Podcast appearances and mentions of chris molanphy

When Kendrick Lamar took the Super Bowl halftime stage in 2025 and had the stadium chanting along to “Not Like Us,” it was clear: Diss tracks had gone stratospheric. The Kendrick vs. Drake beef echoes legendary rap rivalries like Biggie vs. Tupac and Jay-Z vs. Nas—but diss tracks stretch back through a century of American pop to the Tin Pan Alley era. Vaudeville singer Eddie Cantor, James Brown, John Lennon, Carly Simon, Kool Moe Dee, Lauryn Hill, and countless other artists have all tapped the hitmaking power of a personal grudge. Step this way and join Chris Molanphy as he traces the history of answer records, diss tracks, and rap beefs that shaped the charts—and the culture. Get more Hit Parade with Slate Plus! Join for monthly early-access episodes, 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. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

When Kendrick Lamar took the Super Bowl halftime stage in 2025 and had the stadium chanting along to “Not Like Us,” it was clear: Diss tracks had gone stratospheric. The Kendrick vs. Drake beef echoes legendary rap rivalries like Biggie vs. Tupac and Jay-Z vs. Nas—but diss tracks stretch back through a century of American pop to the Tin Pan Alley era. Vaudeville singer Eddie Cantor, James Brown, John Lennon, Carly Simon, Kool Moe Dee, Lauryn Hill, and countless other artists have all tapped the hitmaking power of a personal grudge. Step this way and join Chris Molanphy as he traces the history of answer records, diss tracks, and rap beefs that shaped the charts—and the culture. Get more Hit Parade with Slate Plus! Join for monthly early-access episodes, 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. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

When Kendrick Lamar took the Super Bowl halftime stage in 2025 and had the stadium chanting along to “Not Like Us,” it was clear: Diss tracks had gone stratospheric. The Kendrick vs. Drake beef echoes legendary rap rivalries like Biggie vs. Tupac and Jay-Z vs. Nas—but diss tracks stretch back through a century of American pop to the Tin Pan Alley era. Vaudeville singer Eddie Cantor, James Brown, John Lennon, Carly Simon, Kool Moe Dee, Lauryn Hill, and countless other artists have all tapped the hitmaking power of a personal grudge. Step this way and join Chris Molanphy as he traces the history of answer records, diss tracks, and rap beefs that shaped the charts—and the culture. Get more Hit Parade with Slate Plus! Join for monthly early-access episodes, 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. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

Outward is going on a little summer break, in the meantime we're leaving you with a delightfully queer episode of Slate's Hit Parade with Chris Molanphy: Little Richard was rock ‘n' roll's flamboyant architect. Lesley Gore sang that no one owned her. Sylvester was a gender-fluid icon who helped define disco. Freddie Mercury made rock operatic, and George Michael demanded freedom. What all of these LGBTQ artists had in common was bold hitmaking—and fear of being fully out of the closet. For decades, queer acts topped the charts while cloaking their true identities and paving the way for today's more openly queer stars. For Pride Month, join Chris Molanphy as he traces the hidden history of queer hitmakers on the charts—including those that managed to be both out and No. 1, right up through our modern age of Lil Nas X and Chappell Roan. It's a celebration of these artists' quest to feel… mighty real. Learn more about your ad choices. Visit megaphone.fm/adchoices

Outward is going on a little summer break, in the meantime we're leaving you with a delightfully queer episode of Slate's Hit Parade with Chris Molanphy: Little Richard was rock ‘n' roll's flamboyant architect. Lesley Gore sang that no one owned her. Sylvester was a gender-fluid icon who helped define disco. Freddie Mercury made rock operatic, and George Michael demanded freedom. What all of these LGBTQ artists had in common was bold hitmaking—and fear of being fully out of the closet. For decades, queer acts topped the charts while cloaking their true identities and paving the way for today's more openly queer stars. For Pride Month, join Chris Molanphy as he traces the hidden history of queer hitmakers on the charts—including those that managed to be both out and No. 1, right up through our modern age of Lil Nas X and Chappell Roan. It's a celebration of these artists' quest to feel… mighty real. Learn more about your ad choices. Visit megaphone.fm/adchoices

