The Lost and Lonely Edition
Three decades ago, the biggest alternative rock came with a British accent—and morose lyrics.
Listen & Subscribe
Choose your preferred player:
Apple Podcasts
Get Your Slate Plus Podcast
If you can't access your feeds, please contact customer support.
Listen on your computer:
Apple Podcasts will only work on MacOS operating systems since Catalina. We do not support Android apps on desktop at this time.
Listen on your device:RECOMMENDED
These links will only work if you're on the device you listen to podcasts on. We do not support Stitcher at this time.
Set up manually:
Episode Notes
If you were an angsty American teenager in the 1980s—whether in real life or in a John Hughes movie—the rock you loved probably came from the United Kingdom, complete with droning vocals, brooding lyrics, goth hair, and black nail polish. The Cure, Siouxsie and the Banshees, Bauhaus, Joy Division/New Order, the Smiths: All these U.K. postpunk acts were hard-pressed to score American hits in the first half of the ’80s—the era of fun-loving New Romantic bands like Duran Duran. But to Gen X teens, Robert Smith, Siouxsie Sioux, and Morrissey were icons.
By the end of the decade, however, these bands became American hit-makers, especially after Billboard launched the music bible’s first alternative rock chart. Depeche Mode sold out a California stadium. New Order dominated dance floors. The Smiths’ Johnny Marr became a guitar god, Morrissey an MTV crush object. And finally, in 1989, the Cure—dark, doomy, and moody as ever—were challenging Janet Jackson for the top of the Billboard Hot 100. Just in time for Halloween, Hit Parade tells the story of how spooky, spidery, U.K. mope rock became chart-conquering pop.
Podcast production by Justin D. Wright.
