Podcast Summary: Hit Parade – The Imperial Elton and George Edition

Host: Chris Molanphy
Date: June 30, 2017
Episode Theme:
An exploration of the careers of Elton John and George Michael—their imperial eras, musical legacies, complex relationship with chart stardom, influences on each other, and their navigation of public attitudes toward homosexuality in pop music from the 1970s through the 2010s. Through deep storytelling, Chris Molanphy traces their intersecting histories as Britain’s premier male pop stars and addresses how they shaped and reflected LGBTQ visibility.

Episode Overview

Chris Molanphy examines what makes a song—and a pop star—“imperial,” focusing on the two defining British voices in pop: Elton John’s 70s dominance and George Michael’s 80s reign. The episode highlights their parallel chart successes, artistic influence, mutual admiration and occasional rivalry, as well as the broader implications of their careers for representation in music.

Key Discussion Points & Insights

1. The 1988 Chart Battle: Elton John vs. George Michael

• Opening Scene (00:00–04:13):

  • Molanphy sets the stage: August 27, 1988, when George Michael’s “Monkey” (No. 1) prevented Elton John’s “I Don’t Wanna Go On with You Like That” from topping the Billboard Hot 100.
  • “George Michael was to the 80s what Elton John had been to the 70s.” (03:19–03:25)

• Irony of Friends as Competitors:

  • They were friends, collaborators, and each other’s admirers—yet here, chart rivals by accident, not design.
  • Both championed American R&B styles and confronted industry homophobia, often cautiously balancing private and public personas.

2. Imperial Years: Chart Dominance Defined

• George Michael’s Imperial 1988 (04:13–05:01):

  • “Faith” was the year’s top album and single. The album’s wide crossover (including R&B charts) exemplified a truly imperial run.
  • “Imperial year... one where he reigned over the charts and essentially could do no wrong.” (04:56–04:58)

• Elton John’s 1970s Reign (05:21–19:59):

  • Elton’s breakthrough in America outpaced his UK success.
  • Key elements of Elton’s American appeal:
    • Conversational, emotionally open lyrics with Bernie Taupin.
    • Adaptation of American R&B (Aretha Franklin’s “Border Song” cover hit no. 5 on R&B charts—07:05–08:52; Elton’s first US top ten as songwriter).
    • Parade of iconic albums/singles— “Rocket Man,” “Honky Chateau,” “Goodbye Yellow Brick Road,” “Benny & the Jets,” “Philadelphia Freedom.”
  • Revolutionary: First artist in history with an album debuting at No. 1 (Captain Fantastic and the Brown Dirt Cowboy, 1975).

3. Sexuality, Public Reception & Backlash

• Elton John’s 1976 Coming Out (22:00–27:50):

  • Rolling Stone cover story: Elton comes out as bisexual, provoking backlash—labelled a “moral midget” by some, with a quick career and chart decline.
  • Cultural context: Homophobic backlash reminiscent of later incidents such as The Dixie Chicks (2003).
  • Elton’s sudden shift: “... in the space of a few weeks in 1976, from the premier chart dominating demigod to a modest second tier pop act...” (23:25–23:38)

• Lessons for Future Artists:

  • Elton’s experience became a cautionary tale for closeted pop stars like Freddie Mercury and George Michael.

4. George Michael’s Musical Ascendancy & Artistic Depth

• Parallel Career Foundations (27:50–33:07):

  • Like Elton, George leaned on American R&B/hip-hop influences early.
  • Wham!’s breakthrough with “Wake Me Up Before You Go-Go,” crossover UK/US success, the perennial “Last Christmas.”

• Transition from Teenybopper to Serious Artist:

  • “Careless Whisper” likened to Elton’s “Your Song”—brought Michael critical recognition and proved his depth (33:07–33:19).

• Elton on George’s Talent:

  • “You look at someone like George Michael… it’s quite frightening. At 21 I was a hopeless mess…” (Elton John, 35:00–35:12)

5. Iconic Collaborations and Mutual Influence

• Live Aid (1985):

  • Elton brings George (and Andrew Ridgeley) on stage—Michael leads “Don’t Let the Sun Go Down on Me.” (35:36–36:51)
  • Symbolic anointment of Michael as heir apparent.

• Further Duets:

  • 1985: George features on Elton’s “Wrap Her Up” (not a high point).
  • 1991: George surprises Elton at Wembley, leading to the definitive live duet of “Don’t Let the Sun Go Down on Me,” which later hits No. 1 in the US and UK (49:50–52:45).
    • Elton’s first US No. 1 in 16 years.
    • Molanphy: “It was sweet vindication for both men... but it would be the last time George Michael topped the Hot 100.” (52:10–52:19)

6. Navigating Sexuality in the Public Eye

• George Michael’s Closeted Years (41:00–47:00):

  • Despite deeply personal work (“A Different Corner,” “Father Figure”), Michael stayed closeted under industry/family pressure and the AIDS crisis backdrop.
  • “My depression at the end of Wham! was because I was beginning to realize I was gay, not bisexual.” (George Michael, 41:37–41:44)

• Controversy and Success:

  • “I Want Your Sex” (1987) stirs controversy but drives the massive “Faith” album, which outsold Michael Jackson’s “Bad” in the US.

