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Introducing Hit Parade from Slate: "What’s 1984 Got to Do with It Edition Part 1" · Broken Record with Rick Rubin, Malcolm Gladwell, Bruce Headlam and Justin Richmond

• 0:15
  Speaker 1: Pushkin.
• 0:20
  Speaker 2: Hey there, it's justin Richmond. I want to take a
• 0:22
  Speaker 2: moment to share a podcast with you that I think
• 0:23
  Speaker 2: you'll enjoy. It's called Hit Parade, a show from Slate
• 0:26
  Speaker 2: about chart topping hits and what makes a song a smash.
• 0:31
  Speaker 2: It's hosted by pop chart analyst and our friend Chris Malanfi.
• 0:35
  Speaker 2: Twice a month, Chris tells tales from more than half
• 0:38
  Speaker 2: a century of pop chart history through storytelling, trivia, and
• 0:42
  Speaker 2: song snippets. Peters Sex how artists you love or hate
• 0:45
  Speaker 2: dominated the airwaves and shaped your memories forever. Today, we're
• 0:49
  Speaker 2: sharing one of our favorite episodes with you, What's nineteen
• 0:52
  Speaker 2: eighty four got to do with It? Edition. In the episode,
• 0:55
  Speaker 2: christ Dice Sex eight reasons why nineteen eighty four was
• 0:58
  Speaker 2: awesome for pop fans and walks us through all twenty
• 1:01
  Speaker 2: years of the year's number one hits, from Jump to
• 1:04
  Speaker 2: Hello karm a Chameleon to Caribbean Queen, Let's Go Crazy
• 1:08
  Speaker 2: to Like a Virgin. And when you're done listening to
• 1:10
  Speaker 2: this episode, make sure to go check out part two
• 1:12
  Speaker 2: on Hip Parade's feed and go give the show a
• 1:14
  Speaker 2: follow so you never miss another one.
• 1:17
  Speaker 3: Now here's Chris.
• 1:19
  Speaker 4: Hello, Broken Record fans. Chris Molanfi here. I'm so excited
• 1:24
  Speaker 4: to share with you one of hip Parade's most popular
• 1:28
  Speaker 4: episodes from the last few months, our exploration of what critics,
• 1:32
  Speaker 4: chart fans, and pundits call the greatest year in pop
• 1:37
  Speaker 4: nineteen eighty four. What you're about to hear is part
• 1:40
  Speaker 4: one of the episode, in which I run down all
• 1:44
  Speaker 4: of the factors that made nineteen eighty four an exceptional year,
• 1:48
  Speaker 4: from dance music to the Second British Invasion to hair
• 1:52
  Speaker 4: metal and hip hop. And there's a whole lot more
• 1:55
  Speaker 4: in part two, where we walk through all twenty of
• 1:59
  Speaker 4: the number one hits from nineteen eighty four. So when
• 2:03
  Speaker 4: you're done listening to Part one, make sure to find
• 2:06
  Speaker 4: Hip Parade wherever you listen to podcasts and continue the
• 2:10
  Speaker 4: story with Part two. Okay, let's get in the time machine,
• 2:15
  Speaker 4: hairspray our bangs, put on some legwarmers, and head back
• 2:19
  Speaker 4: to the year when doves cried, feet were loose, and
• 2:22
  Speaker 4: girls just wanted to have fun nineteen eighty four. Welcome
• 2:38
  Speaker 4: to hip Parade, a podcast of pop chart history from
• 2:41
  Speaker 4: Slate magazine about the hits from coast to coast I'm
• 2:45
  Speaker 4: Chris molanfy chart analyst, pop critic and writer of Slate's
• 2:49
  Speaker 4: Why Is This Song? Number One series on Today's Show
• 2:53
  Speaker 4: forty years ago this week, this was the number one
• 2:57
  Speaker 4: song in America, an improbable comeback by a regal, statuesque
• 3:03
  Speaker 4: singer who'd fought hard to return to the center of
• 3:07
  Speaker 4: the pop conversation. For the woman who came to be
• 3:10
  Speaker 4: known as the Queen of rock and roll, the late
• 3:14
  Speaker 4: summer of eighty four gave her the first and only
• 3:18
  Speaker 4: Hot one hundred chart topper of her career, Tina Turner
• 3:23
  Speaker 4: with What's Love Got to Do With It?
• 3:29
  Speaker 1: Love to Do It?
• 3:33
  Speaker 5: By the Hot Man hog at Me Brother.
• 3:38
  Speaker 4: Here's a question you maybe haven't considered in all the
• 3:42
  Speaker 4: dozens of times you've probably heard What's Love Got to
• 3:46
  Speaker 4: Do With It? What is this song? How would you
• 3:50
  Speaker 4: classify it? Given Tina Turner's background, you might call it
• 3:55
  Speaker 4: rhythm and blues, but Turner preferred to call herself a
• 4:00
  Speaker 4: rock singer. Critics note that the songs versus have the
• 4:04
  Speaker 4: lilts of reggae or calypso music, but by the way
• 4:09
  Speaker 4: way it was first offered to and recorded by a
• 4:13
  Speaker 4: white British New wave band. We'll get to them later.
• 4:17
  Speaker 4: Tina's recording charted on Billboard's Pop, R and B, Rock, Dance,
• 4:22
  Speaker 4: and Adult Contemporary charts. Basically, this is a song for everyone.
• 4:41
  Speaker 4: I would call What's Love Got to Do With It?
• 4:45
  Speaker 4: Nineteen eighty four music. It represents everything that made that
• 4:50
  Speaker 4: year of pop legendary. The hits of nineteen eighty four
• 4:54
  Speaker 4: were admirably hard to classify. Bands from the world of
• 5:15
  Speaker 4: rock were playing with dance music, funk, even synthesizers job job,
• 5:32
  Speaker 4: while artists who were classified as R and B were
• 5:35
  Speaker 4: rocking harder than ever. Veteran acts who had been around
• 5:49
  Speaker 4: for a decade or more were, like Tina Turner, trying
• 5:54
  Speaker 4: new tricks, and a new generation of upstarts were upsetting
• 6:09
  Speaker 4: the status quo. Sleek dance music was back, even though
• 6:26
  Speaker 4: we didn't call it disco anymore. A new wave of
• 6:46
  Speaker 4: teen pin ups were grabbing for pop's brass ring bye Bye,
• 7:02
  Speaker 4: and of course, thanks to the dominance of MTV, videos
• 7:07
  Speaker 4: made the charts more colorful than ever. Ben Today, on
• 7:20
  Speaker 4: Hip Parade, we will travel back four decades to a
• 7:24
  Speaker 4: year that's been called the greatest in chart history. What
• 7:28
  Speaker 4: made nineteen eighty four so exceptional. Why did rockers and rappers,
• 7:34
  Speaker 4: punks and popsters, divas and dream boats all produce some
• 7:39
  Speaker 4: of their best work? And why forty years later are
• 7:44
  Speaker 4: we still missing that moment?