Outward is going on a little summer break, in the meantime we're leaving you with a delightfully queer episode of Slate's Hit Parade with Chris Molanphy: Little Richard was rock ‘n' roll's flamboyant architect. Lesley Gore sang that no one owned her. Sylvester was a gender-fluid icon who helped define disco. Freddie Mercury made rock operatic, and George Michael demanded freedom. What all of these LGBTQ artists had in common was bold hitmaking—and fear of being fully out of the closet. For decades, queer acts topped the charts while cloaking their true identities and paving the way for today's more openly queer stars. For Pride Month, join Chris Molanphy as he traces the hidden history of queer hitmakers on the charts—including those that managed to be both out and No. 1, right up through our modern age of Lil Nas X and Chappell Roan. It's a celebration of these artists' quest to feel… mighty real. Learn more about your ad choices. Visit megaphone.fm/adchoices

Outward is going on a little summer break, in the meantime we're leaving you with a delightfully queer episode of Slate's Hit Parade with Chris Molanphy: Little Richard was rock ‘n' roll's flamboyant architect. Lesley Gore sang that no one owned her. Sylvester was a gender-fluid icon who helped define disco. Freddie Mercury made rock operatic, and George Michael demanded freedom. What all of these LGBTQ artists had in common was bold hitmaking—and fear of being fully out of the closet. For decades, queer acts topped the charts while cloaking their true identities and paving the way for today's more openly queer stars. For Pride Month, join Chris Molanphy as he traces the hidden history of queer hitmakers on the charts—including those that managed to be both out and No. 1, right up through our modern age of Lil Nas X and Chappell Roan. It's a celebration of these artists' quest to feel… mighty real. Learn more about your ad choices. Visit megaphone.fm/adchoices

When Kendrick Lamar took the Super Bowl halftime stage in 2025 and had the stadium chanting along to “Not Like Us,” it was clear: Diss tracks had gone stratospheric. The Kendrick vs. Drake beef echoes legendary rap rivalries like Biggie vs. Tupac and Jay-Z vs. Nas—but diss tracks stretch back through a century of American pop to the Tin Pan Alley era. Vaudeville singer Eddie Cantor, James Brown, John Lennon, Carly Simon, Kool Moe Dee, Lauryn Hill, and countless other artists have all tapped the hitmaking power of a personal grudge. Step this way and join Chris Molanphy as he traces the history of answer records, diss tracks, and rap beefs that shaped the charts—and the culture. Get more Hit Parade with Slate Plus! Join for monthly early-access episodes, 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. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

When Kendrick Lamar took the Super Bowl halftime stage in 2025 and had the stadium chanting along to “Not Like Us”, it was clear: diss tracks had gone stratospheric. The Kendrick vs. Drake beef echoes legendary rap rivalries like Biggie vs. Tupac and Jay Z vs. Nas—but diss tracks stretch back through a century of American pop, long before hip-hop, all the way to the days of Tin Pan Alley. From Eddie Cantor and James Brown, to John Lennon and Carly Simon, to Kool Moe Dee and Lauryn Hill, artists have been turning personal grudges into hits for over a century. Step this way and join Chris Molanphy as he traces the history of answer records, diss tracks and rap beefs that shaped the charts and the culture. Learn more about your ad choices. Visit megaphone.fm/adchoices

When Kendrick Lamar took the Super Bowl halftime stage in 2025 and had the stadium chanting along to “Not Like Us”, it was clear: diss tracks had gone stratospheric. The Kendrick vs. Drake beef echoes legendary rap rivalries like Biggie vs. Tupac and Jay Z vs. Nas—but diss tracks stretch back through a century of American pop, long before hip-hop, all the way to the days of Tin Pan Alley. From Eddie Cantor and James Brown, to John Lennon and Carly Simon, to Kool Moe Dee and Lauryn Hill, artists have been turning personal grudges into hits for over a century. Step this way and join Chris Molanphy as he traces the history of answer records, diss tracks and rap beefs that shaped the charts and the culture. Learn more about your ad choices. Visit megaphone.fm/adchoices

