Hit Parade | Music History and Music Trivia

Think you know music? Hit Parade, the pop-chart history podcast from Slate, is back with a new episode of The Bridge. In this monthly mini-episode of Hit Parade, host Chris Molanphy answers some listener mail and invites one contestant onto the show to play some music trivia. Players also have the opportunity to turn the tables on him: They get a chance to try to stump Molanphy, a music journalist for the past 25 years, with their own trivia question. This month, The Bridge tackles the Rock & Roll Hall of Fame, and some some music trivia from the ‘00s. Play along at home and quiz yourself by listening to the The Bridge here. If you’d like to be a contestant on an upcoming show, sign up for a Slate Plus membership, and then enter as a contestant here. You can also enter if you’re already a Slate Plus member. Want your question featured in an upcoming show? Email [email protected]. Podcast production by T. J. Raphael Hosted on Acast. See acast.com/privacy for more information.

Bon Jovi are many things: platinum-selling, chart-topping and now, Hall of Fame–inducted. That angers music critics, who have been slagging off this band of hard-rock prom kings since the 1980s. Among the haters is Hit Parade host Chris Molanphy, who has loathed Bon Jovi since high school. But even he can’t deny it: Bon Jovi are hugely influential. In the wake of their Rock and Roll Hall of Fame induction, Chris puts aside his animus to explain how the biggest band in hair metal have remained strangely relevant—thanks to their deathless hits, their album sales and, more recently, their influence on a certain hair-metal-loving Swedish pop producer. Email: [email protected] Hosted on Acast. See acast.com/privacy for more information.

Think you know music? Hit Parade, the pop-chart history podcast from Slate, is rolling out a new feature. Every month, the show will test a listener contestant in a special mini episode called The Bridge. Host Chris Molanphy will invite one person onto the show to play some music trivia, and contestants have the opportunity to turn the tables on him: They’ll get a chance to try to stump Molanphy, a music journalist for the last 25 years, with their own trivia question. If you want to play along at home and quiz yourself, listen to the first episode of The Bridge here. If you’d like to be a contestant on an upcoming show, sign up for a Slate Plus membership, and then enter as a contestant here. You can also enter if you’re already a Slate Plus member. Email: [email protected] Podcast production by T. J. Raphael Hosted on Acast. See acast.com/privacy for more information.

In 1998, Madonna was at a career crossroads. After dominating the ’80s with hits like “Like a Virgin” and “Open Your Heart,” she spent the first half of the ’90s wavering between roles as a provocateur (Erotica, Sex) and adult-contemporary balladeer (“I’ll Remember,” “Take a Bow”). That’s when she took a sharp left turn, working with producers and deejays in the burgeoning electronica scene. If it even was a scene: The very term “electronica” was a music-business confection, and by 1997 it was more hype than hit. But the result of Madonna’s experiment—her acclaimed ’98 album Ray of Light—was not only one of her biggest smashes ever. It also helped turn electronic music into viable pop. Email: [email protected] Hosted on Acast. See acast.com/privacy for more information.

Watching this year’s Grammy Awards, it’s clear hip-hop is the dominant genre in popular music. But back in the ’80s, it was an influential but still underground style looking fora place on the charts and some mainstream respect. That is, until Run-DMC met Aerosmith. This month, how some out-of-favor ’70s rockers teamed up with the top crew in rap to remake an old hit—in the process, opening lanes for a trio of punks-turned-MCs, and a witty hip-hop lothario. We’re still feeling the reverberations today. Hosted on Acast. See acast.com/privacy for more information.

Sometimes record executives and even the musicians themselves get it totally, completely wrong: thinking that throwaway, wacky song was destined for a single’s B-side, only to find it’s actually the No. 1 hit—from the Beatles to Beyoncé. At our first-ever live Hit Parade—recorded at The Bell House in Brooklyn, New York— host and trivia-meister Chris Molanphy and special guest Ted Leo break down some of the most improbable chart-toppers of all time. Hosted on Acast. See acast.com/privacy for more information.