• 7:47
  Speaker 5: Another break down this long distance Lines and Nights.
• 8:02
  Speaker 4: It was a time when some of the most innovative
• 8:06
  Speaker 4: music wasn't the province of hipster's crew or crate diggers.
• 8:11
  Speaker 4: It was power rotated on the radio, like, for example,
• 8:16
  Speaker 4: the top hit of the year.
• 8:18
  Speaker 1: This is what.
• 8:20
  Speaker 5: Wine doves crime.
• 8:25
  Speaker 4: And that's where your hit parade marches today. The week
• 8:29
  Speaker 4: ending August fourth, nineteen eighty four, when Princes When Doves
• 8:35
  Speaker 4: Cry was in its fifth and final week at number
• 8:38
  Speaker 4: one on the Hot one hundred, on its way to
• 8:41
  Speaker 4: being named Billboard's top hit of the year. It's rare
• 8:46
  Speaker 4: that any year's biggest hit is also its best, but
• 8:50
  Speaker 4: that's the kind of year nineteen eighty four was still
• 8:54
  Speaker 4: the gold standard for chart fans four decades later. So
• 9:00
  Speaker 4: join me as we recall a time when rain was purple,
• 9:04
  Speaker 4: feet were loose, the reflex was a lonely child, and
• 9:08
  Speaker 4: girls just wanted to have fun. Stick around.
• 9:25
  Speaker 2: We'll be right back with more from this episode of
• 9:26
  Speaker 2: Hit Parade.
• 9:27
  Speaker 3: After the break, We're back with hit Parade.
• 9:45
  Speaker 4: This is Canadian pop star Corey Hart with Sunglasses at Night,
• 9:51
  Speaker 4: a number seven hit in the summer of nineteen eighty four.
• 9:56
  Speaker 4: In September of twenty fourteen, thirty years after this song
• 10:01
  Speaker 4: was a hit, and ten years ago this month, Rolling
• 10:04
  Speaker 4: Stone magazine ran a special commemorative feature ranking of the
• 10:10
  Speaker 4: one hundred best singles of nineteen eighty four, and Sunglasses
• 10:15
  Speaker 4: at Night was the song they ranked in one hundredth place,
• 10:20
  Speaker 4: which is about right. Corey Heart's American breakthrough single isn't
• 10:25
  Speaker 4: the most devastatingly brilliant hit of eighty four, but it's
• 10:30
  Speaker 4: a bop and it is of its time, a very cheeky,
• 10:34
  Speaker 4: kitchy and melodramatic synthpop jam. Maybe all that said, Sunglasses
• 10:56
  Speaker 4: at Night still gets played on classic hits radio stations
• 11:00
  Speaker 4: to this day and has racked up more than one
• 11:04
  Speaker 4: hundred and thirty two million streams on Spotify. And this
• 11:09
  Speaker 4: is the nineteen eighty four hit that Rolling Stone ranked last.
• 11:13
  Speaker 4: It should also be noted that the magazine hasn't done
• 11:17
  Speaker 4: similar commemorative countdowns for other years of pop. In fact,
• 11:22
  Speaker 4: when they published their twenty fourteen feature, Rolling Stone boldly
• 11:27
  Speaker 4: titled the Countdown one hundred best singles of nineteen eighty
• 11:32
  Speaker 4: four Pop's greatest year?
• 11:39
  Speaker 1: Is that?
• 11:50
  Speaker 4: By the way, here's the song they ranked all the
• 11:53
  Speaker 4: way up at number two, Madonna's Borderline. Bet you've heard
• 11:57
  Speaker 4: that one on the radio recently too. Rolling Stone's countdown
• 12:02
  Speaker 4: is a great read, we'll link to it on the
• 12:05
  Speaker 4: Hit Parade show page, and a good argument starter. The
• 12:10
  Speaker 4: biggest argument might be over that title pop's greatest year?
• 12:16
  Speaker 4: Aren't there other candidates? By the way, three years ago,
• 12:20
  Speaker 4: on this very podcast, we at Hip Parade made the
• 12:24
  Speaker 4: case for the music of nineteen seventy one, a year
• 12:28
  Speaker 4: of greatness from Janice Joplin, The Stones, sly Stone, Rod
• 12:33
  Speaker 4: Stewart and Carol King.
• 12:37
  Speaker 5: And It's.
• 12:40
  Speaker 1: It's to Night?
• 12:42
  Speaker 5: Do we really jatindergain?
• 12:47
  Speaker 4: To be clear, rolling Stone called nineteen eighty four pop's
• 12:51
  Speaker 4: greatest year, not rock's greatest, R and B or rap's greatest. This,
• 12:58
  Speaker 4: I think is defensible. As I said at the top
• 13:02
  Speaker 4: of our show, nineteen eighty four was a big year
• 13:05
  Speaker 4: for pop as a centralizing force. Rock plus R and
• 13:10
  Speaker 4: B plus dance plus country plus hip hop all found
• 13:15
  Speaker 4: a place on the radio in eighty four, and nineteen
• 13:19
  Speaker 4: eighty four was an unbeatable year for the pop single,
• 13:24
  Speaker 4: So naturally, chart nerds like your hip parade host hold
• 13:29
  Speaker 4: it in a high esteem.
• 13:33
  Speaker 6: Let the music play. It moves from thirteen to ten
• 13:36
  Speaker 6: in our countdown of the forty biggest, Shannon at number nine,
• 13:40
  Speaker 6: here's Cindy Lauper with girls just want to have fun.
• 13:51
  Speaker 1: When you look.
• 13:54
  Speaker 4: I'll just cop to it as someone born in nineteen
• 13:58
  Speaker 4: seventy one who became a teenager in nineteen eighty four,
• 14:02
  Speaker 4: my bias is undeniable when it comes to both of
• 14:06
  Speaker 4: those years. So of course I think nineteen eighty four
• 14:11
  Speaker 4: was a great year for pop. But before I provide
• 14:15
  Speaker 4: more objective reasons why it might not just be me
• 14:19
  Speaker 4: and the staff of Rolling Stone claiming this, there's one
• 14:23
  Speaker 4: more debate we need to address that does often come
• 14:28
  Speaker 4: up in these pop nerd discussions. Was nineteen eighty four
• 14:32
  Speaker 4: the great year? Or was it actually nineteen eighty three?