Little Richard was rock ‘n' roll's flamboyant architect. Lesley Gore sang that no one owned her. Sylvester was a gender-fluid icon who helped define disco. Freddie Mercury made rock operatic, and George Michael demanded freedom. What all of these LGBTQ artists had in common was bold hitmaking—and fear of being fully out of the closet. For decades, queer acts topped the charts while cloaking their true identities and paving the way for today's more openly queer stars. For Pride Month, join Chris Molanphy as he traces the hidden history of queer hitmakers on the charts—including those that managed to be both out and No. 1, right up through our modern age of Lil Nas X and Chappell Roan. It's a celebration of these artists' quest to feel… mighty real. Get more Hit Parade with Slate Plus! Join for monthly early-access episodes, 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. Learn more about your ad choices. Visit megaphone.fm/adchoices

Little Richard was rock ‘n' roll's flamboyant architect. Lesley Gore sang that no one owned her. Sylvester was a gender-fluid icon who helped define disco. Freddie Mercury made rock operatic, and George Michael demanded freedom. What all of these LGBTQ artists had in common was bold hitmaking—and fear of being fully out of the closet. For decades, queer acts topped the charts while cloaking their true identities and paving the way for today's more openly queer stars. For Pride Month, join Chris Molanphy as he traces the hidden history of queer hitmakers on the charts—including those that managed to be both out and No. 1, right up through our modern age of Lil Nas X and Chappell Roan. It's a celebration of these artists' quest to feel… mighty real. Get more Hit Parade with Slate Plus! Join for monthly early-access episodes, 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. Learn more about your ad choices. Visit megaphone.fm/adchoices

Little Richard was rock ‘n' roll's flamboyant architect. Lesley Gore sang that no one owned her. Sylvester was a gender-fluid icon who helped define disco. Freddie Mercury made rock operatic, and George Michael demanded freedom. What all of these LGBTQ artists had in common was bold hitmaking—and fear of being fully out of the closet. For decades, queer acts topped the charts while cloaking their true identities and paving the way for today's more openly queer stars. For Pride Month, join Chris Molanphy as he traces the hidden history of queer hitmakers on the charts—including those that managed to be both out and No. 1, right up through our modern age of Lil Nas X and Chappell Roan. It's a celebration of these artists' quest to feel… mighty real. Get more Hit Parade with Slate Plus! Join for monthly early-access episodes, 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. Learn more about your ad choices. Visit megaphone.fm/adchoices

As What Next celebrates Juneteenth, please enjoy this episode ⁠from our colleagues at Hit Parade⁠. What Next will be back in your feed on Monday. Little Richard was rock ‘n' roll's flamboyant architect. Lesley Gore sang that no one owned her. Sylvester was a gender-fluid icon who helped define disco. Freddie Mercury made rock operatic, and George Michael demanded freedom. What all of these LGBTQ artists had in common was bold hitmaking—and fear of being fully out of the closet. For decades, queer acts topped the charts while cloaking their true identities and paving the way for today's more openly queer stars. For Pride Month, join Chris Molanphy as he traces the hidden history of queer hitmakers on the charts—including those that managed to be both out and No. 1, right up through our modern age of Lil Nas X and Chappell Roan. It's a celebration of these artists' quest to feel… mighty real. Want more Hit Parade? Join Slate Plus to unlock monthly early-access episodes, bonus episodes of “The Bridge,” and ad-free listening across all your favorite Slate podcasts. Visit slate.com/hitparadeplus to get access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices

