Hit Parade | Music History and Music Trivia

For decades, America’s Hot 100 pop chart has been regularly invaded by Canadian artists like Paul Anka, the Guess Who, Bryan Adams, Céline Dion, Justin Bieber, and Drake. Yet in Canada, some of these Canucks’ biggest hits aren’t considered fully “Canadian.”

Join Chris Molanphy for a look at how the country’s requirements for Canadian content, or CanCon, on radio, television, and other cultural outlets has influenced the music industry and entire careers on both sides of the border. From Kon Kan’s “I Beg Your Pardon” to Tate McRae’s recent “Housewife,” Chris explores how much credit, or blame, Canada’s radio rules deserve for what Americans hear on the pop charts.

For more chart history for the Great White North, check out Hit Parade’s recent episode on Celine Dion.

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Four decades ago, Paul Simon broke out of a middle-age slump with a collaborative project few saw coming. Join Chris Molanphy as he explores the musical brilliance, polarizing legacy—and of course, the chart history—of 1986’s Graceland.

Captivated by a borrowed mixtape of South African music, Simon defied a UN cultural boycott and traveled to apartheid-era South Africa to collaborate and record with Ladysmith Black Mambazo and other musicians. The result was polarizing, critically beloved and, eventually, a chart smash. Graceland also set a new precedent for aging pop stars.

For an even deeper dive on the controversies behind the album, check out Ashley Kahn’s new book Days of Miracle and Wonder: Paul Simon and the Trials and Triumphs of Graceland. And for more on the anti-apartheid movement in pop, listen to Hit Parade’s episode on the rise and fall of the charity megasingle.

Get more Hit Parade with Slate Plus! Join for bonus episodes of "The Bridge" and ad-free listening across all your favorite Slate podcasts. Subscribe directly from the Hit Parade show page on Apple Podcasts or Spotify. Or, visit slate.com/hitparadeplus to get access wherever you listen.
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The 1980s yielded a bumper crop of near-miss hits—songs that stalled out at No. 2, No. 11, or No. 41 during their original Billboard runs but were vindicated in the streaming era. The song that lent its title to a Molly Ringwald movie missed the Top 40—twice. Stevie Nicks missed the Top 10 with what is now her most beloved solo song. And Bruce Springsteen missed his only chance at a No. 1 song thanks to another ’80s icon.

Today on Hit Parade: Chris Molanphy flashes back to the Reagan era to tally the greatest near-misses from Def Leppard, Huey Lewis, the Cars, Madonna, the Cure, Paula Abdul, Eddie Murphy, Prince and others.

For more about near-miss hits, listen to Hit Parade’s episode on the near misses of the 1970s.

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In the 1970s, Dolly Parton parlayed her Nashville success into megawatt pop-culture icon status—yet many of her familiar hits of the era barely scratched the Top 40. Parton finally crossed over at the turn of the ’80s by courting pop fans directly. Nearly five decades later, country music is ubiquitous on the pop charts, with Ella Langley’s “Choosin’ Texas” recently setting a record for most weeks at No. 1. On this installment of Hit Parade, Chris Molanphy examines the chart rules that limited Parton’s pop-chart potential, the trail she blazed for Langley and other country women, and why the Nashville sound is much more than just an island in the (digital) stream.

For more about country to pop crossover stardom listen to Hit Parade’s episode on John Denver and Olivia Newton John and read Chris’s Slate column about Ella Langley’s chart dominance.

Pssst! Do you love Hit Parade? Support what we do and help us absolutely crush it during Slate’s podcast pledge drive! For a limited time, you can join Slate Plus for 50 percent off.and get bonus episodes of "The Bridge," ad-free listening across all your favorite Slate podcasts, and unlimited reading on Slate.com. Visit slate.com/hitparadeplus and use the promo code HIT50 to receive the discount AND get access wherever you listen.
Need to set up your Slate Plus feed? If you subscribed through Slate.com, check out our FAQ at slate.com/podcastfaqs for easy instructions. Members subscribed via Apple Podcasts get automatic access—no setup required.
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When an actor opens their mouth to sing in a movie, chances are high that the voice you hear will be their own. Even in music biopics, movie stars without much singing experience regularly go to great lengths to impersonate the most beloved vocalists of our time. Why not simply play Johnny Cash or Bruce Springsteen’s actual recordings, the reasons why we care about them in the first place? When the world is full of beautiful singing voices, why force Pierce Brosnan to bray his way through Mamma Mia?

What you hear when an actor unhinges their jaw is a matter that Hollywood has been negotiating since the dawn of sound. So in this episode, we’ll learn about the “ghost singers” of classic Hollywood musicals, find out why they went extinct, and why today’s music biopics so often fudge the music. Then we leave Hollywood for Bollywood, where the rise of the celebrity “playback singer” shows what can happen when good singing is the highest priority.

In this episode, you’ll hear from Slate’s pop music critic Jack Hamilton; musicologist Dominic Broomfield-McHugh, editor of The Oxford Handbook of the Hollywood Musical; Stephen Cole, co-author of a memoir by the ghost singer Marni Nixon; Isaac Butler, longtime Slate contributor and scholar of American acting; and Nasreen Munni Kabir, who has written several books on Hindi cinema and curates Indian films for the UK’s Channel 4.

This episode was written and produced by Max Freedman. It was edited by Willa Paskin and Evan Chung, our supervising producer. Decoder Ring is also produced by Katie Shepherd. Merritt Jacob is Senior Technical Director.
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