• 14:39
  Speaker 4: That's the beasts. In a recent installment of his online column,
• 14:51
  Speaker 4: radio consultant Sean Ross pulled programmers, critics, and chart fans
• 14:57
  Speaker 4: over whether they preferred the hits of nineteen eighty three
• 15:01
  Speaker 4: or eighty four. Ross took it as a given that
• 15:05
  Speaker 4: this two year duopoly was the high water mark of
• 15:09
  Speaker 4: Contemporary Hits Radio or CCHR by just under a two
• 15:15
  Speaker 4: to one margin. Ross's police preferred nineteen eighty four, but
• 15:21
  Speaker 4: there was a strong eighty three contingent.
• 15:28
  Speaker 5: Sweet Teams as.
• 15:32
  Speaker 4: I could just as easily have done this episode about
• 15:37
  Speaker 4: eighty three. It really was an amazing year, the moment
• 15:41
  Speaker 4: when the second British invasion took hold, with Duran, Duran, Eurhythmics,
• 15:46
  Speaker 4: Culture Clubs, Spandau Ballet, Madness, Edie Grant and Dexy's Midnight
• 15:52
  Speaker 4: Runners all scoring their first American hits, major chart comebacks
• 15:57
  Speaker 4: for Donna, Summer Marvin Gay, Elton John and David Bowie
• 16:07
  Speaker 4: put on Red, the peak year for Michael Jackson's streak
• 16:16
  Speaker 4: of hits from Thriller, a late nineteen eighty two album
• 16:19
  Speaker 4: that totally dominated eighty three, as well as the pop
• 16:24
  Speaker 4: breakthrough of Prince. What made nineteen eighty three exciting was
• 16:38
  Speaker 4: the upsurge before the cultural wave crested. The truth is
• 16:44
  Speaker 4: a lot of the nineteen eighty four music we'll discuss
• 16:48
  Speaker 4: in this episode was actually released in eighty three. Big
• 16:52
  Speaker 4: eighty four hits by Madonna, Cindy Lauper, Lionel Ritchie, Duran, Duran,
• 16:57
  Speaker 4: the Pointer Sisters, yes Zz Top and Billy Idol, among
• 17:02
  Speaker 4: many others, emerged from the cauldron of eighty three. So
• 17:17
  Speaker 4: in a way, you can think of nineteen eighty four
• 17:20
  Speaker 4: on the charts as at least two years rolled into one.
• 17:25
  Speaker 4: The movements that were bubbling up earlier in the decade
• 17:29
  Speaker 4: finally coalesced. As I argued in our nineteen seventy one
• 17:34
  Speaker 4: episode of Hip Parade. Seventy one was when the music
• 17:38
  Speaker 4: of the sixties came into full artistic fruition. Similarly, the
• 17:44
  Speaker 4: innovations of nineteen eighty two and eighty three bloomed into
• 17:50
  Speaker 4: full flower in nineteen eighty four. So I'm now going
• 17:55
  Speaker 4: to run down a list of eight reasons why nineteen
• 17:59
  Speaker 4: eighty four ruled, and the first reason will take us
• 18:03
  Speaker 4: back before nineteen eighty three or eighty two. In fact,
• 18:09
  Speaker 4: we need to go back to just before the eighties began.
• 18:14
  Speaker 4: Reason one for the awesomeness of nineteen eighty four overcoming
• 18:19
  Speaker 4: the disco backlash, as we have discussed in several prior
• 18:35
  Speaker 4: Hit Parade episodes, nineteen seventy nine was a turning point
• 18:40
  Speaker 4: for dance music on the charts and in the popular consciousness.
• 18:45
  Speaker 4: In the wake of Chicago's menacing Disco Demolition Night in
• 18:49
  Speaker 4: July of seventy nine, disco became a dirty word. The
• 19:06
  Speaker 4: music did not actually die. Disco acts like Donna Summer
• 19:11
  Speaker 4: and production teams like Sheikh's, Nile Rogers and Bernard Edwards
• 19:16
  Speaker 4: continued to score hits into the nineteen eighties, but a
• 19:21
  Speaker 4: backlash to the culture of disco turned the charts away
• 19:25
  Speaker 4: from anything perceived as to dance oriented or black derived.
• 19:31
  Speaker 4: In the first few years of the nineteen eighties, the
• 19:34
  Speaker 4: hit parade pivoted toward light balladarie, country crossover, and yacht rock,
• 20:12
  Speaker 4: but by nineteen eighty two and eighty three, as new
• 20:16
  Speaker 4: wave synthpop began emerging on the charts, the sound of
• 20:21
  Speaker 4: this so called new pop was essentially disco in another guise, like,
• 20:27
  Speaker 4: for example, ABC's top twenty hit The Look of Love
• 20:33
  Speaker 4: Looks and the overwhelming chart success of Michael Jackson provided
• 20:47
  Speaker 4: a new model for black music that drew from disco
• 20:51
  Speaker 4: production styles but felt more modern. By late eighty three
• 21:06
  Speaker 4: and early eighty four, dance music, which is what we
• 21:10
  Speaker 4: called it. Then pop fans were careful never to say
• 21:13
  Speaker 4: the other five letter D word was doing better on
• 21:18
  Speaker 4: the charts than it had since nineteen seventy nine. Sleek
• 21:23
  Speaker 4: club styles were finding their place on the radio, like
• 21:27
  Speaker 4: the electro dance music of the Pointer Sisters.
• 21:33
  Speaker 2: The.
• 21:42
  Speaker 4: Explosive freestyle of Shannon, and of course, the nuveaux postdisco
• 21:59
  Speaker 4: of a newcomer named Madonna. All discussions of what made
• 22:14
  Speaker 4: nineteen eighty four great have to start with the disco
• 22:18
  Speaker 4: backlash and the comeback from the backlash, because this informs
• 22:24
  Speaker 4: virtually everything that brought pop music back to life, even
• 22:29
  Speaker 4: if no one was saying the word disco, dance, music, production, tropes,
• 22:35
  Speaker 4: and black informed styles were infecting all manner of hit music,
• 22:40
  Speaker 4: not just club music or R and B, but also
• 22:45
  Speaker 4: straight up rock like zz Top UK, synthpop like Bronski Beat,
• 23:14
  Speaker 4: and even metal. This nineteen eighty four Motley Crue hit,
• 23:19
  Speaker 4: their second single ever to make the hot one hundred
• 23:22
  Speaker 4: is basically disco slowed down and rocked up. To all
• 23:38
  Speaker 4: of this. Erzat's disco from Madonna to Motley Crue came
• 23:43
  Speaker 4: packaged with glossy music videos which brings us to another
• 23:48
  Speaker 4: development that happened a few years before nineteen eighty four,
• 23:52
  Speaker 4: that reached its apotheosis that year. Reason two for the
• 23:58
  Speaker 4: awesomeness of nineteen eighty four. The peak of first wave MTV.
