Hit Parade | Music History and Music Trivia

In the ’90s, U.K. rock was by Britons, for Britons. The music of the U.K. indie, Madchester and shoegaze scenes fused together into a new wave of guitar bands with punk energy, laddish lyrics and danceable grooves. They called it Britpop. In the motherland, Britpop set the charts alight: Blur faced off against Oasis. Pulp poked fun at the class system. Suede sold androgyny, and Elastica repackaged ’70s art-punk as ’90s pop. But with rare exception, these hits didn’t translate in America. There was no Third British Invasion in the ’90s—with the exception of that one inscrutable Oasis song about a “Wonderwall.” Why did Britpop fire up Old Blighty and flop with the Yanks? Join Chris Molanphy as he tries to define Britppop—was it a scene? a sound? a movement?—and explains how the music boomed and busted faster than a cannonball. Podcast production by Kevin Bendis. Make an impact this Asian American & Pacific Islander Heritage Month by helping Macy’s on their mission to fund APIA Scholars. Go to macys.com/purpose to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the ’90s, U.K. rock was by Britons, for Britons. The music of the U.K. indie, Madchester and shoegaze scenes fused together into a new wave of guitar bands with punk energy, laddish lyrics and danceable grooves. They called it Britpop. In the motherland, Britpop set the charts alight: Blur faced off against Oasis. Pulp poked fun at the class system. Suede sold androgyny, and Elastica repackaged ’70s art-punk as ’90s pop. But with rare exception, these hits didn’t translate in America. There was no Third British Invasion in the ’90s—with the exception of that one inscrutable Oasis song about a “Wonderwall.” Why did Britpop fire up Old Blighty and flop with the Yanks? Join Chris Molanphy as he tries to define Britppop—was it a scene? a sound? a movement?—and explains how the music boomed and busted faster than a cannonball. Podcast production by Kevin Bendis. Make an impact this Asian American & Pacific Islander Heritage Month by helping Macy’s on their mission to fund APIA Scholars. Go to macys.com/purpose to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices

Before 1964, British bands couldn’t get anywhere on the U.S. charts. Then suddenly, after a certain Fab Four broke, they were everywhere. By 1965, they had locked down our Top 10. In 1981, a new generation of U.K. acts armed with synthesizers were largely shut out of the Hot 100 once again. But then a new video channel called MTV changed the game—helped by some very pretty men in dapper suits. By 1983, half of the U.S. Top 40 had a British accent. What did these two movements have in common, besides screaming fans and impressive hair? Join Chris Molanphy as he dissects these two bloodless coups that rebooted our hit parade. These Invasions were about as easy as a nuclear war. Podcast production by Kevin Bendis. Make an impact this Earth Month by helping Macy’s on their mission to bring more parks to more people across the country. Go to macys.com/purpose to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices

Before 1964, British bands couldn’t get anywhere on the U.S. charts. Then suddenly, after a certain Fab Four broke, they were everywhere. By 1965, they had locked down our Top 10. In 1981, a new generation of U.K. acts armed with synthesizers were largely shut out of the Hot 100 once again. But then a new video channel called MTV changed the game—helped by some very pretty men in dapper suits. By 1983, half of the U.S. Top 40 had a British accent. What did these two movements have in common, besides screaming fans and impressive hair? Join Chris Molanphy as he dissects these two bloodless coups that rebooted our hit parade. These Invasions were about as easy as a nuclear war. Podcast production by Kevin Bendis. Make an impact this Earth Month by helping Macy’s on their mission to bring more parks to more people across the country. Go to macys.com/purpose to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices

Alecia Moore was so fearless, they put an exclamation point in her name. Pink—a.k.a. P!nk—was full of bravado from the moment she broke at the turn of the millennium, singing a frothy style of teen pop&B. She was promoted as ethnically ambiguous and sold to white and Black audiences as a sassy Total Request Live starlet. She even joined an all-star remake of “Lady Marmalade.” But Pink felt misrepresented, even Missundaztood—so she recorded an album by that name, fusing rock guitar, dance beats and filter-free lyrics. She called out shiftless boyfriends, other pop stars, even the president of her record label in the lyrics of her hits, becoming the pop fan’s rock star. Join Chris Molanphy as he explains how Pink defined her own genre fusing punk attitude and soaring melodies into 21st-century self-empowerment music. She made herself into a rock star, simply by calling herself one. Who knew? Podcast production by Kevin Bendis. Make an impact this Women’s History Month by helping Macy’s on their mission to fund girls in STEM. Go to macys.com/purpose to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices

