Hit Parade: The Bridge – “Rain Sounds and Moody Goths”

Podcast: Hit Parade | Music History and Music Trivia
Date: October 11, 2019
Host: Chris Molanphy
Guest: Aisha Harris (Culture Editor, NYT Opinion, former Slate podcaster)

Episode Overview

This episode of Hit Parade’s “The Bridge” takes a deep dive into Janet Jackson’s “Rhythm Nation” era, exploring her musical evolution, the enduring influence of her collaborations with Jimmy Jam and Terry Lewis, and the ongoing relevance of her music. The discussion with Aisha Harris traces Jackson’s impact on pop and R&B, highlights the iconic “wet sound” production, and touches on the legacy of British post-punk bands as a preview for the next full episode.

Key Discussion Points & Insights

Janet Jackson Fandom: A Personal Journey

• Aisha Harris recounts discovering Janet Jackson as a child, initially more enamored with Michael Jackson before her mother’s purchase of Design of a Decade led to deeper engagement with Janet’s work.
• Janet’s 80s and 90s eras sounded distinctly different, with Harris embracing the 90s “Velvet Rope” and “All For You” after first hearing the greatest hits.
  • “I can say I've been a hardcore fan of hers ever since.” — Aisha Harris [03:26]

Janet’s Evolution and Standout Tracks

• 80s hits felt sonically different from the slicker, more mature tracks of the 90s.
• Pleasure Principle and Black Cat singled out as Harris’s—and the hosts’—favorites:
  • “It's just so great.” — Aisha Harris on “Pleasure Principle” [04:15]
  • “I just love it when Janet goes super rock and it's fun.” — Aisha Harris on “Black Cat” [06:08]

“Rhythm Nation” in Retrospect: Social Consciousness vs. Corniness

• Debate on whether the album’s socially conscious message holds up or feels “corny” today.
  • Harris compares it to Marvin Gaye’s “What’s Going On” as the standard for pop social consciousness.
    • “What helps the album not feel too corny or cheesy is the fact that like, yes, half the album is socially conscious. But then in the middle of it she goes, okay, now time to dance.” — Aisha Harris [08:50]
• The album’s balance between activism and party/dance tracks keeps it from feeling heavy-handed.

Production Genius: Jimmy Jam & Terry Lewis and the “Wet Sound”

• Molanphy and Harris revel in the genius production style of Jimmy Jam and Terry Lewis, especially their signature “wet sound” (rain-like, lush synths and chords).
  • “Which is not the most pleasant way to describe it, but it's the most accurate way I can describe it.” — Chris Molanphy on the “wet sound” [10:30]
• The “raindrop” template shows up across various hits they produced:
  • “Tender Love” (Force MDs), “Human” (Human League), “Can You Stand the Rain?” (New Edition), “Come Back to Me” (Janet Jackson), and “On Bended Knee” (Boyz II Men).
    • “They were taking a really sturdy song template and tweaking it and making it sound genuinely different... They're all good songs.” — Unidentified Male Host [12:40]

Janet’s Ongoing Relevance and Influence

• Harris and host discuss Jackson’s lasting impact on today’s music and culture.
  • Control and Rhythm Nation tracks feature prominently in recent films (Hustlers) and influence contemporary artists like Normani.
    • “She's still absolutely relevant and just even looking at someone like Normani...” — Aisha Harris [14:25]
    • Normani’s “Motivation” video cited as a direct descendant of Janet’s choreography and visual style.
  • The “long tail” effect of Janet’s influence spans generations and genre boundaries.

Notable Quotes & Memorable Moments

• On Janet’s genre fluidity:
  “I just love it when Janet goes super rock and it's fun.” — Aisha Harris [06:08]
• On socially-conscious pop:
  “It's sonically gorgeous and inventive and different, while not feeling too preachy.” — Aisha Harris on Marvin Gaye’s “What’s Going On” [08:50]
• On the Jimmy Jam & Terry Lewis signature:
  “They're like, right, this one's gonna sound like raindrops. This is the wet sound. And they just recreate it over and over again. And it works every time.” — Unidentified Male Host [12:40]
• On lasting relevance:
  “Even without, I feel like any person, younger person, could listen to it today and not even realize the sort of backstory of Janet.” — Aisha Harris [13:40]
• On musical lineage:
  “There's a lineage of this synthesis of RB and hip hop, that style of dance, being passed on through generations of pop acts.” — Unidentified Male Host [15:43]

Timestamps for Key Segments

• [01:46 – 03:26] – Aisha Harris’s history as a Janet Jackson fan
• [04:28 – 06:26] – Deep dive into Harris’s favorite Janet tracks: “All Right,” “Black Cat,” and their crossover appeal
• [08:22 – 09:39] – Conversation on the social content of “Rhythm Nation”
• [10:19 – 11:39] – Discovery and explanation of the “wet sound” in Janet’s ballads and across multiple Jam & Lewis productions
• [13:39 – 15:21] – Discussion of Janet’s influence on current pop artists, specifically Normani
• [16:12 – 22:26] – Listener trivia segment (see next section for summary)
• [22:33 – 23:42] – Teaser for next episode: the rise of British goth and post-punk bands on US charts

Trivia Segment

Slate Plus listener Will joins for trivia relating to Janet Jackson and British post-punk bands:

• Q1: Which “Control” single wasn’t a US Top 5 hit?
  A: “The Pleasure Principle” (Correct) [18:02]
• Q2: Which British post-punk band was first to crack the US Top 40?
  A: Depeche Mode with “People Are People” [19:34]
• Q3: Which band peaked highest on the Hot 100 with a single held back from #1 by Janet’s “Miss You Much”?
  A: The Cure (“Lovesong,” #2, October 1989) [20:27]
• Will’s trivia for host: Which band had the highest charting post-2000s album in the US? A: Depeche Mode (“Sounds of the Universe” peaking at #3 in 2009) [21:53]

Preview: Next Full Episode

• Focus on the 1989 US breakthrough of British post-punk and goth bands: The Cure, Depeche Mode, New Order, and The Smiths.
• Context on how Billboard’s Modern Rock chart gave these bands crossover appeal.
  • “1989 was not only the year of Rhythm Nation, it was arguably the year goth broke on the US Charts.” — Chris Molanphy [22:53]

Where to Find More

• Aisha Harris: Culture editor at NYT Opinion, Twitter: @craftingmystyle [23:42]
• Chris Molanphy: Host of Hit Parade, writes Slate’s “Why Is This Song #1?” series

Closing Notes

• The episode is a rich look at Janet Jackson’s artistry and the ripple effects of her music, production collaborators, and visual style.
• It smoothly segues to a broader music history context (British post-punk’s US infiltration), setting listeners up for the next deep-dive.
• The conversation’s tone is informal, enthusiastic, and insightful—full of both fan energy and nuanced musicology.