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Speaker 1: Pushkin.

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Speaker 2: Hey there, it's justin Richmond. I want to take a

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Speaker 2: moment to share a podcast with you that I think

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Speaker 2: you'll enjoy. It's called Hit Parade, a show from Slate

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Speaker 2: about chart topping hits and what makes a song a smash.

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Speaker 2: It's hosted by pop chart analyst and our friend Chris Malanfi.

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Speaker 2: Twice a month, Chris tells tales from more than half

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Speaker 2: a century of pop chart history through storytelling, trivia, and

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Speaker 2: song snippets. Peters Sex how artists you love or hate

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Speaker 2: dominated the airwaves and shaped your memories forever. Today, we're

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Speaker 2: sharing one of our favorite episodes with you, What's nineteen

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Speaker 2: eighty four got to do with It? Edition. In the episode,

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Speaker 2: christ Dice Sex eight reasons why nineteen eighty four was

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Speaker 2: awesome for pop fans and walks us through all twenty

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Speaker 2: years of the year's number one hits, from Jump to

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Speaker 2: Hello karm a Chameleon to Caribbean Queen, Let's Go Crazy

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Speaker 2: to Like a Virgin. And when you're done listening to

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Speaker 2: this episode, make sure to go check out part two

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Speaker 2: on Hip Parade's feed and go give the show a

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Speaker 2: follow so you never miss another one.

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Speaker 3: Now here's Chris.

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Speaker 4: Hello, Broken Record fans. Chris Molanfi here. I'm so excited

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Speaker 4: to share with you one of hip Parade's most popular

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Speaker 4: episodes from the last few months, our exploration of what critics,

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Speaker 4: chart fans, and pundits call the greatest year in pop

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Speaker 4: nineteen eighty four. What you're about to hear is part

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Speaker 4: one of the episode, in which I run down all

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Speaker 4: of the factors that made nineteen eighty four an exceptional year,

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Speaker 4: from dance music to the Second British Invasion to hair

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Speaker 4: metal and hip hop. And there's a whole lot more

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Speaker 4: in part two, where we walk through all twenty of

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Speaker 4: the number one hits from nineteen eighty four. So when

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Speaker 4: you're done listening to Part one, make sure to find

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Speaker 4: Hip Parade wherever you listen to podcasts and continue the

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Speaker 4: story with Part two. Okay, let's get in the time machine,

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Speaker 4: hairspray our bangs, put on some legwarmers, and head back

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Speaker 4: to the year when doves cried, feet were loose, and

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Speaker 4: girls just wanted to have fun nineteen eighty four. Welcome

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Speaker 4: to hip Parade, a podcast of pop chart history from

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Speaker 4: Slate magazine about the hits from coast to coast I'm

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Speaker 4: Chris molanfy chart analyst, pop critic and writer of Slate's

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Speaker 4: Why Is This Song? Number One series on Today's Show

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Speaker 4: forty years ago this week, this was the number one

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Speaker 4: song in America, an improbable comeback by a regal, statuesque

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Speaker 4: singer who'd fought hard to return to the center of

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Speaker 4: the pop conversation. For the woman who came to be

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Speaker 4: known as the Queen of rock and roll, the late

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Speaker 4: summer of eighty four gave her the first and only

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Speaker 4: Hot one hundred chart topper of her career, Tina Turner

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Speaker 4: with What's Love Got to Do With It?

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Speaker 1: Love to Do It?

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Speaker 5: By the Hot Man hog at Me Brother.

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Speaker 4: Here's a question you maybe haven't considered in all the

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Speaker 4: dozens of times you've probably heard What's Love Got to

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Speaker 4: Do With It? What is this song? How would you

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Speaker 4: classify it? Given Tina Turner's background, you might call it

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Speaker 4: rhythm and blues, but Turner preferred to call herself a

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Speaker 4: rock singer. Critics note that the songs versus have the

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Speaker 4: lilts of reggae or calypso music, but by the way

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Speaker 4: way it was first offered to and recorded by a

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Speaker 4: white British New wave band. We'll get to them later.

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Speaker 4: Tina's recording charted on Billboard's Pop, R and B, Rock, Dance,

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Speaker 4: and Adult Contemporary charts. Basically, this is a song for everyone.

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Speaker 4: I would call What's Love Got to Do With It?

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Speaker 4: Nineteen eighty four music. It represents everything that made that

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Speaker 4: year of pop legendary. The hits of nineteen eighty four

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Speaker 4: were admirably hard to classify. Bands from the world of

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Speaker 4: rock were playing with dance music, funk, even synthesizers job job,

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Speaker 4: while artists who were classified as R and B were

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Speaker 4: rocking harder than ever. Veteran acts who had been around

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Speaker 4: for a decade or more were, like Tina Turner, trying

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Speaker 4: new tricks, and a new generation of upstarts were upsetting

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Speaker 4: the status quo. Sleek dance music was back, even though

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Speaker 4: we didn't call it disco anymore. A new wave of

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Speaker 4: teen pin ups were grabbing for pop's brass ring bye Bye,

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Speaker 4: and of course, thanks to the dominance of MTV, videos

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Speaker 4: made the charts more colorful than ever. Ben Today, on

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Speaker 4: Hip Parade, we will travel back four decades to a

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Speaker 4: year that's been called the greatest in chart history. What

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Speaker 4: made nineteen eighty four so exceptional. Why did rockers and rappers,

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Speaker 4: punks and popsters, divas and dream boats all produce some

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Speaker 4: of their best work? And why forty years later are

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Speaker 4: we still missing that moment?

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Speaker 5: Another break down this long distance Lines and Nights.

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Speaker 4: It was a time when some of the most innovative

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Speaker 4: music wasn't the province of hipster's crew or crate diggers.

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Speaker 4: It was power rotated on the radio, like, for example,

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Speaker 4: the top hit of the year.

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Speaker 1: This is what.

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Speaker 5: Wine doves crime.

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Speaker 4: And that's where your hit parade marches today. The week

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Speaker 4: ending August fourth, nineteen eighty four, when Princes When Doves

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Speaker 4: Cry was in its fifth and final week at number

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Speaker 4: one on the Hot one hundred, on its way to

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Speaker 4: being named Billboard's top hit of the year. It's rare

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Speaker 4: that any year's biggest hit is also its best, but

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Speaker 4: that's the kind of year nineteen eighty four was still

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Speaker 4: the gold standard for chart fans four decades later. So

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Speaker 4: join me as we recall a time when rain was purple,

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Speaker 4: feet were loose, the reflex was a lonely child, and

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Speaker 4: girls just wanted to have fun. Stick around.

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Speaker 2: We'll be right back with more from this episode of

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Speaker 2: Hit Parade.

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Speaker 3: After the break, We're back with hit Parade.