• 24:08
  Speaker 1: Is Holy mo, it's not funny.
• 24:12
  Speaker 3: You was scared? Weren't here? Oh Listen't that scared?
• 24:19
  Speaker 4: This is scared, you could say. Nineteen eighty four kicked
• 24:29
  Speaker 4: off in spirit on December tewod nineteen eighty three, when
• 24:34
  Speaker 4: Michael Jackson's cinematic thriller video, directed by John Landis and
• 24:40
  Speaker 4: modeled after his horror film and American Werewolf in London,
• 24:45
  Speaker 4: premiered on MTV. Jackson's clip gave the fledgling video channel,
• 24:51
  Speaker 4: which had launched just two years earlier, its highest ratings ever.
• 24:57
  Speaker 4: Jackson and MTV were good to each other. When Thriller
• 25:02
  Speaker 4: the Song was issued as a single in January nineteen
• 25:06
  Speaker 4: eighty four, a full fourteen month after Thriller the Album
• 25:11
  Speaker 4: came out, It became the LP's record seventh top ten single,
• 25:16
  Speaker 4: peaking at number four on the Hot one hundred in
• 25:20
  Speaker 4: March of eighty four.
• 25:23
  Speaker 1: That's not.
• 25:39
  Speaker 4: You can divide early MTV history into before Michael Jackson
• 25:45
  Speaker 4: and after Michael Jackson. Legend has it that the channel
• 25:49
  Speaker 4: largely refused to play videos by black artists before CBS
• 25:55
  Speaker 4: Records threatened to withhold all of their videos unless MTV
• 26:00
  Speaker 4: played Jackson's early nineteen eighty three hit Billy Jean. By
• 26:05
  Speaker 4: nineteen eighty four, MTV was regularly rotating clips by Jackson, Prince,
• 26:11
  Speaker 4: Donna Summer, and Lionel Richie Oh. But MTV was also
• 26:27
  Speaker 4: reinventing rock bands that had been around four years as
• 26:31
  Speaker 4: video stars. The Cars, the Boston new wave rockers who
• 26:36
  Speaker 4: released their debut album back in nineteen seventy eight, were
• 26:41
  Speaker 4: rebooted in nineteen eighty four by their shimmering pop album
• 26:45
  Speaker 4: Heartbeat City and its string of kitchy videos. Their special
• 26:50
  Speaker 4: effects heavy clip for You Might Think Not only made
• 26:55
  Speaker 4: that song a top ten hit, the video upset Michael
• 26:59
  Speaker 4: Jackson's Thriller for Video of the Year at the first
• 27:03
  Speaker 4: MTV Video Music Awards.
• 27:08
  Speaker 1: When the phrase.
• 27:24
  Speaker 4: Similarly, Huey Lewis and the News, a San Francisco band
• 27:28
  Speaker 4: that had been around since nineteen seventy nine, played a
• 27:32
  Speaker 4: brand of unpretentious barroom rock and roll. Nothing about the
• 27:37
  Speaker 4: band was hip, Indeed, These were the guys who years
• 27:41
  Speaker 4: later recorded a song called Hip to Be Square. But
• 27:45
  Speaker 4: for their LP Sports, the telegenic Huey Lewis and his
• 27:50
  Speaker 4: band recorded a string of high concept, comical and plot
• 27:55
  Speaker 4: heavy videos. They and they were rewarded with four straight
• 28:16
  Speaker 4: top ten singles on the Hot one hundred, Heart and Soul,
• 28:21
  Speaker 4: I Want a New Drug, the Heart of Rock and Roll,
• 28:24
  Speaker 4: and if This is It.
• 28:26
  Speaker 5: The Never, If This is It.
• 28:33
  Speaker 1: It.
• 28:38
  Speaker 4: By the time If This Is It cracked the Hot
• 28:41
  Speaker 4: one hundred in the summer of eighty four, the Sports
• 28:44
  Speaker 4: LP had topped the Billboard album chart and sold five
• 28:49
  Speaker 4: million copies. Videos transformed Huey Lewis's career, and they arguably
• 28:55
  Speaker 4: spurred rock acts of all kinds to up their game
• 28:59
  Speaker 4: to make songs worthy of video treatment. Of course, the
• 29:04
  Speaker 4: bands that had benefited the most from the rise of
• 29:07
  Speaker 4: the music video in America were British New Romantic and
• 29:11
  Speaker 4: New Wave bands, who, starting in nineteen eighty two and
• 29:16
  Speaker 4: eighty three, went from curios in America to video superstars.
• 29:30
  Speaker 4: By nineteen eighty four, these bands, led by video demigods
• 29:35
  Speaker 4: Duran Duran, were also chart conquerors in America. As the
• 29:40
  Speaker 4: year began The band's Union of the Snake was lodged
• 29:44
  Speaker 4: in the top three on the Hot one hundred. But
• 29:48
  Speaker 4: what made eighty four doubly exciting was that not only
• 29:52
  Speaker 4: were these UK acts still innovating, the US acts had
• 29:57
  Speaker 4: been taking notes. Reason three for the awesomeness of nineteen
• 30:02
  Speaker 4: eighty four, the second British invasion and America catching up.
• 30:08
  Speaker 4: As we discussed in our British Invasions episode of Hit Parade.
• 30:13
  Speaker 4: By the spring of eighty four, forty percent of the
• 30:16
  Speaker 4: Hot one hundred was British acts, fueled in America by MTV.
• 30:21
  Speaker 4: The UK's post punk, new romantic and synthpop movements redefined
• 30:26
  Speaker 4: the cutting edge of cool, as personified by acts like
• 30:30
  Speaker 4: synth soul duo Eurythmics. Here they are with their ghostly
• 30:35
  Speaker 4: number four hit here comes the Rain Again.
• 30:40
  Speaker 5: Comes flying on my head like a memory flying on
• 30:47
  Speaker 5: my head, you emotion.
• 30:52
  Speaker 4: Now, just for comparison, here's another number four hit from
• 30:57
  Speaker 4: just a couple of months later, American Laura Brannigan with
• 31:01
  Speaker 4: her ghostly synthpop hit self Control. It's not a copy
• 31:06
  Speaker 4: of Eurythmics or really any specific act. In fact, it's
• 31:11
  Speaker 4: a cover of an Italian pop song, but you might
• 31:14
  Speaker 4: say that Team Brannigan was taking notes on British new
• 31:18
  Speaker 4: wave can Take. Or further down the chart that same summer,
• 31:32
  Speaker 4: here's a top twenty hit from British duo Wang Chung
• 31:36
  Speaker 4: their lush technopop bop dancehall Days, which doesn't sound far
• 31:52
  Speaker 4: removed from this top twenty hit from a few months earlier,
• 31:56
  Speaker 4: Ray Parker Junior's lush techno pop ballad I just can't
• 32:00
  Speaker 4: get over loving you.
