The ’90s were a simpler time: Beanie Babies, girl power, the Macarena dance craze, fanny packs and dial-up internet. The year 2000 ushered in a new millennium, which caused panic to erupt over a Y2K disaster that never actually happened. Ah, those were the days, right?
Because a little nostalgia never hurt anybody, we’ve revisited—and ranked—some of the most beloved theme songs from our favorite television shows. If you were born anywhere between the mid-’80s and late ’90s, this list is for you.
Disclosure: We focused on TV shows with a target audience of children and preteens, so amazing shows such as In Living Color, Martin, Girlfriends, Living Single and A Different World were purposely left off this list.
Honorable mentions include Waynehead, The Boondocks and The Famous Jett Jackson.
Everybody Hates Chris
Despite not containing any real lyrics besides “Awwww, make it funky now,” this underrated theme transports the viewer all the way back to the ‘80s.
“As Days Go By,” is as family friendly as they come with squeaky-clean lyrics, e.g., “It’s a rare condition, this day and age/ To read any good news on the newspaper page/ Love and tradition of the grand design/ Some people say it’s even harder to find.” Not to mention, the raspiness of Jesse Frederick’s voice feels like a warm blanket at times2
One on One
Starring Flex Alexander and Kyla Pratt, One on One chronicles the ups and downs of a single dad and his teenage daughter living under one roof. For the show’s theme, Flex—who also created and produced the sitcom—enlisted his wife Shanice (“I Love Your Smile”) andgospel singer Tonéx. Together, their vocals are unparalleled and Shanice’s high note (skip to 18 seconds) will take you to church. A remixed version kicked off season 5’s opening credits, but it doesn’t compare to the original.
Rihanna (born Robyn Rihanna Fenty) has been hella busy taking the beauty and fashion industries by storm with the launches of Fenty Beauty and Savage x Fenty, leaving her navy of fans to wonder if she’ll ever release new music again. The 30-year-old style icon told Vogue recently that she’s planning to record a reggae album, which would be the first time she’s done so since 2005’s Music of the Sun. During a sit-down on “The Graham Norton Show” in June, fans rejoiced as the Ocean’s 8 actress confirmed she was “actually in the studio at the moment.”
As reggae celebrates 50 years, we’re digging deep into the Barbados superstar’s discography to rank all the times she nailed the genre.
“Crazy Little Thing Called Love” feat. J-Status
A Girl Like Me, 2006
Not to be confused with Queen’s “Crazy Little Thing Called Love,”Rihanna finds herself gushing over a guy whose mere presence gives her butterflies. Lyrically at times, “Crazy Little Thing Called Love” feels like a continuation of “SOS,” but its distinct dancehall beat sets it apart.
A Girl Like Me, 2006
Rihanna’s not a selfish girl except for when it comes to bae—and she’ll do whatever it takes to receive his full attention, i.e., “You might think I’m greedy, but I just don’t care.” Nonetheless, the then-budding star’s innocence shines through.
“Here I Go Again” feat. J-Status
Music of the Sun, 2005
A perfect blend of pop and reggae, “Here I Go Again” instantly brightens your mood. From the sunny, reggae-infused melody to the song’s relatable lyrics (i.e., “I look into your eyes and then/ My heart remembers when/ And I realize I neva gotten over you”), why wasn’t “Here I Go Again” released as Music of the Sun’s third single?
“You Don’t Love Me (No, No, No)” feat. Vybz Kartel
Music of the Sun, 2005
Rihanna flaunts her Caribbean charm on a well-suited cover of Jamaican singer Dawn Penn’s classic ’94 hit “You Don’t Love Me (No, No, No),” putting her own spin on a beloved song in a way that feels organic and effortless.
Going it alone takes guts, especially when you’ve spent over half of your life as the frontwoman of a wildly successful group, selling millions of records and establishing a mountain of platinum hits. Riding solo means that the public’s criticism grows harsher and the expectations become preposterously higher, but Beyoncé Giselle Knowles-Carter pulled off the transition seamlessly.
At the time, R&B trio Destiny’s Child, who started their musical career in 1990 as Girl’s Tyme, were on a hiatus. Michelle Williams’ Heart to Yours and Kelly Rowland’s Simply Deep were both released within six months of each other respectively. Beyoncé was riding high off the success of Austin Powers in Goldmember, The Fighting Temptations, as well as the smash hit “‘03 Bonnie & Clyde” with future hubby JAY-Z.
Meanwhile, the young starlet’s first solo project was quietly bubbling beneath the surface.