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Speaker 4: This is Canadian pop star Corey Hart with Sunglasses at Night,

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Speaker 4: a number seven hit in the summer of nineteen eighty four.

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Speaker 4: In September of twenty fourteen, thirty years after this song

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Speaker 4: was a hit, and ten years ago this month, Rolling

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Speaker 4: Stone magazine ran a special commemorative feature ranking of the

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Speaker 4: one hundred best singles of nineteen eighty four, and Sunglasses

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Speaker 4: at Night was the song they ranked in one hundredth place,

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Speaker 4: which is about right. Corey Heart's American breakthrough single isn't

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Speaker 4: the most devastatingly brilliant hit of eighty four, but it's

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Speaker 4: a bop and it is of its time, a very cheeky,

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Speaker 4: kitchy and melodramatic synthpop jam. Maybe all that said, Sunglasses

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Speaker 4: at Night still gets played on classic hits radio stations

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Speaker 4: to this day and has racked up more than one

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Speaker 4: hundred and thirty two million streams on Spotify. And this

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Speaker 4: is the nineteen eighty four hit that Rolling Stone ranked last.

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Speaker 4: It should also be noted that the magazine hasn't done

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Speaker 4: similar commemorative countdowns for other years of pop. In fact,

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Speaker 4: when they published their twenty fourteen feature, Rolling Stone boldly

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Speaker 4: titled the Countdown one hundred best singles of nineteen eighty

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Speaker 4: four Pop's greatest year?

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Speaker 1: Is that?

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Speaker 4: By the way, here's the song they ranked all the

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Speaker 4: way up at number two, Madonna's Borderline. Bet you've heard

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Speaker 4: that one on the radio recently too. Rolling Stone's countdown

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Speaker 4: is a great read, we'll link to it on the

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Speaker 4: Hit Parade show page, and a good argument starter. The

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Speaker 4: biggest argument might be over that title pop's greatest year?

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Speaker 4: Aren't there other candidates? By the way, three years ago,

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Speaker 4: on this very podcast, we at Hip Parade made the

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Speaker 4: case for the music of nineteen seventy one, a year

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Speaker 4: of greatness from Janice Joplin, The Stones, sly Stone, Rod

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Speaker 4: Stewart and Carol King.

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Speaker 5: And It's.

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Speaker 1: It's to Night?

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Speaker 5: Do we really jatindergain?

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Speaker 4: To be clear, rolling Stone called nineteen eighty four pop's

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Speaker 4: greatest year, not rock's greatest, R and B or rap's greatest. This,

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Speaker 4: I think is defensible. As I said at the top

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Speaker 4: of our show, nineteen eighty four was a big year

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Speaker 4: for pop as a centralizing force. Rock plus R and

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Speaker 4: B plus dance plus country plus hip hop all found

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Speaker 4: a place on the radio in eighty four, and nineteen

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Speaker 4: eighty four was an unbeatable year for the pop single,

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Speaker 4: So naturally, chart nerds like your hip parade host hold

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Speaker 4: it in a high esteem.

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Speaker 6: Let the music play. It moves from thirteen to ten

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Speaker 6: in our countdown of the forty biggest, Shannon at number nine,

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Speaker 6: here's Cindy Lauper with girls just want to have fun.

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Speaker 1: When you look.

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Speaker 4: I'll just cop to it as someone born in nineteen

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Speaker 4: seventy one who became a teenager in nineteen eighty four,

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Speaker 4: my bias is undeniable when it comes to both of

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Speaker 4: those years. So of course I think nineteen eighty four

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Speaker 4: was a great year for pop. But before I provide

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Speaker 4: more objective reasons why it might not just be me

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Speaker 4: and the staff of Rolling Stone claiming this, there's one

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Speaker 4: more debate we need to address that does often come

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Speaker 4: up in these pop nerd discussions. Was nineteen eighty four

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Speaker 4: the great year? Or was it actually nineteen eighty three?

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Speaker 4: That's the beasts. In a recent installment of his online column,

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Speaker 4: radio consultant Sean Ross pulled programmers, critics, and chart fans

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Speaker 4: over whether they preferred the hits of nineteen eighty three

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Speaker 4: or eighty four. Ross took it as a given that

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Speaker 4: this two year duopoly was the high water mark of

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Speaker 4: Contemporary Hits Radio or CCHR by just under a two

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Speaker 4: to one margin. Ross's police preferred nineteen eighty four, but

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Speaker 4: there was a strong eighty three contingent.

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Speaker 5: Sweet Teams as.

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Speaker 4: I could just as easily have done this episode about

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Speaker 4: eighty three. It really was an amazing year, the moment

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Speaker 4: when the second British invasion took hold, with Duran, Duran, Eurhythmics,

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Speaker 4: Culture Clubs, Spandau Ballet, Madness, Edie Grant and Dexy's Midnight

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Speaker 4: Runners all scoring their first American hits, major chart comebacks

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Speaker 4: for Donna, Summer Marvin Gay, Elton John and David Bowie

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Speaker 4: put on Red, the peak year for Michael Jackson's streak

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Speaker 4: of hits from Thriller, a late nineteen eighty two album

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Speaker 4: that totally dominated eighty three, as well as the pop

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Speaker 4: breakthrough of Prince. What made nineteen eighty three exciting was

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Speaker 4: the upsurge before the cultural wave crested. The truth is

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Speaker 4: a lot of the nineteen eighty four music we'll discuss

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Speaker 4: in this episode was actually released in eighty three. Big

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Speaker 4: eighty four hits by Madonna, Cindy Lauper, Lionel Ritchie, Duran, Duran,

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Speaker 4: the Pointer Sisters, yes Zz Top and Billy Idol, among

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Speaker 4: many others, emerged from the cauldron of eighty three. So

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Speaker 4: in a way, you can think of nineteen eighty four

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Speaker 4: on the charts as at least two years rolled into one.

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Speaker 4: The movements that were bubbling up earlier in the decade

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Speaker 4: finally coalesced. As I argued in our nineteen seventy one

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Speaker 4: episode of Hip Parade. Seventy one was when the music

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Speaker 4: of the sixties came into full artistic fruition. Similarly, the

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Speaker 4: innovations of nineteen eighty two and eighty three bloomed into

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Speaker 4: full flower in nineteen eighty four. So I'm now going

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Speaker 4: to run down a list of eight reasons why nineteen

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Speaker 4: eighty four ruled, and the first reason will take us

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Speaker 4: back before nineteen eighty three or eighty two. In fact,

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Speaker 4: we need to go back to just before the eighties began.

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Speaker 4: Reason one for the awesomeness of nineteen eighty four overcoming

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Speaker 4: the disco backlash, as we have discussed in several prior

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Speaker 4: Hit Parade episodes, nineteen seventy nine was a turning point

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Speaker 4: for dance music on the charts and in the popular consciousness.