Little Richard was rock ‘n' roll's flamboyant architect. Lesley Gore sang that no one owned her. Sylvester was a gender-fluid icon who helped define disco. Freddie Mercury made rock operatic, and George Michael demanded freedom. What all of these LGBTQ artists had in common was bold hitmaking—and fear of being fully out of the closet. For decades, queer acts topped the charts while cloaking their true identities and paving the way for today's more openly queer stars. For Pride Month, join Chris Molanphy as he traces the hidden history of queer hitmakers on the charts—including those that managed to be both out and No. 1, right up through our modern age of Lil Nas X and Chappell Roan. It's a celebration of these artists' quest to feel… mighty real. Get more Hit Parade with Slate Plus! Join for monthly early-access episodes, 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. Learn more about your ad choices. Visit megaphone.fm/adchoices

Little Richard was rock ‘n' roll's flamboyant architect. Lesley Gore sang that no one owned her. Sylvester was a gender-fluid icon who helped define disco. Freddie Mercury made rock operatic, and George Michael demanded freedom. What all of these LGBTQ artists had in common was bold hitmaking—and fear of being fully out of the closet. For decades, queer acts topped the charts while cloaking their true identities and paving the way for today's more openly queer stars. For Pride Month, join Chris Molanphy as he traces the hidden history of queer hitmakers on the charts—including those that managed to be both out and No. 1, right up through our modern age of Lil Nas X and Chappell Roan. It's a celebration of these artists' quest to feel… mighty real. Get more Hit Parade with Slate Plus! Join for monthly early-access episodes, 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. Learn more about your ad choices. Visit megaphone.fm/adchoices

Little Richard was rock ‘n' roll's flamboyant architect. Lesley Gore sang that no one owned her. Sylvester was a gender-fluid icon who helped define disco. Freddie Mercury made rock operatic, and George Michael demanded freedom. What all of these LGBTQ artists had in common was bold hitmaking—and fear of being fully out of the closet. For decades, queer acts topped the charts while cloaking their true identities and paving the way for today's more openly queer stars. For Pride Month, join Chris Molanphy as he traces the hidden history of queer hitmakers on the charts—including those that managed to be both out and No. 1, right up through our modern age of Lil Nas X and Chappell Roan. It's a celebration of these artists' quest to feel… mighty real. Get more Hit Parade with Slate Plus! Join for monthly early-access episodes, 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. Learn more about your ad choices. Visit megaphone.fm/adchoices

