Champagne Supernova Edition Part 2 Image

Champagne Supernova Edition Part 2

26 May 2023 - 58 mins
Podcast Series 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...

58 mins

Series Episodes

I Wanna Rock with Q. Edition Part 1

I Wanna Rock with Q. Edition Part 1

What does a music producer do? If his name is Quincy Jones, a little bit of everything: conducting, arranging, composing. Assembling teams of ace session musicians. Sometimes, even picking a catchy title and telling an artist to go write a song about it— would “Thriller” have worked as well if it had been called “Starlight”? Quincy Jones was pop’s Renaissance Man, and he could not be limited either by genre or by role. He played in jazz bands…produced teen pop hits…discovered young talent…scored Hollywood films…helped invent Yacht Rock and Yacht Soul…even released hit albums under his own name featuring cavalcades of guest vocalists. And he worked with so! many! legends! Ray Charles, Frank Sinatra, Little Richard, Lesley Gore, Aretha Franklin, Chaka Khan … and all that happened before he even met a former child star named Michael Jackson and helped him produce the best-selling album in history. No wonder only Quincy had the clout to wrangle the superstars for the recording of “We Are the World.” Join Chris Molanphy as he tells the story of the music man who truly did it all and is known affectionately by the letter Q. He made the world a better place for you and me. Podcast production by Kevin Bendis. Host Chris Molanphy Learn more about your ad choices. Visit megaphone.fm/adchoices

50 mins

15 June Finished

I Wanna Rock with Q. Edition Part 1

I Wanna Rock with Q. Edition Part 1

What does a music producer do? If his name is Quincy Jones, a little bit of everything: conducting, arranging, composing. Assembling teams of ace session musicians. Sometimes, even picking a catchy title and telling an artist to go write a song about it— would “Thriller” have worked as well if it had been called “Starlight”? Quincy Jones was pop’s Renaissance Man, and he could not be limited either by genre or by role. He played in jazz bands…produced teen pop hits…discovered young talent…scored Hollywood films…helped invent Yacht Rock and Yacht Soul…even released hit albums under his own name featuring cavalcades of guest vocalists. And he worked with so! many! legends! Ray Charles, Frank Sinatra, Little Richard, Lesley Gore, Aretha Franklin, Chaka Khan … and all that happened before he even met a former child star named Michael Jackson and helped him produce the best-selling album in history. No wonder only Quincy had the clout to wrangle the superstars for the recording of “We Are the World.” Join Chris Molanphy as he tells the story of the music man who truly did it all and is known affectionately by the letter Q. He made the world a better place for you and me. Podcast production by Kevin Bendis. Host Chris Molanphy Learn more about your ad choices. Visit megaphone.fm/adchoices

50 mins

15 June Finished

Be My Baby-Baby-Baby Edition Part 2

Be My Baby-Baby-Baby Edition Part 2

Girl groups have long been underestimated—even by the producers and managers who created them. For women listeners, girl groups narrated profound emotions and expressed personal freedom—even when the singers were not so free themselves. For male listeners, girl groups provided inspiration, and a way to express matters of the heart. And for all listeners across rock and soul history, girl groups pushed music forward. In the ’60s, the Shirelles, Marvelettes, Ronettes and Shangri-Las kept rock afloat between Elvis Presley and the Beatles. In the ’70s and ’80s, girl groups from the Emotions to Exposé rebooted dance music. In the ’90s, En Vogue, TLC and Destiny’s Child fused hip-hop style with old-school soul—and the Spice Girls fired up a new generation through Girl Power. Join Chris Molanphy as we shimmy and strut through decades of bops to give girl groups the respect they deserve. You’ll love them tomorrow, because friendship never ends. Podcast production by Kevin Bendis. Want more Hit Parade? Join Slate Plus to unlock monthly early-access episodes. Plus, you’ll get ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of our show page. Or, visit slate.com/hitparadeplus to get access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices

52 mins

31 May Finished

Be My Baby-Baby-Baby Edition Part 1

Be My Baby-Baby-Baby Edition Part 1

Girl groups have long been underestimated—even by the producers and managers who created them. For women listeners, girl groups narrated profound emotions and expressed personal freedom—even when the singers were not so free themselves. For male listeners, girl groups provided inspiration, and a way to express matters of the heart. And for all listeners across rock and soul history, girl groups pushed music forward. In the ’60s, the Shirelles, Marvelettes, Ronettes and Shangri-Las kept rock afloat between Elvis Presley and the Beatles. In the ’70s and ’80s, girl groups from the Emotions to Exposé rebooted dance music. In the ’90s, En Vogue, TLC and Destiny’s Child fused hip-hop style with old-school soul—and the Spice Girls fired up a new generation through Girl Power. Join Chris Molanphy as we shimmy and strut through decades of bops to give girl groups the respect they deserve. You’ll love them tomorrow, because friendship never ends. Podcast production by Kevin Bendis. Want more Hit Parade? Join Slate Plus to unlock monthly early-access episodes. Plus, you’ll get ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of our show page. Or, visit slate.com/hitparadeplus to get access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices

1 hour 3 mins

17 May Finished

We Want It That Way Edition Part 2

We Want It That Way Edition Part 2

When you hear “boy band,” what do you picture? Five guys with precision dance moves? Songs crafted by the Top 40 pop machine? Svengalis pulling the puppet strings? Hordes of screaming girls? As it turns out, not all boy bands fit these signifiers. (Well…except for the screaming girls—they are perennial.) There are boy bands that danced, and some that did not…boy bands that relied entirely on outside songwriters, and those that wrote big hits…boy bands assembled by managers or producers, and quite a few that launched on their own. From Frankie Lymon and the Teenagers to New Kids on the Block, the Monkees to the Jonas Brothers, Boyz II Men to BTS, New Edition to One Direction, and…yeah, of course, Backstreet Boys and *N Sync, boy bands have had remarkable variety over the years. (In a sense, even a certain ’60s Fab Four started as a boy band.) Join Chris Molanphy as he tries to define the ineffable quality of boy band–ness, walks through decades of shrieking, hair-pulling pop history, and reminds you that boy bands generated some of our greatest hits, from “I Want You Back” to “I Want It That Way,” “Bye Bye Bye” to “Dynamite.” Help him “bring the fire and set the night alight.” Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

1 hour 2 mins

27 April Finished

We Want It That Way Edition Part 1

We Want It That Way Edition Part 1

When you hear “boy band,” what do you picture? Five guys with precision dance moves? Songs crafted by the Top 40 pop machine? Svengalis pulling the puppet strings? Hordes of screaming girls? As it turns out, not all boy bands fit these signifiers. (Well…except for the screaming girls—they are perennial.) There are boy bands that danced, and some that did not…boy bands that relied entirely on outside songwriters, and those that wrote big hits…boy bands assembled by managers or producers, and quite a few that launched on their own. From Frankie Lymon and the Teenagers to New Kids on the Block, the Monkees to the Jonas Brothers, Boyz II Men to BTS, New Edition to One Direction, and…yeah, of course, Backstreet Boys and *N Sync, boy bands have had remarkable variety over the years. (In a sense, even a certain ’60s Fab Four started as a boy band.) Join Chris Molanphy as he tries to define the ineffable quality of boy band–ness, walks through decades of shrieking, hair-pulling pop history, and reminds you that boy bands generated some of our greatest hits, from “I Want You Back” to “I Want It That Way,” “Bye Bye Bye” to “Dynamite.” Help him “bring the fire and set the night alight.” Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

1 hour 4 mins

13 April Finished

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