• 32:02
  Speaker 3: When I do your name.
• 32:05
  Speaker 1: I give.
• 32:08
  Speaker 3: Does I do.
• 32:11
  Speaker 5: Loving you?
• 32:14
  Speaker 1: I can't?
• 32:15
  Speaker 4: Or a few spots further down the chart, here's British
• 32:19
  Speaker 4: progressive rock veterans Yes with their quirky Cacoffinus electro rock
• 32:25
  Speaker 4: track Leave It, a number twenty four hit in the
• 32:28
  Speaker 4: spring of eighty four. About six months later, here's a
• 32:41
  Speaker 4: number twenty three hit by American guitarist Lindsey Buckingham, veteran
• 32:46
  Speaker 4: of Fleetwood Mac, with his quirky Cacoffinus electra rocker Go Insane.
• 32:54
  Speaker 4: So say, in short, let's call this positive Transatlantic peer pressure.
• 33:07
  Speaker 4: Three years of British acts setting the bar for hip,
• 33:11
  Speaker 4: smart mass appeal pop had rubbed off on the Yanks.
• 33:15
  Speaker 4: Everybody was bringing their a game. So by nineteen eighty four,
• 33:20
  Speaker 4: it had become expected that a British blue eyed soul
• 33:23
  Speaker 4: group like Culture Club would blend guitars, synthesizers and clattery
• 33:29
  Speaker 4: sound effects on a hit like miss Me Blonde.
• 33:34
  Speaker 1: You miss Me and miss Me and miss Me Blood.
• 33:42
  Speaker 5: You Miss Me.
• 33:43
  Speaker 4: But the same week that song was climbing into the
• 33:46
  Speaker 4: top ten. Right next to it were Americans Daryl Hall
• 33:50
  Speaker 4: and John Oates with their own blend of guitars, synths
• 33:53
  Speaker 4: and clatter. Adult Education and the Ruboffs weren't just happening
• 34:09
  Speaker 4: across borders. They were happening across genres. Reason four for
• 34:16
  Speaker 4: the awesomeness of nineteen eighty four. Everybody was crossing over.
• 34:21
  Speaker 4: Let's play a little name that tune. Here's the intro
• 34:25
  Speaker 4: to a song that broke on the Hot one hundred
• 34:28
  Speaker 4: in December nineteen eighty four. It would eventually peak at
• 34:32
  Speaker 4: number two. Who's the artist? Sounds like moody new wave
• 34:46
  Speaker 4: guitar rock. Is it Duran, Duran? The Police Tears for Fears. Nope,
• 34:53
  Speaker 4: it's R and B singer Billy Oshan with Loverboy the
• 35:13
  Speaker 4: a song that, by the way, was co written and
• 35:16
  Speaker 4: co produced by famed rock producer Robert John mutt Lang,
• 35:21
  Speaker 4: who'd also produced hits earlier in eighty four for The
• 35:24
  Speaker 4: Cars and def Leppard. Let's play again? Whose dance floor breakdown?
• 35:29
  Speaker 1: Is?
• 35:29
  Speaker 3: This?
• 35:47
  Speaker 4: Sounds like hard electro funk club music, right, So who
• 35:52
  Speaker 4: is this? Chic the Gap band Rick James Guess again,
• 35:57
  Speaker 4: it's British punk turned pop star Billy Idol. With his
• 36:01
  Speaker 4: Fall eighty four hit Flesh for Fantasy. It made the
• 36:05
  Speaker 4: top thirty not only on the Hot one hundred, but
• 36:08
  Speaker 4: also Billboards Rock Tracks and dance disco chartssh rash. At
• 36:27
  Speaker 4: a time when popular music was coming out of a
• 36:30
  Speaker 4: very segregated period in the seventies and early eighties, with
• 36:34
  Speaker 4: rock and R and B and disco staying in separate lanes,
• 36:39
  Speaker 4: the hits of nineteen eighty four were all over the
• 36:42
  Speaker 4: genre map. Virtually no one was staying in their lane,
• 36:47
  Speaker 4: whether it was Lionel Ritchie who wrote and recorded a
• 36:51
  Speaker 4: straight up country song called Stuck on You that made
• 36:55
  Speaker 4: the pop and R and B Top ten and even
• 36:58
  Speaker 4: the country charts Top twenty five, an unprecedented chart crossover
• 37:03
  Speaker 4: at the time.
• 37:04
  Speaker 5: Yeah, the feeding down, deep and massole. Then I just
• 37:12
  Speaker 5: came use guess.
• 37:14
  Speaker 1: A mon.
• 37:17
  Speaker 4: Or Pat Benattar. She'd spent years building a reputation as
• 37:22
  Speaker 4: the leading woman on album rock radio. She kicked off
• 37:26
  Speaker 4: nineteen eighty four with a post disco club rock hybrid
• 37:30
  Speaker 4: whose video featured Benatar leading a troop of dancers in
• 37:34
  Speaker 4: a syncopated shimmy. The number five hit Love is a Battlefield.
• 37:50
  Speaker 5: That is a bed.
• 37:53
  Speaker 4: Or Bruce Springsteen, who, as we discussed in our Springsteen
• 37:58
  Speaker 4: episode of Hit Parade, wrote cover me for disco Queen
• 38:02
  Speaker 4: Donna summer. Bruce wound up keeping it for himself, but
• 38:06
  Speaker 4: maintained its torchy millow dry. The florid operatic rock song
• 38:12
  Speaker 4: was a number seven hit for Springsteen and the East
• 38:15
  Speaker 4: Street Band in the fall of eighty four. There were
• 38:30
  Speaker 4: also improbable team ups. A year after Michael Jackson topped
• 38:35
  Speaker 4: the charts with guitarist Eddie Van Halen on Beat It,
• 38:39
  Speaker 4: his brothers The Jacksons upped the ante by teaming with
• 38:43
  Speaker 4: the Stones, Mick Jagger, Mick and Michael Yowled over a
• 38:47
  Speaker 4: hard guitar riff on the number three summer eighty four
• 38:51
  Speaker 4: hit State of Shock, and Phil Collins, who'd been adding
• 39:13
  Speaker 4: Earthwind and Fire's horn section to his tracks for years.