• Industry Headwinds:

  • “Monkey” reaches No. 1 after a remix by Jimmy Jam & Terry Lewis, aided by R&B airplay.
  • Irony: “Monkey” keeps Elton at No. 2—one friend outmaneuvering another by pure chance.

7. 1990s: Changing Fortunes & Personal Turmoil

• Elton’s Career Revival:

  • Lion King soundtrack (1994) and “Candle in the Wind 1997/Goodbye England’s Rose” launch Elton to the biggest sales of his career.

• George Michael’s Withdrawal:

  • Battles Sony for artistic control (“treated like ‘a piece of software’”); grieves loss of partner to AIDS.
  • After “Listen Without Prejudice Vol. 1” (1990), Michael’s releases slow; focuses on covers, collaborations.

• Public Outing (1998):

  • Arrested in Beverly Hills; turns incident into a wryly celebratory single (“Outside”). Candid about his sexuality at last (61:03–61:43):
    • George: “You know, apart from the fact that it was Beverly Hills, it was probably the most glamorous toilet in the world. You know, if you’re going to do it, do it right and everything.” (61:13–61:26)

8. Later Years, Legacy, and Social Change

• Friendship and Feud:

  • 2000s: Elton criticizes George’s drug use, leading to public spats, then reconciliation in the 2010s.

• Changing Social Context:

  • Pace of LGBTQ acceptance—Adam Lambert (2012) as the first openly gay artist to debut at No. 1 in the US.
  • “Over the prior 40 years, roughly a dozen gay artists had scored number one albums... but all of these performers were closeted when they topped the charts. That included Elton John... and George Michael.” (66:45–67:20)

• Final Years & Legacy:

  • George Michael passes away on Christmas 2016, as “Last Christmas” is in heavy rotation.
  • Elton John pays tribute, calling Michael “the kindest, most generous man and one of the most brilliant songwriters England has ever produced.” (68:50–69:00)
  • Elton’s live performances after Michael’s passing subtly invoke Michael’s phrasing on “Don’t Let the Sun Go Down on Me,” merging their artistic legacy.

Notable Quotes & Memorable Moments

• On The Nature of Star Power:
  • Elton John (19:59–20:25):
    “If you’re successful, you get to a point where you can’t do any wrong. It’s like Madonna goes through that period at the moment. Phil Collins has been through it. You can’t fail.”
• On Resisting the Closet:
  • George Michael (41:37–41:44):
    “My depression at the end of Wham was because I was beginning to realize I was gay, not bisexual.”
  • Elton John, on the aftermath of his Rolling Stone interview (23:40–24:05):
    “...from the premier chart dominating demigod to a modest second tier pop act.”
• On Coming Out, Years Later:
  • George Michael (61:13–61:26):
    “You know, apart from the fact that it was Beverly Hills, it was probably the most glamorous toilet in the world. You know, if you’re going to do it, do it right and everything…”
• Elton’s Tribute to George Michael (68:50–69:00):
  “...the kindest, most generous man and one of the most brilliant songwriters England has ever produced.”

Timestamps for Important Segments

| Timestamp | Topic/Segment | |-------------|--------------------------------------------------------------| | 00:00–04:13 | Introduction; George Michael vs. Elton John chart battle | | 04:13–10:03 | Elton’s 1970s imperial period and US chart domination | | 14:12–16:00 | Elton’s R&B crossover success; Soul Train appearance | | 19:59–20:25 | Elton on his “can do no wrong” years (imperial phase) | | 22:00–27:50 | Elton John’s 1976 Rolling Stone coming out interview | | 27:50–35:12 | Wham’s beginnings, American R&B influence, chart ascent | | 35:12–36:51 | Live Aid duet of “Don’t Let the Sun Go Down on Me” | | 41:00–47:00 | George Michael’s solo career, sexuality, and “Faith” | | 49:06–52:19 | “Monkey”/Elton comeback/Don’t Let the Sun Go Down on Me | | 55:34–57:31 | “Candle in the Wind 1997”—Elton’s career peak | | 61:03–61:43 | George Michael reflects on forced coming out | | 66:45–67:20 | Adam Lambert tops charts as openly gay artist | | 68:50–69:00 | Elton John’s tribute to George Michael after his passing |

Episode Tone & Style

Chris Molanphy delivers a rich, empathetic, and detailed pop history with incisive analysis, warm appreciation, and a skill for connecting chart facts to broader social narratives. The tone is celebratory, a little nostalgic, and reflective—honoring two legends as cultural milestones, not just pop stars.

Conclusion

This episode provides an engaging journey through a half-century of pop stardom, chart drama, friendship, rivalry, and the shifting landscape for LGBTQ artists. By tracing the twin “imperial” periods of Elton John and George Michael, Chris Molanphy shows how their music both shaped and mirrored changing times—and how their careers are woven together in both history and memory.