Alecia Moore was so fearless, they put an exclamation point in her name. Pink—a.k.a. P!nk—was full of bravado from the moment she broke at the turn of the millennium, singing a frothy style of teen pop&B. She was promoted as ethnically ambiguous and sold to white and Black audiences as a sassy Total Request Live starlet. She even joined an all-star remake of “Lady Marmalade.” But Pink felt misrepresented, even Missundaztood—so she recorded an album by that name, fusing rock guitar, dance beats and filter-free lyrics. She called out shiftless boyfriends, other pop stars, even the president of her record label in the lyrics of her hits, becoming the pop fan’s rock star. Join Chris Molanphy as he explains how Pink defined her own genre fusing punk attitude and soaring melodies into 21st-century self-empowerment music. She made herself into a rock star, simply by calling herself one. Who knew? Podcast production by Kevin Bendis. Make an impact this Women’s History Month by helping Macy’s on their mission to fund girls in STEM. Go to macys.com/purpose to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices

One of the most improbable blockbuster successes of the ’90s was Hootie and the Blowfish: a South Carolina bar band fronted by a Black lead singer that played jangly alt-pop. That singer, Darius Rucker, built a career that’s one of a kind. Rucker’s tastes growing up were eclectic, as were the influences on his young bandmates. Their Cracked Rear View album took a year to catch on, but then it dominated the charts. The story gets more interesting after Hootie fell off: Darius Rucker’s career is a prime example of how chart success is a product of musical trend. First, Rucker tried to become a neo-soul star. Then he tried his hand at country music, even though Nashville had not produced a major Black solo star since Charley Pride. Join Chris Molanphy as he traces this improbable journey—the role Rucker’s band played in mainstreaming alt-rock, Rucker’s effort to find a genre to call home, and how he finally became a chart-conqueror again.. Podcast production by Kevin Bendis. Make an impact this Black History Month by helping Macy’s on their mission to fund UNCF scholarships for HBCU students. Go to macys.com/purpose to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices

One of the most improbable blockbuster successes of the ’90s was Hootie and the Blowfish: a South Carolina bar band fronted by a Black lead singer that played jangly alt-pop. That singer, Darius Rucker, built a career that’s one of a kind. Rucker’s tastes growing up were eclectic, as were the influences on his young bandmates. Their Cracked Rear View album took a year to catch on, but then it dominated the charts. The story gets more interesting after Hootie fell off: Darius Rucker’s career is a prime example of how chart success is a product of musical trend. First, Rucker tried to become a neo-soul star. Then he tried his hand at country music, even though Nashville had not produced a major Black solo star since Charley Pride. Join Chris Molanphy as he traces this improbable journey—the role Rucker’s band played in mainstreaming alt-rock, Rucker’s effort to find a genre to call home, and how he finally became a chart-conqueror again.. Podcast production by Kevin Bendis. Make an impact this Black History Month by helping Macy’s on their mission to fund UNCF scholarships for HBCU students. Go to macys.com/purpose to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices

The story of Fleetwood Mac is an oft-told rock n’ roll tale: British blues-rock band sells poorly until two Americans join, bringing California vibes and lots of drama. Everybody fights, cheats, drugs, and boozes. Out pops Rumours and tons of hits. It’s more complicated than that. Those two Americans—Stevie Nicks and Lindsey Buckingham—got all the media coverage and wrote many great songs. But the quiet lady behind the keyboards, Christine McVie, actually wrote more of the hits: “Don’t Stop.” “Say You Love Me.” “Hold Me.” “Little Lies.” “Everywhere.” They were all Christine compositions. Join Chris Molanphy as he remembers Christine McVie, who died in late 2022 at age 79, and restores her rightful place as the glue that held Fleetwood Mac together. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