• 39:17
  Speaker 4: He finally returned the favor by teaming up with E
• 39:21
  Speaker 4: WF singer Philip Bailey. Their duet Easy Lover, which exploded
• 39:27
  Speaker 4: with collins booming rock drums and Bailey's fluttery soul vocals,
• 39:32
  Speaker 4: went to number two on the Hot one hundred, number
• 39:35
  Speaker 4: three R and B, and number five on the Album
• 39:39
  Speaker 4: Rock chart. And I haven't even mentioned Prince, whose guitar,
• 39:59
  Speaker 4: vocals and very persona obliterated genre boundaries all over nineteen
• 40:05
  Speaker 4: eighty four. We'll talk more about him a little later.
• 40:26
  Speaker 4: In the twenty first century, genres increasingly seem like quaint
• 40:31
  Speaker 4: relics of a bygone time, and artists record in whatever
• 40:36
  Speaker 4: idiom they like, from Lil naz X to Steve Lacy
• 40:40
  Speaker 4: Taylor Swift to Post Malone, Beyonce to Shaboozi.
• 40:45
  Speaker 3: But in the.
• 40:45
  Speaker 4: Eighties, this kind of promiscuous genre mixing was revolutionary, and
• 40:51
  Speaker 4: nineteen eighty four was ground zero for all of it.
• 41:06
  Speaker 4: More in a moment.
• 41:12
  Speaker 2: After the break, we'll be back with the conclusion of
• 41:15
  Speaker 2: part one of what's nineteen eighty four got to do?
• 41:17
  Speaker 2: With the edition from Hip Parade, We're back with the
• 41:24
  Speaker 2: rest of this episode of Hip Parade.
• 41:27
  Speaker 4: Besides all this crossover between genres, there was one genre
• 41:32
  Speaker 4: that really went out of its way to become more
• 41:35
  Speaker 4: accessible in nineteen eighty four. Reason five for the awesomeness
• 41:41
  Speaker 4: of nineteen eighty four Metal goes pop. Okay, hold on
• 41:58
  Speaker 4: to your hairnet, I Chris malanfy am about to say
• 42:02
  Speaker 4: something nice about bon Jovi. Runaway, their debut single, a
• 42:08
  Speaker 4: number thirty nine it in April nineteen eighty four, is
• 42:12
  Speaker 4: a really good song, maybe because it sounds the least
• 42:16
  Speaker 4: like a bon Jovi song on it. John bon Jovi
• 42:20
  Speaker 4: fronted a group of Journeymen session musicians he never played
• 42:24
  Speaker 4: with again. Runaway was emblematic of glam metal in nineteen
• 42:40
  Speaker 4: eighty four, and yes, as we discussed in our Hit
• 42:44
  Speaker 4: Parade episode about bon Jovi, they really were considered metal
• 42:49
  Speaker 4: at that time. After they began topping the Hot one hundred.
• 42:52
  Speaker 4: A couple of years later, the term hair metal was coined.
• 42:57
  Speaker 4: This brand of metal was frothy, catchy, laced with hooks,
• 43:02
  Speaker 4: and piled with synthesizers. Van Halen, whose LP nineteen eighty
• 43:07
  Speaker 4: four was the year's top charting hard rock album, did
• 43:11
  Speaker 4: as much for the synthesizer that year as any techno pop.
• 43:15
  Speaker 5: Act Yeah You de Sile pure Ses.
• 43:26
  Speaker 4: But even when nineteen eighty four metal avoided synths and
• 43:31
  Speaker 4: stuck to guitars, it was shamelessly catchy. Like everything else
• 43:36
  Speaker 4: that year, metal was helping to define the bounds of
• 43:40
  Speaker 4: mass appeal pop. Van Halen scored three top twenty hits
• 43:56
  Speaker 4: in eighty four, including aleweight and Panama, and a massive
• 44:02
  Speaker 4: number one hit that we'll discuss later. But they were
• 44:05
  Speaker 4: not alone. They were joined in the top forty that
• 44:08
  Speaker 4: year year by Germany's Scorpions with the number twenty five
• 44:12
  Speaker 4: hit rock You Like a Hurricane. La band Rat with
• 44:27
  Speaker 4: their metallic love song Round and Round. The single reached
• 44:32
  Speaker 4: number twelve, and their LP Out of the Cellar went
• 44:36
  Speaker 4: top ten and double platinum. And the garish, flamboyant and
• 44:54
  Speaker 4: deliberately cartoonish Twisted Sister. Their music videos featuring bugs, bunny style,
• 45:00
  Speaker 4: comic violence against parents and principles, made Twisted Sister MTV stars.
• 45:07
  Speaker 4: But it must also be said that their number twenty
• 45:11
  Speaker 4: one hit We're Not Gonna Take It, written by outspoken
• 45:15
  Speaker 4: Twisted Sister frontman d Snyder, was a heartfelt, melodic and
• 45:20
  Speaker 4: stirring anthem god, so even the most meat and potatoes
• 45:34
  Speaker 4: rock bands were going the extra mile. In eighty four,
• 45:38
  Speaker 4: on the other end of the spectrum, America's most cutting
• 45:42
  Speaker 4: edge new genre was infiltrating the zeitgeist. Reason six for
• 45:48
  Speaker 4: the awesomeness of nineteen eighty four hip hop culture becomes
• 45:54
  Speaker 4: pop culture.
• 45:56
  Speaker 1: Faith, physic, dreams of Passage.
• 46:08
  Speaker 4: By eighty five four, hip hop had existed for over
• 46:12
  Speaker 4: a decade since DJ cool Hirk's legendary nineteen seventy three
• 46:17
  Speaker 4: Wreckroom Party, and rap had been a recorded medium for
• 46:21
  Speaker 4: more than four years since nineteen seventy nine's Rappers Delight.
• 46:26
  Speaker 4: The full pop breakthrough of rap was still a couple
• 46:30
  Speaker 4: of years away, but you could feel it getting closer.
• 46:34
  Speaker 4: At the start of the year, Melly Mill's irresistible anti
• 46:38
  Speaker 4: drug jam Whitelines was something like a phenomenon, bubbling under
• 46:44
  Speaker 4: the Hot one hundred and peaking just outside the top
• 46:49
  Speaker 4: forty on the R and B chart. Famously, the first
• 47:04
  Speaker 4: rap group to break into the top ten on the
• 47:07
  Speaker 4: Hot one hundred would be run DMC with their Aerosmith
• 47:11
  Speaker 4: cover Walk This Way. That wouldn't happen until nineteen eighty six.