Writer/podcaster Chris Molanphy (Hit Parade) shares his ballot with us. This show is part of ⁠⁠⁠⁠Pantheon Podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week's show, Slate's Rebecca Onion sits in for Julia. The team discusses Netflix's current number 1 program Adolescence and what it says about how the descent into incel culture starts young. They then invite Chris Molanphy to talk about Lady Gaga's new album, MAYHEM. They close out with a discussion on Trump's continued assault against DEI, this time holding funding over the heads of public universities if they don't end programs that they say advance "racial preferences and stereotypes in education programs and activities." Endorsements: Steve: Lauren Theisen's review of A Streetcar Named Desire Dana: “That's Life” on the Lady Gaga album Harlequin Rebecca: The Fall Podcast production and research by Vic Whitley-Berry. Email us at culturefest@slate.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week's show, Slate's Rebecca Onion sits in for Julia. The team discusses Netflix's current number 1 program Adolescence and what it says about how the descent into incel culture starts young. They then invite Chris Molanphy to talk about Lady Gaga's new album, MAYHEM. They close out with a discussion on Trump's continued assault against DEI, this time holding funding over the heads of public universities if they don't end programs that they say advance "racial preferences and stereotypes in education programs and activities." Endorsements: Steve: Lauren Theisen's review of A Streetcar Named Desire Dana: “That's Life” on the Lady Gaga album Harlequin Rebecca: The Fall Podcast production and research by Vic Whitley-Berry. Email us at culturefest@slate.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week's show, Slate's Rebecca Onion sits in for Julia. The team discusses Netflix's current number 1 program Adolescence and what it says about how the descent into incel culture starts young. They then invite Chris Molanphy to talk about Lady Gaga's new album, MAYHEM. They close out with a discussion on Trump's continued assault against DEI, this time holding funding over the heads of public universities if they don't end programs that they say advance "racial preferences and stereotypes in education programs and activities." Endorsements: Steve: Lauren Theisen's review of A Streetcar Named Desire Dana: “That's Life” on the Lady Gaga album Harlequin Rebecca: The Fall Podcast production and research by Vic Whitley-Berry. Email us at culturefest@slate.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week's show, Slate's Rebecca Onion sits in for Julia. The team discusses Netflix's current number 1 program Adolescence and what it says about how the descent into incel culture starts young. They then invite Chris Molanphy to talk about Lady Gaga's new album, MAYHEM. They close out with a discussion on Trump's continued assault against DEI, this time holding funding over the heads of public universities if they don't end programs that they say advance "racial preferences and stereotypes in education programs and activities." Endorsements: Steve: Lauren Theisen's review of A Streetcar Named Desire Dana: “That's Life” on the Lady Gaga album Harlequin Rebecca: The Fall Podcast production and research by Vic Whitley-Berry. Email us at culturefest@slate.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week's show, Slate's Rebecca Onion sits in for Julia. The team discusses Netflix's current number 1 program Adolescence and what it says about how the descent into incel culture starts young. They then invite Chris Molanphy to talk about Lady Gaga's new album, MAYHEM. They close out with a discussion on Trump's continued assault against DEI, this time holding funding over the heads of public universities if they don't end programs that they say advance "racial preferences and stereotypes in education programs and activities." Endorsements: Steve: Lauren Theisen's review of A Streetcar Named Desire Dana: “That's Life” on the Lady Gaga album Harlequin Rebecca: The Fall Podcast production and research by Vic Whitley-Berry. Email us at culturefest@slate.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week's show, Slate's Rebecca Onion sits in for Julia. The team discusses Netflix's current number 1 program Adolescence and what it says about how the descent into incel culture starts young. They then invite Chris Molanphy to talk about Lady Gaga's new album, MAYHEM. They close out with a discussion on Trump's continued assault against DEI, this time holding funding over the heads of public universities if they don't end programs that they say advance "racial preferences and stereotypes in education programs and activities." Endorsements: Steve: Lauren Theisen's review of A Streetcar Named Desire Dana: “That's Life” on the Lady Gaga album Harlequin Rebecca: The Fall Podcast production and research by Vic Whitley-Berry. Email us at culturefest@slate.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the late 1980s, the English synth-pop duo Pet Shop Boys dominated the U.K. pop charts and staged an invasion of the American charts. Years later, founding member Neil Tennant dubbed this streak of creative and commercial supremacy the group's “imperial phase”—a term that eventually caught on among music critics and pop fans. So, what does it take for an artist to achieve imperial dominance? Why might Fleetwood Mac in the 1970s or The Weeknd in the 2010s qualify, while Cher or Lizzo don't quite fit the bill? Are there rules for imperial phases? Hit Parade's Chris Molanphy says yes—he's got chart rules for determining when an artist is at peak imperiality. And he says Madonna's late '80s streak of hits might be the ultimate imperial phase. Join Chris as he dissects the most regal artists across the decades, defining what makes them imperial—and he walks hit by hit through Madonna's biggest phase, which may remain unmatched. