [[El Tri (band)|El Tri]], [[Maldita Vecindad]], [[Los Amantes de Lola]], Kerigma, Neón, [[Rostros Ocultos]], [[Kenny y los Eléctricos]], [[Maná]] and [[Caifanes]]. This last one is considered by many to be Mexico’s most iconic band of all time.

=== Salsa ===
The [[salsa music]] had developed in the 1960s and '70s by Puerto Rican and [[Cuba]]n immigrants to the [[New York City]] area but did not enter into mainstream popularity in Latin America until the late 1980s. The salsa music became together with [[cumbia]] the two most popular dance music but did not penetrate other countries outside the Caribbean as cumbia did.


The 1980s were a time of diversification, as popular salsa evolved into sweet and smooth [[salsa romantica]], with lyrics dwelling on love and romance, and its more explicit cousin, [[salsa erotica]]. Salsa Romantica can be traced back to ''Noches Calientes'', a 1984 album by singer [[José Alberto "El Canario"]] with producer Louie Ramirez. A wave of romantic singers found a wide audience among Latinos in both New York and Puerto Rico.<ref>Manuel, ''Popular Music of the Non-Western World'', pg. 49</ref> The 1980s also saw salsa expand to Mexico, [[Argentina]], [[Peru]], Europe and Japan, and diversify into many new styles.

In the 1980s, some performers experimented with combining elements of salsa with [[hip hop music]], while the producer and pianist [[Sergio George]] helped to revive salsa's commercial success. He created a sound based on prominent trombones and a rootsy, mambo-inspired style. He worked with the [[Japanese salsa]] band [[Orquesta de la Luz]], and developed a studio orchestra that included [[Tito Nieves]], Celia Cruz, José Alberto, [[La India]], [[Tito Puente]] and [[Luis Enrique (singer)|Luis Enrique]]. The Colombian singer Joe Arroyo first rose to fame in the 1970s but became a renowned exponent of [[Colombian salsa]] in the 1980s. Arroyo worked for many years with the Colombian arranger [[Fruko y sus Tesos|Fruko and his band Los Tesos]].<ref>Steward, pgs. 493–497</ref>

=== Merengue ===
[[Merengue music]] would hit its golden years during the 1980s starting in the late 70s with acts such as [[Wilfrido Vargas]], [[Johnny Ventura]], and [[Fernando Villalona]]. Their orchestras would also churn future solo acts such as [[Eddy Herrera]] and [[Rubby Perez]]. By the end of the decade, La Coco Band would reinvent merengue with a more comedic style.

== Oceania ==
[[File:ACDC_-_Toronto_November_7,_2008.JPG|thumb|left|[[AC/DC]] performing]]
Australian rock band [[INXS]] achieved international success during the decade with a series of hit recordings, including the albums ''[[Listen Like Thieves]]'' (1985), ''[[Kick (INXS album)|Kick]]'' (1987), and the singles "[[Original Sin (INXS song)|Original Sin]]" (1984), "[[Need You Tonight]]" (1987), "[[Devil Inside (INXS song)|Devil Inside]]" (1988) and "[[New Sensation]]" (1987).<ref name="Kent">((cite book |title=[[Kent Music Report|Australian Chart Book 1970–1992]] |last=Kent |first=David |author-link= David Kent (historian)|publisher=Australian Chart Book|location=[[St Ives, New South Wales|St Ives]], Sydney |year=1993 |isbn=0-646-11917-6 )) Note: Used for Australian Singles and Albums charting until ARIA created their own charts in mid-1988.</ref><ref name="AusCharts">((cite web|url=http://australian-charts.com/showinterpret.asp?interpret=INXS |title=INXS discography |publisher=Australian Charts Portal |access-date=2008-11-16 |url-status=dead |archive-url=https://web.archive.org/web/20140302214619/http://www.australian-charts.com/showinterpret.asp?interpret=INXS |archive-date=2014-03-02 ))</ref><ref name=AMGSingles>((cite web|url=((Allmusic|class=artist|id=p4555/charts-awards/billboard-singles|pure_url=yes)) |title=INXS > Charts & Awards > Billboard singles|publisher=Allmusic|access-date=2008-03-06))</ref><ref name=BBalbums>((cite web|url=((BillboardURLbyName|artist=inxs|chart=all)) |title=Artist Chart History - INXS - Albums|publisher=Billboard.com|access-date=2008-03-06))</ref>

[[Kylie Minogue]]’s first single, "[[The Loco-Motion|Locomotion]]", became a huge hit in Minogue's native Australia, spending seven weeks at number one on the Australian singles chart. The single eventually became the highest-selling Australian single of the decade. Throughout Europe and Asia, the song also performed well on the music charts, reaching number one in Belgium, Finland, Ireland, Israel, Japan, and South Africa.