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Speaker 4: In the wake of Chicago's menacing Disco Demolition Night in

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Speaker 4: July of seventy nine, disco became a dirty word. The

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Speaker 4: music did not actually die. Disco acts like Donna Summer

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Speaker 4: and production teams like Sheikh's, Nile Rogers and Bernard Edwards

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Speaker 4: continued to score hits into the nineteen eighties, but a

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Speaker 4: backlash to the culture of disco turned the charts away

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Speaker 4: from anything perceived as to dance oriented or black derived.

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Speaker 4: In the first few years of the nineteen eighties, the

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Speaker 4: hit parade pivoted toward light balladarie, country crossover, and yacht rock,

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Speaker 4: but by nineteen eighty two and eighty three, as new

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Speaker 4: wave synthpop began emerging on the charts, the sound of

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Speaker 4: this so called new pop was essentially disco in another guise, like,

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Speaker 4: for example, ABC's top twenty hit The Look of Love

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Speaker 4: Looks and the overwhelming chart success of Michael Jackson provided

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Speaker 4: a new model for black music that drew from disco

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Speaker 4: production styles but felt more modern. By late eighty three

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Speaker 4: and early eighty four, dance music, which is what we

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Speaker 4: called it. Then pop fans were careful never to say

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Speaker 4: the other five letter D word was doing better on

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Speaker 4: the charts than it had since nineteen seventy nine. Sleek

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Speaker 4: club styles were finding their place on the radio, like

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Speaker 4: the electro dance music of the Pointer Sisters.

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Speaker 2: The.

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Speaker 4: Explosive freestyle of Shannon, and of course, the nuveaux postdisco

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Speaker 4: of a newcomer named Madonna. All discussions of what made

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Speaker 4: nineteen eighty four great have to start with the disco

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Speaker 4: backlash and the comeback from the backlash, because this informs

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Speaker 4: virtually everything that brought pop music back to life, even

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Speaker 4: if no one was saying the word disco, dance, music, production, tropes,

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Speaker 4: and black informed styles were infecting all manner of hit music,

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Speaker 4: not just club music or R and B, but also

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Speaker 4: straight up rock like zz Top UK, synthpop like Bronski Beat,

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Speaker 4: and even metal. This nineteen eighty four Motley Crue hit,

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Speaker 4: their second single ever to make the hot one hundred

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Speaker 4: is basically disco slowed down and rocked up. To all

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Speaker 4: of this. Erzat's disco from Madonna to Motley Crue came

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Speaker 4: packaged with glossy music videos which brings us to another

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Speaker 4: development that happened a few years before nineteen eighty four,

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Speaker 4: that reached its apotheosis that year. Reason two for the

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Speaker 4: awesomeness of nineteen eighty four. The peak of first wave MTV.

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Speaker 1: Is Holy mo, it's not funny.

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Speaker 3: You was scared? Weren't here? Oh Listen't that scared?

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Speaker 4: This is scared, you could say. Nineteen eighty four kicked

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Speaker 4: off in spirit on December tewod nineteen eighty three, when

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Speaker 4: Michael Jackson's cinematic thriller video, directed by John Landis and

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Speaker 4: modeled after his horror film and American Werewolf in London,

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Speaker 4: premiered on MTV. Jackson's clip gave the fledgling video channel,

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Speaker 4: which had launched just two years earlier, its highest ratings ever.

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Speaker 4: Jackson and MTV were good to each other. When Thriller

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Speaker 4: the Song was issued as a single in January nineteen

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Speaker 4: eighty four, a full fourteen month after Thriller the Album

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Speaker 4: came out, It became the LP's record seventh top ten single,

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Speaker 4: peaking at number four on the Hot one hundred in

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Speaker 4: March of eighty four.

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Speaker 1: That's not.

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Speaker 4: You can divide early MTV history into before Michael Jackson

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Speaker 4: and after Michael Jackson. Legend has it that the channel

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Speaker 4: largely refused to play videos by black artists before CBS

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Speaker 4: Records threatened to withhold all of their videos unless MTV

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Speaker 4: played Jackson's early nineteen eighty three hit Billy Jean. By

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Speaker 4: nineteen eighty four, MTV was regularly rotating clips by Jackson, Prince,

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Speaker 4: Donna Summer, and Lionel Richie Oh. But MTV was also

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Speaker 4: reinventing rock bands that had been around four years as

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Speaker 4: video stars. The Cars, the Boston new wave rockers who

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Speaker 4: released their debut album back in nineteen seventy eight, were

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Speaker 4: rebooted in nineteen eighty four by their shimmering pop album

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Speaker 4: Heartbeat City and its string of kitchy videos. Their special

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Speaker 4: effects heavy clip for You Might Think Not only made

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Speaker 4: that song a top ten hit, the video upset Michael

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Speaker 4: Jackson's Thriller for Video of the Year at the first

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Speaker 4: MTV Video Music Awards.

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Speaker 1: When the phrase.

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Speaker 4: Similarly, Huey Lewis and the News, a San Francisco band

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Speaker 4: that had been around since nineteen seventy nine, played a

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Speaker 4: brand of unpretentious barroom rock and roll. Nothing about the

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Speaker 4: band was hip, Indeed, These were the guys who years

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Speaker 4: later recorded a song called Hip to Be Square. But

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Speaker 4: for their LP Sports, the telegenic Huey Lewis and his

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Speaker 4: band recorded a string of high concept, comical and plot

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Speaker 4: heavy videos. They and they were rewarded with four straight

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Speaker 4: top ten singles on the Hot one hundred, Heart and Soul,

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Speaker 4: I Want a New Drug, the Heart of Rock and Roll,

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Speaker 4: and if This is It.

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Speaker 5: The Never, If This is It.

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Speaker 1: It.

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Speaker 4: By the time If This Is It cracked the Hot

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Speaker 4: one hundred in the summer of eighty four, the Sports

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Speaker 4: LP had topped the Billboard album chart and sold five

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Speaker 4: million copies. Videos transformed Huey Lewis's career, and they arguably

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Speaker 4: spurred rock acts of all kinds to up their game

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Speaker 4: to make songs worthy of video treatment. Of course, the

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Speaker 4: bands that had benefited the most from the rise of

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Speaker 4: the music video in America were British New Romantic and

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Speaker 4: New Wave bands, who, starting in nineteen eighty two and

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Speaker 4: eighty three, went from curios in America to video superstars.

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Speaker 4: By nineteen eighty four, these bands, led by video demigods

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Speaker 4: Duran Duran, were also chart conquerors in America. As the

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Speaker 4: year began The band's Union of the Snake was lodged

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Speaker 4: in the top three on the Hot one hundred. But

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Speaker 4: what made eighty four doubly exciting was that not only

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Speaker 4: were these UK acts still innovating, the US acts had

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Speaker 4: been taking notes. Reason three for the awesomeness of nineteen

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Speaker 4: eighty four, the second British invasion and America catching up.