On the Billboard Hot 100, two can be the loneliest number. While having a No. 1 song can define an artist’s career, there’s far less glory in finishing one spot shy of the top slot. Yet some No. 2 hits have gone on to become classics. This month, Chris Molanphy looks at three songs that still loom large in our culture: “Shop Around” by the Miracles; “We Got the Beat” by the Go-Gos; and “Since U Been Gone” by Kelly Clarkson. Hosted on Acast. See acast.com/privacy for more information.

Donna Summer was a hitmaker for two decades and a dancefloor deity for more than three. Her collaborations with Giorgio Moroder and Pete Bellotte were formative in dance, electronic and rock music, influencing everyone from David Bowie and Blondie to Madonna and Moby. But the rock establishment was stinting in its appreciation—whether at Comiskey Park in 1979, or the Rock and Roll Hall of Fame in the 2000s. This month, we examine how Summer became the Queen of Disco…and how she transcended that role altogether. Email: [email protected] Hosted on Acast. See acast.com/privacy for more information.

In 2004, Prince joined Tom Petty onstage at the Rock and Roll Hall of Fame induction ceremony for what is now regarded as the institution’s greatest live performance. They were both first-ballot inductees—but their similarities go much deeper. On this month’s Hit Parade, we track the surprising parallels between two artists gone far too soon: from their fights with the music industry to their hits across genres and generations—and even the songs they gave to Stevie Nicks. Petty and Prince were category-defying, label-infuriating, and among the best pop songwriters of the late 20th century. Hosted on Acast. See acast.com/privacy for more information.

Ever since the ’60s, the recording industry emphasized the album over the single. By the ’80s, they were milking as many hits as possible from an album to convince you to buy it—from Thriller to Hysteria. But in the ’90s, labels changed tactics and tried to kill retail singles—promoting hits to radio that you could only buy on full-length albums. Why? They wanted consumers to shell out for more profitable CDs. As a result, musicians ranging from MC Hammer and Vanilla Ice, to Pearl Jam and Alanis Morissette, to Chumbawamba and Lou Bega became multiplatinum-selling artists. The industry’s ploy paid off, but it also created consumer resentment as people grew tired of paying nearly $20 to acquire one song.Here’s the story of how the recording industry toyed with consumers and chart fans, and how the internet struck back. Hosted on Acast. See acast.com/privacy for more information.

In the mid-1980s, “Do They Know It’s Christmas?” and “We Are the World” gathered dozens of the biggest stars in music to put on a show for a good cause. The two songs spawned imitators, but today, the charity megasingle is a relic of pop music’s past, except around the holidays. This month, we examine how good intentions, pique, excess, and vanity led to the rise and fall of the do-gooder celebrity pop song. Email: [email protected] Hosted on Acast. See acast.com/privacy for more information.

When Elton John came out as bisexual in 1976, it was a really big deal. It was covered on the evening news. There were angry letters and a decline in sales. And for a generation of queer musicians, like George Michael, it was a lesson: Be careful what you reveal about your sex life to the public. On this episode, we look at the friendship, collaboration, and chart rivalry of the two British icons, who collided on the Billboard Hot 100 for one week in 1988—and later topped the chart together. Hosted on Acast. See acast.com/privacy for more information.

In episode two, Chris Molanphy takes a look at the historic week the Beatles swept the entire Billboard Top Five. You can see that chart right here. It’s a feat that’s never been repeated. But the Fab Four’s total domination of the pop charts was both a reflection of their massive popularity and a huge screwup by their American record label. Here’s the story of how Capitol Records nearly sabotaged the biggest rock band of all time. Join Slate Plus! Members get bonus segments, exclusive member-only podcasts, and more. Sign up for a free trial today at Slate.com/gistplus. Hosted on Acast. See acast.com/privacy for more information.

In this debut episode, Chris Molanphy tells the story of “Red, Red Wine”: a song written in the 1960s by a certain journeyman singer-songwriter who loves a Hot August Night. Improbably, it became a reggae song, before the ’60s were even over—and then, even more improbably, in the 1980s it was transformed into a lilting, toasting reggae-pop global smash. And it would have been a flop in America if it hadn’t been for an enterprising deejay, who ignored the record labels and picked his own hits. With this song, he even started a two-year fad and a radio mutiny. Hosted on Acast. See acast.com/privacy for more information.