The Australian rock band [[Men at Work]] achieved break-out success in 1981 and went on to have several hits on the international charts.
[[File:Hutchence-INXS.jpg|thumb|upright=0.7|[[Michael Hutchence]] singing during an [[INXS]] concert, early 1980s]]

[[The Church (band)|The Church]], [[Real Life (band)|Real Life]], [[Opus (Austrian band)|Opus]] and [[Midnight Oil]] also had some notable hits on the international charts.

[[Rick Springfield]] was well known in the early 1980s, and had several hits.

In 1980, New Zealand rock band [[Split Enz]] released their album ''[[True Colours (Split Enz album)|True Colours]]'', which became an international success.  After the band broke up in 1984, [[Neil Finn]], the younger brother of Tim Finn who had become Split Enz's de facto frontman after his departure in 1983, went on to form [[Crowded House]] in New Zealand in 1985.  In 1986 [[Crowded House]] released their successful self-titled debut album, which went to number one in Australia and number three in New Zealand, as well as reaching the top ten in Canada and top 20 in the United States. It spawned the song "[[Don't Dream It's Over]]", which hit number one in New Zealand and Canada, number two in the United States, and number eight in Australia, and has since become a pop/rock anthem in [[Australasia]]. Crowded House's follow-up album ''[[Temple of Low Men]]'', released in 1988, did not achieve the same success as their debut but was still popular in the band's homelands of New Zealand and Australia...

The New Zealand band [[Mi-Sex]] had success with its hit single, "[[Computer Games (song)|Computer Games]]"

Other regional bands of note were [[The Swingers]], [[Coconut Rough]], [[The Crocodiles]] and Peking Man.

[[The Jets (Minnesota band)|The Jets]], a [[Tonga]]n-American band, had several hits on the international charts in the late 1980s.

== Asia ==
((main|J-pop|Indian pop|C-pop|K-pop))
((see also|Synthpop|Electro (music)|House music|Techno))
((Expand section|date=September 2011))

In Japan, bands such as [[Shonen Knife]], [[Boredoms]], [[The Star Club]], [[X Japan]], [[Dead End (band)|Dead End]] and [[The Stalin]] began in the Japanese rock bands and [[Visual kei]] emerged in the 1980s with bands such as [[X Japan]], [[Buck Tick]] and [[D'erlanger]]. Japanese noise rock emerged in the 1980s with bands such as [[Melt-Banana]], [[Zeni Geva]] and [[Guitar Wolf]] in the Japanese indies scene.

[[City pop]], an adult-oriented genre with western influences of [[disco]], [[funk]], [[soft rock]], and [[Contemporary R&B|R&B]] also became popular with the Japanese tech boom. Popular artists in the genre were [[Anri]] and [[Tatsuro Yamashita]]. Most songs were about love or living in the city. The genre was barely known outside of Japan. However, city pop has been getting increasingly popular in the West with Internet-borne [[microgenre]] [[vaporwave]]. On May 3, 2019, [[Light in the Attic Records|Light in the Attic]], an independent record label, released Pacific Breeze: Japanese City Pop, AOR, and Boogie 1976-1986. It was a compilation album that showcased what city pop is and its style.

[[Japanese hardcore]] emerged with bands such as [[The Star Club]] and [[GISM]] and [[Japanese idol]] group Onyanko Club began as an Idol group among the teen fans and youth fans.

Besides, Hong Kong saw rapid growth in pop music, both in terms of variety and popularity. Big stars such as [[Leslie Cheung]], [[Anita Mui]], [[Danny Chan]], [[Alan Tam]] and [[Beyond (band)|Beyond]] were icons of the decade. The 1980s is still regarded as the most successful period in Hong Kong music history.

Indonesian artist [[Taco (musician)|Taco]] hit it big in the early 1980s with the single "[[Puttin' On the Ritz]]", an updated version of the classic 1930s song.

==See also==
((Portal|1980s|Music))
* [[1970s in music]]
* [[1990s in music]]
* [[1960s in music]]

==References==
((reflist))

==Sources==
* ((cite book | title = Black Noise: Rap Music and Black Culture in Contemporary America | last = Rose | first = Tricia | publisher = [[Wesleyan University Press]] | year = 1994 | isbn = 978-0-8195-6275-3 | location = Middletown, Connecticut | url-access = registration | url = https://archive.org/details/blacknoiserapmus0000rose ))

==Further reading==
* Hill, Dave (1986). ''Designer Boys and Material Girls: Manufacturing the 80s Pop Dream''. Poole, Eng.: Blandford Press. ((ISBN|0-7137-1857-9))

[[Category:1980s in music| ]]
[[Category:20th century in music]]
[[Category:1980s decade overviews]]

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