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Speaker 4: As we discussed in our British Invasions episode of Hit Parade.

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Speaker 4: By the spring of eighty four, forty percent of the

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Speaker 4: Hot one hundred was British acts, fueled in America by MTV.

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Speaker 4: The UK's post punk, new romantic and synthpop movements redefined

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Speaker 4: the cutting edge of cool, as personified by acts like

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Speaker 4: synth soul duo Eurythmics. Here they are with their ghostly

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Speaker 4: number four hit here comes the Rain Again.

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Speaker 5: Comes flying on my head like a memory flying on

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Speaker 5: my head, you emotion.

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Speaker 4: Now, just for comparison, here's another number four hit from

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Speaker 4: just a couple of months later, American Laura Brannigan with

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Speaker 4: her ghostly synthpop hit self Control. It's not a copy

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Speaker 4: of Eurythmics or really any specific act. In fact, it's

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Speaker 4: a cover of an Italian pop song, but you might

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Speaker 4: say that Team Brannigan was taking notes on British new

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Speaker 4: wave can Take. Or further down the chart that same summer,

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Speaker 4: here's a top twenty hit from British duo Wang Chung

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Speaker 4: their lush technopop bop dancehall Days, which doesn't sound far

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Speaker 4: removed from this top twenty hit from a few months earlier,

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Speaker 4: Ray Parker Junior's lush techno pop ballad I just can't

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Speaker 4: get over loving you.

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Speaker 3: When I do your name.

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Speaker 1: I give.

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Speaker 3: Does I do.

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Speaker 5: Loving you?

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Speaker 1: I can't?

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Speaker 4: Or a few spots further down the chart, here's British

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Speaker 4: progressive rock veterans Yes with their quirky Cacoffinus electro rock

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Speaker 4: track Leave It, a number twenty four hit in the

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Speaker 4: spring of eighty four. About six months later, here's a

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Speaker 4: number twenty three hit by American guitarist Lindsey Buckingham, veteran

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Speaker 4: of Fleetwood Mac, with his quirky Cacoffinus electra rocker Go Insane.

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Speaker 4: So say, in short, let's call this positive Transatlantic peer pressure.

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Speaker 4: Three years of British acts setting the bar for hip,

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Speaker 4: smart mass appeal pop had rubbed off on the Yanks.

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Speaker 4: Everybody was bringing their a game. So by nineteen eighty four,

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Speaker 4: it had become expected that a British blue eyed soul

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Speaker 4: group like Culture Club would blend guitars, synthesizers and clattery

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Speaker 4: sound effects on a hit like miss Me Blonde.

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Speaker 1: You miss Me and miss Me and miss Me Blood.

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Speaker 5: You Miss Me.

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Speaker 4: But the same week that song was climbing into the

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Speaker 4: top ten. Right next to it were Americans Daryl Hall

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Speaker 4: and John Oates with their own blend of guitars, synths

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Speaker 4: and clatter. Adult Education and the Ruboffs weren't just happening

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Speaker 4: across borders. They were happening across genres. Reason four for

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Speaker 4: the awesomeness of nineteen eighty four. Everybody was crossing over.

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Speaker 4: Let's play a little name that tune. Here's the intro

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00:34:25,996 --> 00:34:28,276
Speaker 4: to a song that broke on the Hot one hundred

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Speaker 4: in December nineteen eighty four. It would eventually peak at

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Speaker 4: number two. Who's the artist? Sounds like moody new wave

359
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Speaker 4: guitar rock. Is it Duran, Duran? The Police Tears for Fears. Nope,

360
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Speaker 4: it's R and B singer Billy Oshan with Loverboy the

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Speaker 4: a song that, by the way, was co written and

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Speaker 4: co produced by famed rock producer Robert John mutt Lang,

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Speaker 4: who'd also produced hits earlier in eighty four for The

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Speaker 4: Cars and def Leppard. Let's play again? Whose dance floor breakdown?

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00:35:29,756 --> 00:35:29,836
Speaker 1: Is?

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Speaker 3: This?

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Speaker 4: Sounds like hard electro funk club music, right, So who

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Speaker 4: is this? Chic the Gap band Rick James Guess again,

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Speaker 4: it's British punk turned pop star Billy Idol. With his

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Speaker 4: Fall eighty four hit Flesh for Fantasy. It made the

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Speaker 4: top thirty not only on the Hot one hundred, but

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Speaker 4: also Billboards Rock Tracks and dance disco chartssh rash. At

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Speaker 4: a time when popular music was coming out of a

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Speaker 4: very segregated period in the seventies and early eighties, with

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Speaker 4: rock and R and B and disco staying in separate lanes,

376
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Speaker 4: the hits of nineteen eighty four were all over the

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Speaker 4: genre map. Virtually no one was staying in their lane,

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Speaker 4: whether it was Lionel Ritchie who wrote and recorded a

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Speaker 4: straight up country song called Stuck on You that made

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Speaker 4: the pop and R and B Top ten and even

381
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Speaker 4: the country charts Top twenty five, an unprecedented chart crossover

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Speaker 4: at the time.

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Speaker 5: Yeah, the feeding down, deep and massole. Then I just

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Speaker 5: came use guess.

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Speaker 1: A mon.

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Speaker 4: Or Pat Benattar. She'd spent years building a reputation as

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Speaker 4: the leading woman on album rock radio. She kicked off

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Speaker 4: nineteen eighty four with a post disco club rock hybrid

389
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Speaker 4: whose video featured Benatar leading a troop of dancers in

390
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Speaker 4: a syncopated shimmy. The number five hit Love is a Battlefield.

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Speaker 5: That is a bed.

392
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Speaker 4: Or Bruce Springsteen, who, as we discussed in our Springsteen

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Speaker 4: episode of Hit Parade, wrote cover me for disco Queen

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Speaker 4: Donna summer. Bruce wound up keeping it for himself, but

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Speaker 4: maintained its torchy millow dry. The florid operatic rock song

396
00:38:12,236 --> 00:38:15,316
Speaker 4: was a number seven hit for Springsteen and the East

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Speaker 4: Street Band in the fall of eighty four. There were

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Speaker 4: also improbable team ups. A year after Michael Jackson topped

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Speaker 4: the charts with guitarist Eddie Van Halen on Beat It,

400
00:38:39,196 --> 00:38:43,116
Speaker 4: his brothers The Jacksons upped the ante by teaming with

401
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Speaker 4: the Stones, Mick Jagger, Mick and Michael Yowled over a

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Speaker 4: hard guitar riff on the number three summer eighty four

403
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Speaker 4: hit State of Shock, and Phil Collins, who'd been adding

404
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Speaker 4: Earthwind and Fire's horn section to his tracks for years.