The story of Fleetwood Mac is an oft-told rock n’ roll tale: British blues-rock band sells poorly until two Americans join, bringing California vibes and lots of drama. Everybody fights, cheats, drugs and boozes. Out pops Rumours and tons of hits. It’s more complicated than that. Those two Americans—Stevie Nicks and Lindsey Buckingham—got all the media coverage and wrote many great songs. But the quiet lady behind the keyboards, Christine McVie, actually wrote more of the hits: “Don’t Stop.” “Say You Love Me.” “Hold Me.” “Little Lies.” “Everywhere.” They were all Christine compositions. Join Chris Molanphy as he remembers Christine McVie, who died in late 2022 at age 79, and restores her rightful place as the glue that held Fleetwood Mac together. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

Sam the Sham over the Rolling Stones? The Knack over Donna Summer? Wilson Phillips over Mariah Carey? Glass Animals over Harry Styles? On Billboard’s year-end Hot 100, upsets are quite common. Songs that seemed to dominate the chart all year are defeated by stealthily ubiquitous earworms. Sometimes the obvious song takes the prize: “Hey Jude,” “Every Breath You Take” or “I Will Always Love You.” And then sometimes it’s a one-hit wonder: Domencio Mudugno, Daniel Powter, Gotye, Glass Animals—all won the year-end Hot 100 prize. Join Chris Molanphy as he explains the secrets behind having the hit of the year—and why it doesn’t always go to a superstar. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today, we’re excited to share an episode from Slate’s Decoder Ring that we think you’re going to love. For this episode, a story from Slate senior producer Evan Chung about how Yanni, John Tesh and a number of other surprising acts made it big in the 1990s. It’s a throwback to a simpler time— when musicians struggled to find their big break, but discovered it was possible with a telephone, a television, and our undivided attention. This story originally aired in 2019 on Studio 360 from PRX. We hear from George Veras, Pat Callahan, and John Tesh. This episode was written and produced by Slate’s Evan Chung. Decoder Ring is produced by Willa Paskin and Katie Shepherd. Derek John is Slate’s Executive Producer of narrative podcasts. Merritt Jacob is Senior Technical Director. Learn more about your ad choices. Visit megaphone.fm/adchoices

Sam the Sham over the Rolling Stones? The Knack over Donna Summer? Wilson Phillips over Mariah Carey? Glass Animals over Harry Styles? On Billboard’s year-end Hot 100, upsets are quite common. Songs that seemed to dominate the chart all year are defeated by stealthily ubiquitous earworms. Sometimes the obvious song takes the prize: “Hey Jude,” “Every Breath You Take” or “I Will Always Love You.” And then sometimes it’s a one-hit wonder: Domencio Mudugno, Daniel Powter, Gotye, Glass Animals—all won the year-end Hot 100 prize. Join Chris Molanphy as he explains the secrets behind having the hit of the year—and why it doesn’t always go to a superstar. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

Punk was meant to be angry. But the so-called Angry Young Men of the late ’70s U.K. scene were secret sophisticates in punk clothing. They delivered withering lyrics and snarling attitude over melodies a pop fan could love. In so doing, Elvis Costello, Joe Jackson and Graham Parker helped transform a slew of back-to-basic styles—pub-rock, power-pop, post-punk—into the catchall category New Wave. It would take over the charts at the turn of the ’80s. But the launch of the MTV era forced these sardonic troubadours to adjust their songwriting for a New Romantic age. Join Chris Molanphy as he chronicles the history of three men who wrote the book on alternative rock before it had a name. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

