Hit Parade | Music History and Music Trivia

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: hitparade@slate.com  Podcast production by T. J. Raphael Learn more about your ad choices. Visit megaphone.fm/adchoices

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: hitparade@slate.com    Learn more about your ad choices. Visit megaphone.fm/adchoices

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.  Learn more about your ad choices. Visit megaphone.fm/adchoices

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.  Learn more about your ad choices. Visit megaphone.fm/adchoices

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.  Learn more about your ad choices. Visit megaphone.fm/adchoices

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: hitparade@slate.com    Learn more about your ad choices. Visit megaphone.fm/adchoices

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.  Learn more about your ad choices. Visit megaphone.fm/adchoices

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.  Learn more about your ad choices. Visit megaphone.fm/adchoices

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: hitparade@slate.com   Learn more about your ad choices. Visit megaphone.fm/adchoices

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. Learn more about your ad choices. Visit megaphone.fm/adchoices