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00:39:17,716 --> 00:39:21,276
Speaker 4: He finally returned the favor by teaming up with E

406
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Speaker 4: WF singer Philip Bailey. Their duet Easy Lover, which exploded

407
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Speaker 4: with collins booming rock drums and Bailey's fluttery soul vocals,

408
00:39:32,636 --> 00:39:35,716
Speaker 4: went to number two on the Hot one hundred, number

409
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Speaker 4: three R and B, and number five on the Album

410
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Speaker 4: Rock chart. And I haven't even mentioned Prince, whose guitar,

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Speaker 4: vocals and very persona obliterated genre boundaries all over nineteen

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Speaker 4: eighty four. We'll talk more about him a little later.

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Speaker 4: In the twenty first century, genres increasingly seem like quaint

414
00:40:31,876 --> 00:40:36,356
Speaker 4: relics of a bygone time, and artists record in whatever

415
00:40:36,476 --> 00:40:40,316
Speaker 4: idiom they like, from Lil naz X to Steve Lacy

416
00:40:40,676 --> 00:40:44,636
Speaker 4: Taylor Swift to Post Malone, Beyonce to Shaboozi.

417
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Speaker 3: But in the.

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Speaker 4: Eighties, this kind of promiscuous genre mixing was revolutionary, and

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Speaker 4: nineteen eighty four was ground zero for all of it.

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Speaker 4: More in a moment.

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Speaker 2: After the break, we'll be back with the conclusion of

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Speaker 2: part one of what's nineteen eighty four got to do?

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Speaker 2: With the edition from Hip Parade, We're back with the

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Speaker 2: rest of this episode of Hip Parade.

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Speaker 4: Besides all this crossover between genres, there was one genre

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Speaker 4: that really went out of its way to become more

427
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Speaker 4: accessible in nineteen eighty four. Reason five for the awesomeness

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Speaker 4: of nineteen eighty four Metal goes pop. Okay, hold on

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Speaker 4: to your hairnet, I Chris malanfy am about to say

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00:42:02,716 --> 00:42:07,916
Speaker 4: something nice about bon Jovi. Runaway, their debut single, a

431
00:42:08,036 --> 00:42:11,756
Speaker 4: number thirty nine it in April nineteen eighty four, is

432
00:42:12,316 --> 00:42:16,316
Speaker 4: a really good song, maybe because it sounds the least

433
00:42:16,556 --> 00:42:19,716
Speaker 4: like a bon Jovi song on it. John bon Jovi

434
00:42:20,116 --> 00:42:24,196
Speaker 4: fronted a group of Journeymen session musicians he never played

435
00:42:24,196 --> 00:42:40,876
Speaker 4: with again. Runaway was emblematic of glam metal in nineteen

436
00:42:40,996 --> 00:42:44,916
Speaker 4: eighty four, and yes, as we discussed in our Hit

437
00:42:44,996 --> 00:42:49,236
Speaker 4: Parade episode about bon Jovi, they really were considered metal

438
00:42:49,396 --> 00:42:52,836
Speaker 4: at that time. After they began topping the Hot one hundred.

439
00:42:52,836 --> 00:42:56,596
Speaker 4: A couple of years later, the term hair metal was coined.

440
00:42:57,316 --> 00:43:01,756
Speaker 4: This brand of metal was frothy, catchy, laced with hooks,

441
00:43:02,036 --> 00:43:07,436
Speaker 4: and piled with synthesizers. Van Halen, whose LP nineteen eighty

442
00:43:07,476 --> 00:43:11,196
Speaker 4: four was the year's top charting hard rock album, did

443
00:43:11,276 --> 00:43:15,716
Speaker 4: as much for the synthesizer that year as any techno pop.

444
00:43:15,676 --> 00:43:21,396
Speaker 5: Act Yeah You de Sile pure Ses.

445
00:43:26,876 --> 00:43:31,156
Speaker 4: But even when nineteen eighty four metal avoided synths and

446
00:43:31,436 --> 00:43:36,476
Speaker 4: stuck to guitars, it was shamelessly catchy. Like everything else

447
00:43:36,556 --> 00:43:39,956
Speaker 4: that year, metal was helping to define the bounds of

448
00:43:40,116 --> 00:43:56,596
Speaker 4: mass appeal pop. Van Halen scored three top twenty hits

449
00:43:56,636 --> 00:44:01,956
Speaker 4: in eighty four, including aleweight and Panama, and a massive

450
00:44:02,076 --> 00:44:05,836
Speaker 4: number one hit that we'll discuss later. But they were

451
00:44:05,876 --> 00:44:08,916
Speaker 4: not alone. They were joined in the top forty that

452
00:44:08,956 --> 00:44:12,876
Speaker 4: year year by Germany's Scorpions with the number twenty five

453
00:44:12,956 --> 00:44:27,796
Speaker 4: hit rock You Like a Hurricane. La band Rat with

454
00:44:27,956 --> 00:44:32,116
Speaker 4: their metallic love song Round and Round. The single reached

455
00:44:32,196 --> 00:44:35,956
Speaker 4: number twelve, and their LP Out of the Cellar went

456
00:44:36,156 --> 00:44:53,996
Speaker 4: top ten and double platinum. And the garish, flamboyant and

457
00:44:54,116 --> 00:45:00,636
Speaker 4: deliberately cartoonish Twisted Sister. Their music videos featuring bugs, bunny style,

458
00:45:00,716 --> 00:45:07,316
Speaker 4: comic violence against parents and principles, made Twisted Sister MTV stars.

459
00:45:07,836 --> 00:45:11,156
Speaker 4: But it must also be said that their number twenty

460
00:45:11,196 --> 00:45:14,996
Speaker 4: one hit We're Not Gonna Take It, written by outspoken

461
00:45:15,076 --> 00:45:20,116
Speaker 4: Twisted Sister frontman d Snyder, was a heartfelt, melodic and

462
00:45:20,396 --> 00:45:34,036
Speaker 4: stirring anthem god, so even the most meat and potatoes

463
00:45:34,156 --> 00:45:37,476
Speaker 4: rock bands were going the extra mile. In eighty four,

464
00:45:38,076 --> 00:45:42,156
Speaker 4: on the other end of the spectrum, America's most cutting

465
00:45:42,316 --> 00:45:48,556
Speaker 4: edge new genre was infiltrating the zeitgeist. Reason six for

466
00:45:48,796 --> 00:45:53,796
Speaker 4: the awesomeness of nineteen eighty four hip hop culture becomes

467
00:45:54,076 --> 00:45:55,236
Speaker 4: pop culture.

468
00:45:56,996 --> 00:46:07,836
Speaker 1: Faith, physic, dreams of Passage.