Punk was meant to be angry. But the so-called Angry Young Men of the late ’70s U.K. scene were secret sophisticates in punk clothing. They delivered withering lyrics and snarling attitude over melodies a pop fan could love. In so doing, Elvis Costello, Joe Jackson and Graham Parker helped transform a slew of back-to-basic styles—pub-rock, power-pop, post-punk—into the catchall category New Wave. It would take over the charts at the turn of the ’80s. But the launch of the MTV era forced these sardonic troubadours to adjust their songwriting for a New Romantic age. Join Chris Molanphy as he chronicles the history of three men who wrote the book on alternative rock before it had a name. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the ’70s, funk was pop—the cutting edge of Black music and the way listeners got their groove on, before disco and hip-hop. After James Brown taught a generation a new way to hear rhythm, and George Clinton tore the roof off with his P-Funk axis, nothing would be the same. Rising alongside blaxploitation at the movies, funk took many forms: Curtis Mayfield’s superfly storytelling. War’s low-riding grooves. Kool & the Gang’s jungle boogie. Earth, Wind and Fire’s jazzy crescendos. But when funk began fusing with rock and disco took over the charts, would these acts have to give up the funk? Join Chris Molanphy as he traces the history of funk’s first big decade. You’ll ride the mighty, mighty love rollercoaster and get down just for the funk of it. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the ’70s, funk was pop—the cutting edge of Black music and the way listeners got their groove on, before disco and hip-hop. After James Brown taught a generation a new way to hear rhythm, and George Clinton tore the roof off with his P-Funk axis, nothing would be the same. Rising alongside blaxploitation at the movies, funk took many forms: Curtis Mayfield’s superfly storytelling. War’s low-riding grooves. Kool & the Gang’s jungle boogie. Earth, Wind and Fire’s jazzy crescendos. But when funk began fusing with rock and disco took over the charts, would these acts have to give up the funk? Join Chris Molanphy as he traces the history of funk’s first big decade. You’ll ride the mighty, mighty love rollercoaster and get down just for the funk of it. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

What do you call a song that bombed on the charts back in the day, that now booms out of radios and streaming apps nationwide? Chris Molanphy has a name for these songs: legacy hits. Elton John’s “Tiny Dancer.” Etta James’s “At Last.” The Romantics’ “What I Like About You.” Peter Gabriel’s “In Your Eyes.” Talking Heads’ “Once in a Lifetime.”   Many catalysts can change a song’s trajectory, from movie scenes to stadium singalongs, wedding DJs to evolving tastes. Sometimes the hivemind just collectively decides that this Whitney Houston hit, not that one, is her song for the ages.   Join Chris as he explains how the charts sometimes get it wrong, and how legacy hits correct the record—and counts down 10 of his favorite flops-turned-classics.   Podcast production by Kevin Bendis and Merritt Jacob. Learn more about your ad choices. Visit megaphone.fm/adchoices

What do you call a song that bombed on the charts back in the day, that now booms out of radios and streaming apps nationwide? Chris Molanphy has a name for these songs: legacy hits. Elton John’s “Tiny Dancer.” Etta James’s “At Last.” The Romantics’ “What I Like About You.” Peter Gabriel’s “In Your Eyes.” Talking Heads’ “Once in a Lifetime.”   Many catalysts can change a song’s trajectory, from movie scenes to stadium singalongs, wedding DJs to evolving tastes. Sometimes the hivemind just collectively decides that this Whitney Houston hit, not that one, is her song for the ages.   Join Chris as he explains how the charts sometimes get it wrong, and how legacy hits correct the record—and counts down 10 of his favorite flops-turned-classics.   Podcast production by Kevin Bendis and Merritt Jacob. Learn more about your ad choices. Visit megaphone.fm/adchoices

So, sure—Billy Joel’s first Top 40 hit, way back in 1974, was “Piano Man,” and the nickname stuck. But for a guy who became famous sitting behind 88 keys, few of his biggest hits are really piano songs. In fact, on all three of his No. 1 hits on the Billboard Hot 100, keyboards are not the primary instrument. The truth is, Joel isn’t the Piano Man, he’s the pastiche man. He has openly admitted to borrowing genre tropes, vocal styles, and even specific song hooks from his Baby Boom-era heroes, from Ray Charles to the Beatles to the Supremes. He’s been a jazzy crooner, a saloon balladeer, an anthem rocker, even a pseudo-punk. And on his most hit-packed album, he literally tried on a different song mode on every single—and was rewarded for it. This month, Hit Parade breaks down the uncanny success of pop magpie Billy Joel, the guy who would try anything for a hit: the next phase, new wave, dance craze, any ways. Podcast production by Benjamin Frisch and Kevin Bendis Learn more about your ad choices. Visit megaphone.fm/adchoices