• 47:17
  Speaker 4: But in eighty four, run DMC were already making waves
• 47:21
  Speaker 4: with their self titled debut album and a string of
• 47:25
  Speaker 4: black radio hits, including the rock rap fusion rock Box
• 47:31
  Speaker 4: a number twenty two R and B hit No Bright.
• 47:34
  Speaker 1: The xnog Babe Manders, Up and Down, Slow Bay For.
• 47:44
  Speaker 4: And In the summer of eighty four, Brooklyn rap troupe
• 47:48
  Speaker 4: Nucleus scored a national hit with their zany electro funk
• 47:53
  Speaker 4: classic jam On It. It reached number fifty six pop
• 47:58
  Speaker 4: number nine R and B, remarkable for a rap single
• 48:02
  Speaker 4: on an independent label, and speaking as a native Brooklyn Nite,
• 48:07
  Speaker 4: I can tell you jam On It was as huge
• 48:10
  Speaker 4: on the radio that summer as anything by Madonna or Duranduran.
• 48:23
  Speaker 1: Screen.
• 48:30
  Speaker 4: The way you could tell hip hop culture was really
• 48:33
  Speaker 4: going overground was how elements of the culture scratching, rapping,
• 48:39
  Speaker 4: and especially breaking, were infecting middle of the road. Nineteen
• 48:44
  Speaker 4: eighty four, pop Records actress and pop star Irene Kara,
• 48:50
  Speaker 4: one year passed her number one hit Flashdance, What a Feeling,
• 48:54
  Speaker 4: returned to the top ten with the single Breakdance. As
• 48:59
  Speaker 4: guileless as this song was, it probably did more to
• 49:03
  Speaker 4: introduce breaking to middle America than most rap singles did,
• 49:20
  Speaker 4: and famously, nineteen eighty four was the year breaking hit
• 49:24
  Speaker 4: the big screen. Canon Films released two back to back
• 49:29
  Speaker 4: teensploitation dance movies in eighty four, in quick succession, the
• 49:34
  Speaker 4: hit Breakin and the insta sequel Say It with Me Now,
• 49:39
  Speaker 4: break In two Electric Boogaloo. The first Breakin generated a
• 49:45
  Speaker 4: top ten hit from electro soul duo Ollie Brown and
• 49:49
  Speaker 4: Jerry Knight. Ollie and Jerry's Breakin' There's No Stopping Us
• 49:54
  Speaker 4: reach number nine in August of eighty four, but possibly
• 50:12
  Speaker 4: rap's biggest pop culture moment of eighty four came on
• 50:17
  Speaker 4: a single by An R and B Veteran.
• 50:20
  Speaker 1: Chuck a con chuck a kon chuck a kN chacka.
• 50:24
  Speaker 3: Kan chuck.
• 50:29
  Speaker 4: Chuck chaka cohns. I Feel for You was a cover
• 50:34
  Speaker 4: of a song by Prince, with guest harmonica playing by
• 50:38
  Speaker 4: Stevie Wonder and samples of Wonder's early hit Fingertips, punctuated
• 50:44
  Speaker 4: most famously by rapping from Mellie Mill and up to
• 50:48
  Speaker 4: the minute scratching and hip hop style production.
• 50:59
  Speaker 3: Cha co Let Me tell You What's One to be?
• 51:10
  Speaker 4: I Feel for You reached number three on the Hot
• 51:13
  Speaker 4: one hundred and number one on the R and B
• 51:17
  Speaker 4: chart In November eighty four, Shaka Khan's biggest pop hit ever,
• 51:22
  Speaker 4: served as a mainstream ambassador to hip hop culture. Rap
• 51:27
  Speaker 4: was also becoming famous for beefs. The dis records Ro
• 51:31
  Speaker 4: San Rock San and Rock San's Revenge also dropped in
• 51:35
  Speaker 4: late eighty four, but the biggest beef of the year
• 51:38
  Speaker 4: happened in the pop world between two female newcomers. It
• 51:44
  Speaker 4: was concocted entirely by the media, yet even there something
• 51:49
  Speaker 4: positive emerged. Reason seven for the awesomeness of nineteen eighty four.
• 51:56
  Speaker 4: Cindi Lauper plus Not Versus Madonna. Cindy Lauper and Madonna,
• 52:16
  Speaker 4: two dance pop singers nurtured in New York's downtown arts
• 52:21
  Speaker 4: and club scene, released their solo debut LPs She's So
• 52:26
  Speaker 4: Unusual and Madonna, respectively, just weeks apart in the second
• 52:32
  Speaker 4: half of nineteen eighty three. By nineteen eighty four, both
• 52:36
  Speaker 4: LPs were spinning off strings of hits. Because the patriarchy
• 52:56
  Speaker 4: won't allow two accomplished women to coexist without trying to
• 53:02
  Speaker 4: start a fight. By mid eighty four, the press and
• 53:05
  Speaker 4: the music industry positioned Cindy Lauper and Madonna as would
• 53:10
  Speaker 4: be rivals. As we discussed in our Lapper episode of
• 53:14
  Speaker 4: Hip Parade, neither woman actively engaged in this imagined rivalry.
• 53:20
  Speaker 4: The fact that the media even called it a catfight
• 53:24
  Speaker 4: was depressing. But here's the thing, this was a happening.
• 53:40
  Speaker 4: Not since the early sixties girl group era had two
• 53:44
  Speaker 4: women launched careers simultaneously and had this much chart impact
• 53:49
  Speaker 4: out of the box. By the end of eighty four,
• 53:53
  Speaker 4: Lauper became the first woman to pull four top five
• 53:57
  Speaker 4: hits from a single album, the number two hit Girls
• 54:00
  Speaker 4: Just Want to Have Fun, the number one Time after Time,
• 54:05
  Speaker 4: the number three Shebop, and the number five hit All
• 54:09
  Speaker 4: Through the Night. Madonna's success took, believe it or not,
• 54:27
  Speaker 4: a bit longer to get rolling. Holiday was only a
• 54:31
  Speaker 4: number sixteen hit, Borderline a number ten hit, But by
• 54:36
  Speaker 4: the time Lucky Star reached its peak in October of
• 54:40
  Speaker 4: eighty four, Madonna had kicked off a six year streak
• 54:56
  Speaker 4: of sixteen consecutive top five hits, a still unbroken Hot
• 55:01
  Speaker 4: one hundred record, and she matched Lauper's daring from the start.
• 55:07
  Speaker 4: Just weeks after Cindy Peak with her ode to the
• 55:10
  Speaker 4: Joys of Female Masturbation, she bop Madonna dropped her meditation
• 55:29
  Speaker 4: on Reinvigorated Virginity. We'll get to that song in more
• 55:34
  Speaker 4: detail a bit later in the show. I choose to
• 55:44
  Speaker 4: remember the Cindy Madonna confluence of nineteen eighty four as
• 55:49
  Speaker 4: a next level moment for women on the charts, rather
• 55:53
  Speaker 4: than a rivalry. Two great artists, each with totally original
• 55:59
  Speaker 4: pop persona, were dropping first rate bops every few weeks.