469
00:46:08,156 --> 00:46:12,276
Speaker 4: By eighty five four, hip hop had existed for over

470
00:46:12,396 --> 00:46:17,116
Speaker 4: a decade since DJ cool Hirk's legendary nineteen seventy three

471
00:46:17,236 --> 00:46:21,396
Speaker 4: Wreckroom Party, and rap had been a recorded medium for

472
00:46:21,396 --> 00:46:25,876
Speaker 4: more than four years since nineteen seventy nine's Rappers Delight.

473
00:46:26,636 --> 00:46:30,476
Speaker 4: The full pop breakthrough of rap was still a couple

474
00:46:30,476 --> 00:46:34,156
Speaker 4: of years away, but you could feel it getting closer.

475
00:46:34,756 --> 00:46:38,876
Speaker 4: At the start of the year, Melly Mill's irresistible anti

476
00:46:38,996 --> 00:46:44,796
Speaker 4: drug jam Whitelines was something like a phenomenon, bubbling under

477
00:46:44,876 --> 00:46:48,916
Speaker 4: the Hot one hundred and peaking just outside the top

478
00:46:49,036 --> 00:47:04,756
Speaker 4: forty on the R and B chart. Famously, the first

479
00:47:04,876 --> 00:47:07,676
Speaker 4: rap group to break into the top ten on the

480
00:47:07,716 --> 00:47:11,836
Speaker 4: Hot one hundred would be run DMC with their Aerosmith

481
00:47:11,916 --> 00:47:16,716
Speaker 4: cover Walk This Way. That wouldn't happen until nineteen eighty six.

482
00:47:17,316 --> 00:47:21,836
Speaker 4: But in eighty four, run DMC were already making waves

483
00:47:21,876 --> 00:47:25,836
Speaker 4: with their self titled debut album and a string of

484
00:47:25,956 --> 00:47:30,996
Speaker 4: black radio hits, including the rock rap fusion rock Box

485
00:47:31,356 --> 00:47:34,916
Speaker 4: a number twenty two R and B hit No Bright.

486
00:47:34,996 --> 00:47:38,556
Speaker 1: The xnog Babe Manders, Up and Down, Slow Bay For.

487
00:47:44,316 --> 00:47:48,076
Speaker 4: And In the summer of eighty four, Brooklyn rap troupe

488
00:47:48,316 --> 00:47:53,556
Speaker 4: Nucleus scored a national hit with their zany electro funk

489
00:47:53,676 --> 00:47:58,116
Speaker 4: classic jam On It. It reached number fifty six pop

490
00:47:58,436 --> 00:48:02,676
Speaker 4: number nine R and B, remarkable for a rap single

491
00:48:02,796 --> 00:48:07,396
Speaker 4: on an independent label, and speaking as a native Brooklyn Nite,

492
00:48:07,756 --> 00:48:10,676
Speaker 4: I can tell you jam On It was as huge

493
00:48:10,796 --> 00:48:16,476
Speaker 4: on the radio that summer as anything by Madonna or Duranduran.

494
00:48:23,916 --> 00:48:24,316
Speaker 1: Screen.

495
00:48:30,516 --> 00:48:33,836
Speaker 4: The way you could tell hip hop culture was really

496
00:48:33,956 --> 00:48:39,316
Speaker 4: going overground was how elements of the culture scratching, rapping,

497
00:48:39,396 --> 00:48:44,356
Speaker 4: and especially breaking, were infecting middle of the road. Nineteen

498
00:48:44,436 --> 00:48:49,556
Speaker 4: eighty four, pop Records actress and pop star Irene Kara,

499
00:48:50,036 --> 00:48:54,196
Speaker 4: one year passed her number one hit Flashdance, What a Feeling,

500
00:48:54,716 --> 00:48:59,276
Speaker 4: returned to the top ten with the single Breakdance. As

501
00:48:59,396 --> 00:49:03,516
Speaker 4: guileless as this song was, it probably did more to

502
00:49:03,676 --> 00:49:14,796
Speaker 4: introduce breaking to middle America than most rap singles did,

503
00:49:20,356 --> 00:49:24,716
Speaker 4: and famously, nineteen eighty four was the year breaking hit

504
00:49:24,956 --> 00:49:29,356
Speaker 4: the big screen. Canon Films released two back to back

505
00:49:29,636 --> 00:49:34,916
Speaker 4: teensploitation dance movies in eighty four, in quick succession, the

506
00:49:34,996 --> 00:49:39,476
Speaker 4: hit Breakin and the insta sequel Say It with Me Now,

507
00:49:39,876 --> 00:49:45,196
Speaker 4: break In two Electric Boogaloo. The first Breakin generated a

508
00:49:45,236 --> 00:49:49,596
Speaker 4: top ten hit from electro soul duo Ollie Brown and

509
00:49:49,676 --> 00:49:54,556
Speaker 4: Jerry Knight. Ollie and Jerry's Breakin' There's No Stopping Us

510
00:49:54,796 --> 00:50:12,556
Speaker 4: reach number nine in August of eighty four, but possibly

511
00:50:12,876 --> 00:50:17,156
Speaker 4: rap's biggest pop culture moment of eighty four came on

512
00:50:17,236 --> 00:50:20,396
Speaker 4: a single by An R and B Veteran.

513
00:50:20,596 --> 00:50:24,316
Speaker 1: Chuck a con chuck a kon chuck a kN chacka.

514
00:50:24,116 --> 00:50:25,676
Speaker 3: Kan chuck.

515
00:50:29,196 --> 00:50:33,996
Speaker 4: Chuck chaka cohns. I Feel for You was a cover

516
00:50:34,196 --> 00:50:38,076
Speaker 4: of a song by Prince, with guest harmonica playing by

517
00:50:38,196 --> 00:50:43,916
Speaker 4: Stevie Wonder and samples of Wonder's early hit Fingertips, punctuated

518
00:50:44,156 --> 00:50:48,516
Speaker 4: most famously by rapping from Mellie Mill and up to

519
00:50:48,556 --> 00:50:52,196
Speaker 4: the minute scratching and hip hop style production.

520
00:50:59,876 --> 00:51:10,196
Speaker 3: Cha co Let Me tell You What's One to be?