Behind the scenes, Beyoncé was patiently waiting for her turn to dazzle critics. The long-awaited Dangerously In Love had been postponed, which allowed the then 21-year-old more time to record additional tracks, including “Crazy In Love.” Determined to carve out her own destiny (pun intended), Beyoncé enlisted several well-known hitmakers, including Rich Harrison, Scott Storch, Missy Elliot and Bryce Wilson, to create the most anticipated album of 2003.
This designer you’ve never heard of was the go-to designer of the midcentury freakum dress, and made sure every Playboy Bunny’s seam was pressed to perfection.
Love it or hate it, the infamous Playboy bunny suit — iconic strapless corset, bunny ears, pantyhose, bow tie, collar, cuffs, and fluffy cottontail — will forever be immortalized in popular culture as a symbol of female seduction and allure.
But what you probably didn’t know was that Zelda Wynn Valdes, a black woman, sewed the original costumes — and that the late Hugh Hefner personally commissioned her to do it.
But of course, there’s so much more to this incredible woman’s legacy than Hefner’s vision and Playboy lifestyle. The eldest of seven children, Valdes (born as Zelda Christian Barbour) was raised in Chambersburg, Pennsylvania, where she learned to sew from watching her grandmother’s seamstress. Her first attempt at design came when she offered to create a dress for her grandmother. “She said, ‘Daughter, you can’t sew for me. I’m too tall and too big,'” Valdes recalled in a 1994 interview with The New York Times, but the dress she created was a perfect fit. After graduating from Chambersburg High School in 1923, her immediate family moved to White Plains, New York, where Valdes worked at her uncle’s tailoring shop. In the 1930s, she worked as a stock girl at an upscale boutique, where she eventually became the first black sales clerk and tailor. In 1948, Valdes opened her own boutique, called Chez Zelda, making her the first black person to own a store on Broadway in Manhattan.
In her store, Valdes sold her signature low-cut, body hugging gowns, which unapologetically extenuated a woman’s curves. Valdes’ sexy-but-sophisticated dresses were worn and adored by Josephine Baker, Diahann Carroll, Dorothy Dandridge, Ruby Dee, Eartha Kitt, Marlene Dietrich, and Mae West, to name a few. She even designed Maria Ellington’s “Blue Ice” wedding dress when she walked down the aisle and tied the knot with jazz singer Nat King Cole in 1948.
Read more of my latest piece for Shondaland [here].
Following a massively successful album would be a daunting task for most artists. But in 2008, musical icon Mariah Carey eagerly accepted the challenge when she released the long-awaited E=MC².
The 14-track LP felt like a continuation of The Emancipation of Mimi, which was dubbed as Carey’s comeback album. Earning a whopping 10 Grammy Award nominations, TEOMwas a pivotal career moment, and it went on to produce the smash hits, “We Belong Together” and “Don’t Forget About Us.” Selling an upwards of 10 million copies worldwide, MC silenced naysayers and proved that she was capable of achieving commercial success after experiencing a mini career slump in the early 2000s.
As acts like Beyoncé, Lady Gaga and Taylor Swift started to hit their prime respectively, critics foolishly pondered Carey’s lasting power when E=MC² arrived on this day in 2008, claiming that it offered no new feels from its predecessor. During that time, R&B became stagnant and was experiencing somewhat of an identity crisis, but Carey working with people like The-Dream helped keep the genre fresh. The album was also another step in her journey to creative freedom.
“Basically, I’m freer on this album than I’ve ever been. Some of the songs on the last album were cool but maybe not quite as neat as this album,” Carey told The Sun’s “Something for the Weekend,” explaining the album’s physics-inspired title, which can also be seen as a not-so-subtle nod to the singer-songwriter’s musical genius. In a separate interview, she said, “This album is so much about fun and freedom and just the continuation of me feeling emancipated … people ask me all the time, ‘How do you stay relevant? How do you stay current? How do you make music that people continue to respond to?’ You just keep being real, keep being you, stay true to who you were from the beginning.”
For the June issue of EBONY magazine, I interviewed lifestyle blogger Ashlei C. Turner about why naturalistas love twists as an alternative to box braids and locs as summer gets underway. We broke down the differences between Marley, Senegalese, Havana and Mali twists. Oh, and I see you Solange!
For the April/June issue of EBONY magazine, I dove into the history of hair ornaments and how the look came back strong, from what beaded braids signify in South Africa to the role celebrities such as Miriam Makeba and Solange played in modernizing beaded braids in popular culture. In this particular piece, I spoke with Tanisha C. Ford, author of Liberated Threads: Black Women, Style, and the Global Politics of Soul.