• 56:04
  Speaker 4: As the meme says, why not both when they broke
• 56:24
  Speaker 4: in eighty four. Madonna was over twenty five years old,
• 56:29
  Speaker 4: Lauper thirty years old, fairly mature for brand new pop stars.
• 56:35
  Speaker 4: But they were both kids compared with some of the
• 56:38
  Speaker 4: year's big hit makers, which brings up one last X
• 56:43
  Speaker 4: factor about the year. Reason eight for the awesomeness of
• 56:48
  Speaker 4: nineteen eighty four, Old dogs learn new tricks. As I
• 57:04
  Speaker 4: said at the top of our show, Tina Turner pulled
• 57:07
  Speaker 4: off a major comeback in nineteen eighty four, becoming a
• 57:11
  Speaker 4: bigger hit maker than she'd ever been at the ripe
• 57:15
  Speaker 4: old age of forty four, and she was in good company.
• 57:20
  Speaker 4: A wave of pop veterans scored major hits in eighty four,
• 57:25
  Speaker 4: not just keeping up with the whipper Snappers, but totally
• 57:29
  Speaker 4: reinventing themselves. You might say Tina Turner wasn't the only
• 57:35
  Speaker 4: elder superstar with legs. Legs. Zz Top's first ever top
• 57:54
  Speaker 4: ten hit in the summer of eighty four, peaked just
• 57:58
  Speaker 4: as the Bearded Texas Trios members turned thirty five. As
• 58:03
  Speaker 4: we discussed in our Legacy Hits episode, after spending the
• 58:07
  Speaker 4: seventies as electric blues craftsmen, zz Top rebooted themselves on
• 58:13
  Speaker 4: their Eliminator album as electro dance rockers, retrofitting their guitar
• 58:19
  Speaker 4: crunch with sequencers and synthesizers, and they rebooted themselves as
• 58:25
  Speaker 4: MTV stars in a series of cheeky videos. Or let's
• 58:30
  Speaker 4: consider a very different but just as senior rock band Chicago.
• 58:47
  Speaker 4: They'd been recording since the late sixties. In nineteen eighty four,
• 58:52
  Speaker 4: as Chicago's members were all between thirty five and forty,
• 58:57
  Speaker 4: the horn inflected troop went multi platinum with Chicago seventeen
• 59:03
  Speaker 4: their most hit packed LP. Ever, four of its hits
• 59:07
  Speaker 4: cracked the top twenty, and two of them reached the
• 59:10
  Speaker 4: top five, including the number three hit Hard Habit to Break,
• 59:16
  Speaker 4: and those were just the groups. Veterans soloists were also scoring.
• 59:21
  Speaker 4: In eighty four, David Bowie, who had just turned thirty seven,
• 59:39
  Speaker 4: kept up his hot streak that he'd kicked off the
• 59:42
  Speaker 4: year before on the Let's Dance LP with his glossy
• 59:46
  Speaker 4: eighty four single Blue Gene, a number eight hit in November.
• 59:52
  Speaker 4: Even some of the apparent young'uns were older than they looked.
• 59:57
  Speaker 4: Two men who both turned thirty five in nineteen eighty
• 1:00:01
  Speaker 4: four had each just recorded his biggest, most hit packed
• 1:00:05
  Speaker 4: album ever. Lionel Ritchie, whose CA slowed Down LP produced
• 1:00:11
  Speaker 4: five top ten hits, including two number ones, and Bruce Springsteen,
• 1:00:33
  Speaker 4: who's born in the USA, would produce a record seven
• 1:00:37
  Speaker 4: top ten hits across nineteen eighty four, eighty five and
• 1:00:41
  Speaker 4: eighty six.
• 1:00:44
  Speaker 5: USA US.
• 1:00:53
  Speaker 4: For Bruce, the only bad news was none of those
• 1:00:57
  Speaker 4: seven hits reached number one on the Hot one hundred,
• 1:01:01
  Speaker 4: but several veterans did go all the way on the
• 1:01:04
  Speaker 4: big chart, along with avatars of the new pop from
• 1:01:09
  Speaker 4: George to Madonna, Duran, Duran to Wham. Let's spend part
• 1:01:14
  Speaker 4: two of this show walking through all of these number
• 1:01:18
  Speaker 4: one hits coming up. In part two, we take a
• 1:01:31
  Speaker 4: spin through the twenty songs that reached number one on
• 1:01:34
  Speaker 4: the Hot one hundred in nineteen eighty four. They embody
• 1:01:38
  Speaker 4: all the hallmarks that made eighty four pop's greatest year.
• 1:01:42
  Speaker 4: They were cinematic and charismatic, ballads and bops, old school
• 1:01:47
  Speaker 4: and next wave. And the only artist who repeats is
• 1:01:51
  Speaker 4: let's call him the kid who maybe was just too bold.
• 1:01:56
  Speaker 4: Broken Record listeners, thanks for listening to part one. You
• 1:02:00
  Speaker 4: can listen to part two right now. Just find Hit
• 1:02:03
  Speaker 4: Parade in your favorite podcast app. Thanks to everyone at
• 1:02:07
  Speaker 4: Broken Record or the chance to share this look at
• 1:02:11
  Speaker 4: an amazing year for pop. Our show was written, edited,
• 1:02:15
  Speaker 4: and narrated by Chris Molanfy That's Me. My producer is
• 1:02:19
  Speaker 4: Kevin Bendis. Derek john is Executive producer of Narrative Podcasts,
• 1:02:24
  Speaker 4: and we had help from Joel Meyer. Alicia Montgomery is
• 1:02:28
  Speaker 4: VP of Audio for Slate Podcasts. Check out their roster
• 1:02:32
  Speaker 4: of shows at Slate dot com Slash Podcasts. You can
• 1:02:36
  Speaker 4: subscribe to Hit Parade wherever you get your podcasts, in
• 1:02:40
  Speaker 4: addition to finding it in the Slate Culture Feed. If
• 1:02:43
  Speaker 4: you're subscribing on Apple podcasts. Please rate and review us
• 1:02:47
  Speaker 4: while you're there. It helps other listeners find the show.
• 1:02:50
  Speaker 4: Thanks for listening, and I look forward to leading the
• 1:02:53
  Speaker 4: hit parade back your way. Until then, keep on marching
• 1:02:57
  Speaker 4: on the one. I'm Chris molanfy