521
00:51:10,516 --> 00:51:13,836
Speaker 4: I Feel for You reached number three on the Hot

522
00:51:13,876 --> 00:51:16,836
Speaker 4: one hundred and number one on the R and B

523
00:51:17,076 --> 00:51:21,876
Speaker 4: chart In November eighty four, Shaka Khan's biggest pop hit ever,

524
00:51:22,116 --> 00:51:26,956
Speaker 4: served as a mainstream ambassador to hip hop culture. Rap

525
00:51:27,196 --> 00:51:31,036
Speaker 4: was also becoming famous for beefs. The dis records Ro

526
00:51:31,196 --> 00:51:35,276
Speaker 4: San Rock San and Rock San's Revenge also dropped in

527
00:51:35,396 --> 00:51:38,756
Speaker 4: late eighty four, but the biggest beef of the year

528
00:51:38,956 --> 00:51:43,996
Speaker 4: happened in the pop world between two female newcomers. It

529
00:51:44,076 --> 00:51:49,476
Speaker 4: was concocted entirely by the media, yet even there something

530
00:51:49,676 --> 00:51:56,116
Speaker 4: positive emerged. Reason seven for the awesomeness of nineteen eighty four.

531
00:51:56,556 --> 00:52:16,596
Speaker 4: Cindi Lauper plus Not Versus Madonna. Cindy Lauper and Madonna,

532
00:52:16,836 --> 00:52:21,236
Speaker 4: two dance pop singers nurtured in New York's downtown arts

533
00:52:21,276 --> 00:52:26,236
Speaker 4: and club scene, released their solo debut LPs She's So

534
00:52:26,516 --> 00:52:32,076
Speaker 4: Unusual and Madonna, respectively, just weeks apart in the second

535
00:52:32,196 --> 00:52:36,636
Speaker 4: half of nineteen eighty three. By nineteen eighty four, both

536
00:52:36,836 --> 00:52:56,436
Speaker 4: LPs were spinning off strings of hits. Because the patriarchy

537
00:52:56,556 --> 00:53:01,956
Speaker 4: won't allow two accomplished women to coexist without trying to

538
00:53:02,076 --> 00:53:05,676
Speaker 4: start a fight. By mid eighty four, the press and

539
00:53:05,796 --> 00:53:10,396
Speaker 4: the music industry positioned Cindy Lauper and Madonna as would

540
00:53:10,476 --> 00:53:14,836
Speaker 4: be rivals. As we discussed in our Lapper episode of

541
00:53:14,956 --> 00:53:20,516
Speaker 4: Hip Parade, neither woman actively engaged in this imagined rivalry.

542
00:53:20,996 --> 00:53:24,196
Speaker 4: The fact that the media even called it a catfight

543
00:53:24,556 --> 00:53:39,996
Speaker 4: was depressing. But here's the thing, this was a happening.

544
00:53:40,436 --> 00:53:43,996
Speaker 4: Not since the early sixties girl group era had two

545
00:53:44,076 --> 00:53:49,516
Speaker 4: women launched careers simultaneously and had this much chart impact

546
00:53:49,676 --> 00:53:52,676
Speaker 4: out of the box. By the end of eighty four,

547
00:53:53,076 --> 00:53:56,876
Speaker 4: Lauper became the first woman to pull four top five

548
00:53:57,036 --> 00:54:00,836
Speaker 4: hits from a single album, the number two hit Girls

549
00:54:00,996 --> 00:54:04,716
Speaker 4: Just Want to Have Fun, the number one Time after Time,

550
00:54:05,116 --> 00:54:09,236
Speaker 4: the number three Shebop, and the number five hit All

551
00:54:09,276 --> 00:54:26,676
Speaker 4: Through the Night. Madonna's success took, believe it or not,

552
00:54:27,156 --> 00:54:31,116
Speaker 4: a bit longer to get rolling. Holiday was only a

553
00:54:31,196 --> 00:54:35,996
Speaker 4: number sixteen hit, Borderline a number ten hit, But by

554
00:54:36,116 --> 00:54:40,316
Speaker 4: the time Lucky Star reached its peak in October of

555
00:54:40,396 --> 00:54:55,916
Speaker 4: eighty four, Madonna had kicked off a six year streak

556
00:54:56,276 --> 00:55:01,596
Speaker 4: of sixteen consecutive top five hits, a still unbroken Hot

557
00:55:01,636 --> 00:55:06,436
Speaker 4: one hundred record, and she matched Lauper's daring from the start.

558
00:55:07,116 --> 00:55:10,436
Speaker 4: Just weeks after Cindy Peak with her ode to the

559
00:55:10,556 --> 00:55:29,276
Speaker 4: Joys of Female Masturbation, she bop Madonna dropped her meditation

560
00:55:29,596 --> 00:55:34,916
Speaker 4: on Reinvigorated Virginity. We'll get to that song in more

561
00:55:34,956 --> 00:55:44,596
Speaker 4: detail a bit later in the show. I choose to

562
00:55:44,716 --> 00:55:49,796
Speaker 4: remember the Cindy Madonna confluence of nineteen eighty four as

563
00:55:49,876 --> 00:55:53,756
Speaker 4: a next level moment for women on the charts, rather

564
00:55:53,916 --> 00:55:59,116
Speaker 4: than a rivalry. Two great artists, each with totally original

565
00:55:59,196 --> 00:56:03,996
Speaker 4: pop persona, were dropping first rate bops every few weeks.

566
00:56:04,436 --> 00:56:24,676
Speaker 4: As the meme says, why not both when they broke

567
00:56:24,916 --> 00:56:29,196
Speaker 4: in eighty four. Madonna was over twenty five years old,

568
00:56:29,596 --> 00:56:34,796
Speaker 4: Lauper thirty years old, fairly mature for brand new pop stars.

569
00:56:35,356 --> 00:56:38,796
Speaker 4: But they were both kids compared with some of the

570
00:56:38,876 --> 00:56:43,316
Speaker 4: year's big hit makers, which brings up one last X

571
00:56:43,396 --> 00:56:48,596
Speaker 4: factor about the year. Reason eight for the awesomeness of

572
00:56:48,716 --> 00:57:03,996
Speaker 4: nineteen eighty four, Old dogs learn new tricks. As I

573
00:57:04,156 --> 00:57:07,516
Speaker 4: said at the top of our show, Tina Turner pulled

574
00:57:07,556 --> 00:57:11,676
Speaker 4: off a major comeback in nineteen eighty four, becoming a

575
00:57:11,716 --> 00:57:15,556
Speaker 4: bigger hit maker than she'd ever been at the ripe

576
00:57:15,596 --> 00:57:19,916
Speaker 4: old age of forty four, and she was in good company.

577
00:57:20,316 --> 00:57:24,556
Speaker 4: A wave of pop veterans scored major hits in eighty four,

578
00:57:25,076 --> 00:57:29,116
Speaker 4: not just keeping up with the whipper Snappers, but totally

579
00:57:29,236 --> 00:57:34,756
Speaker 4: reinventing themselves. You might say Tina Turner wasn't the only

580
00:57:35,036 --> 00:57:54,956
Speaker 4: elder superstar with legs. Legs. Zz Top's first ever top

581
00:57:54,996 --> 00:57:58,356
Speaker 4: ten hit in the summer of eighty four, peaked just

582
00:57:58,516 --> 00:58:03,596
Speaker 4: as the Bearded Texas Trios members turned thirty five. As

583
00:58:03,636 --> 00:58:07,836
Speaker 4: we discussed in our Legacy Hits episode, after spending the

584
00:58:07,876 --> 00:58:13,276
Speaker 4: seventies as electric blues craftsmen, zz Top rebooted themselves on

585
00:58:13,436 --> 00:58:19,356
Speaker 4: their Eliminator album as electro dance rockers, retrofitting their guitar

586
00:58:19,516 --> 00:58:25,196
Speaker 4: crunch with sequencers and synthesizers, and they rebooted themselves as

587
00:58:25,396 --> 00:58:30,916
Speaker 4: MTV stars in a series of cheeky videos. Or let's

588
00:58:30,996 --> 00:58:45,916
Speaker 4: consider a very different but just as senior rock band Chicago.

589
00:58:47,716 --> 00:58:52,396
Speaker 4: They'd been recording since the late sixties. In nineteen eighty four,

590
00:58:52,756 --> 00:58:57,036
Speaker 4: as Chicago's members were all between thirty five and forty,

591
00:58:57,396 --> 00:59:02,796
Speaker 4: the horn inflected troop went multi platinum with Chicago seventeen

592
00:59:03,276 --> 00:59:07,596
Speaker 4: their most hit packed LP. Ever, four of its hits

593
00:59:07,676 --> 00:59:10,636
Speaker 4: cracked the top twenty, and two of them reached the

594
00:59:10,676 --> 00:59:15,316
Speaker 4: top five, including the number three hit Hard Habit to Break,

595
00:59:16,276 --> 00:59:21,756
Speaker 4: and those were just the groups. Veterans soloists were also scoring.

596
00:59:21,956 --> 00:59:39,516
Speaker 4: In eighty four, David Bowie, who had just turned thirty seven,

597
00:59:39,956 --> 00:59:42,796
Speaker 4: kept up his hot streak that he'd kicked off the

598
00:59:42,876 --> 00:59:46,796
Speaker 4: year before on the Let's Dance LP with his glossy

599
00:59:46,956 --> 00:59:51,516
Speaker 4: eighty four single Blue Gene, a number eight hit in November.

600
00:59:52,316 --> 00:59:56,916
Speaker 4: Even some of the apparent young'uns were older than they looked.

601
00:59:57,316 --> 01:00:01,196
Speaker 4: Two men who both turned thirty five in nineteen eighty

602
01:00:01,236 --> 01:00:05,836
Speaker 4: four had each just recorded his biggest, most hit packed

603
01:00:05,876 --> 01:00:11,316
Speaker 4: album ever. Lionel Ritchie, whose CA slowed Down LP produced

604
01:00:11,476 --> 01:00:33,196
Speaker 4: five top ten hits, including two number ones, and Bruce Springsteen,

605
01:00:33,436 --> 01:00:37,396
Speaker 4: who's born in the USA, would produce a record seven

606
01:00:37,556 --> 01:00:41,636
Speaker 4: top ten hits across nineteen eighty four, eighty five and

607
01:00:41,796 --> 01:00:42,756
Speaker 4: eighty six.

608
01:00:44,276 --> 01:00:51,676
Speaker 5: USA US.

609
01:00:53,476 --> 01:00:57,436
Speaker 4: For Bruce, the only bad news was none of those

610
01:00:57,636 --> 01:01:00,956
Speaker 4: seven hits reached number one on the Hot one hundred,

611
01:01:01,556 --> 01:01:04,876
Speaker 4: but several veterans did go all the way on the

612
01:01:04,916 --> 01:01:08,876
Speaker 4: big chart, along with avatars of the new pop from

613
01:01:09,396 --> 01:01:14,236
Speaker 4: George to Madonna, Duran, Duran to Wham. Let's spend part

614
01:01:14,316 --> 01:01:18,276
Speaker 4: two of this show walking through all of these number

615
01:01:18,316 --> 01:01:31,356
Speaker 4: one hits coming up. In part two, we take a

616
01:01:31,396 --> 01:01:34,596
Speaker 4: spin through the twenty songs that reached number one on

617
01:01:34,676 --> 01:01:38,636
Speaker 4: the Hot one hundred in nineteen eighty four. They embody

618
01:01:38,796 --> 01:01:42,316
Speaker 4: all the hallmarks that made eighty four pop's greatest year.

619
01:01:42,676 --> 01:01:47,516
Speaker 4: They were cinematic and charismatic, ballads and bops, old school

620
01:01:47,676 --> 01:01:51,236
Speaker 4: and next wave. And the only artist who repeats is

621
01:01:51,916 --> 01:01:56,156
Speaker 4: let's call him the kid who maybe was just too bold.

622
01:01:56,636 --> 01:02:00,516
Speaker 4: Broken Record listeners, thanks for listening to part one. You

623
01:02:00,596 --> 01:02:03,836
Speaker 4: can listen to part two right now. Just find Hit

624
01:02:03,916 --> 01:02:07,996
Speaker 4: Parade in your favorite podcast app. Thanks to everyone at

625
01:02:07,996 --> 01:02:11,236
Speaker 4: Broken Record or the chance to share this look at

626
01:02:11,276 --> 01:02:15,316
Speaker 4: an amazing year for pop. Our show was written, edited,

627
01:02:15,396 --> 01:02:19,476
Speaker 4: and narrated by Chris Molanfy That's Me. My producer is

628
01:02:19,556 --> 01:02:24,236
Speaker 4: Kevin Bendis. Derek john is Executive producer of Narrative Podcasts,

629
01:02:24,436 --> 01:02:28,116
Speaker 4: and we had help from Joel Meyer. Alicia Montgomery is

630
01:02:28,276 --> 01:02:31,996
Speaker 4: VP of Audio for Slate Podcasts. Check out their roster

631
01:02:32,116 --> 01:02:36,396
Speaker 4: of shows at Slate dot com Slash Podcasts. You can

632
01:02:36,396 --> 01:02:40,196
Speaker 4: subscribe to Hit Parade wherever you get your podcasts, in

633
01:02:40,236 --> 01:02:43,476
Speaker 4: addition to finding it in the Slate Culture Feed. If

634
01:02:43,516 --> 01:02:47,236
Speaker 4: you're subscribing on Apple podcasts. Please rate and review us

635
01:02:47,276 --> 01:02:50,516
Speaker 4: while you're there. It helps other listeners find the show.

636
01:02:50,956 --> 01:02:53,476
Speaker 4: Thanks for listening, and I look forward to leading the

637
01:02:53,596 --> 01:02:57,236
Speaker 4: hit parade back your way. Until then, keep on marching

638
01:02:57,236 --> 01:03:13,916
Speaker 4: on the one. I'm Chris molanfy