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the late 1980s, the English synth-pop duo Pet Shop Boys dominated the U.K. pop charts and staged an invasion of the American charts. Years later, founding member Neil Tennant dubbed this streak of creative and commercial supremacy the group's “imperial phase”—a term that eventually caught on among music critics and pop fans. So, what does it take for an artist to achieve imperial dominance? Why might Fleetwood Mac in the 1970s or The Weeknd in the 2010s qualify, while Cher or Lizzo don't quite fit the bill? Are there rules for imperial phases? Hit Parade's Chris Molanphy says yes—he's got chart rules for determining when an artist is at peak imperiality. And he says Madonna's late '80s streak of hits might be the ultimate imperial phase. Join Chris as he dissects the most regal artists across the decades, defining what makes them imperial—and he walks hit by hit through Madonna's biggest phase, which may remain unmatched. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the late 1980s, the English synth-pop duo Pet Shop Boys dominated the U.K. pop charts and staged an invasion of the American charts. Years later, founding member Neil Tennant dubbed this streak of creative and commercial supremacy the group's “imperial phase”—a term that eventually caught on among music critics and pop fans. So, what does it take for an artist to achieve imperial dominance? Why might Fleetwood Mac in the 1970s or The Weeknd in the 2010s qualify, while Cher or Lizzo don't quite fit the bill? Are there rules for imperial phases? Hit Parade's Chris Molanphy says yes—he's got chart rules for determining when an artist is at peak imperiality. And he says Madonna's late '80s streak of hits might be the ultimate imperial phase. Join Chris as he dissects the most regal artists across the decades, defining what makes them imperial—and he walks hit by hit through Madonna's biggest phase, which may remain unmatched. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the late 1980s, the English synth-pop duo Pet Shop Boys dominated the U.K. pop charts and staged an invasion of the American charts. Years later, founding member Neil Tennant dubbed this streak of creative and commercial supremacy the group's “imperial phase”—a term that eventually caught on among music critics and pop fans. So, what does it take for an artist to achieve imperial dominance? Why might Fleetwood Mac in the 1970s or The Weeknd in the 2010s qualify, while Cher or Lizzo don't quite fit the bill? Are there rules for imperial phases? Hit Parade's Chris Molanphy says yes—he's got chart rules for determining when an artist is at peak imperiality. And he says Madonna's late '80s streak of hits might be the ultimate imperial phase. Join Chris as he dissects the most regal artists across the decades, defining what makes them imperial—and he walks hit by hit through Madonna's biggest phase, which may remain unmatched. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the late 1980s, the English synth-pop duo Pet Shop Boys dominated the U.K. pop charts and staged an invasion of the American charts. Years later, founding member Neil Tennant dubbed this streak of creative and commercial supremacy the group's “imperial phase”—a term that eventually caught on among music critics and pop fans. So, what does it take for an artist to achieve imperial dominance? Why might Fleetwood Mac in the 1970s or The Weeknd in the 2010s qualify, while Cher or Lizzo don't quite fit the bill? Are there rules for imperial phases? Hit Parade's Chris Molanphy says yes—he's got chart rules for determining when an artist is at peak imperiality. And he says Madonna's late '80s streak of hits might be the ultimate imperial phase. Join Chris as he dissects the most regal artists across the decades, defining what makes them imperial—and he walks hit by hit through Madonna's biggest phase, which may remain unmatched. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the late 1980s, the English synth-pop duo Pet Shop Boys dominated the U.K. pop charts and staged an invasion of the American charts. Years later, founding member Neil Tennant dubbed this streak of creative and commercial supremacy the group's “imperial phase”—a term that eventually caught on among music critics and pop fans. So, what does it take for an artist to achieve imperial dominance? Why might Fleetwood Mac in the 1970s or The Weeknd in the 2010s qualify, while Cher or Lizzo don't quite fit the bill? Are there rules for imperial phases? Hit Parade's Chris Molanphy says yes—he's got chart rules for determining when an artist is at peak imperiality. And he says Madonna's late '80s streak of hits might be the ultimate imperial phase. Join Chris as he dissects the most regal artists across the decades, defining what makes them imperial—and he walks hit by hit through Madonna's biggest phase, which may remain unmatched. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today we're discussing the Oscar nominees for Original Song. My guests — Chris Molanphy (chart analyst and podcast host), Louis Weeks (score composer), and Tom Peyton (song writer) — offer both analysis and critique of this year's nominees. Is there a lot of enthusiasm for the musical innovations these songs offer the listening audience? Well, no. Does it make for an interesting discussion? Yes, definitely.  The 2024 Nominees for Original Song: • “El Mal” from “Emilia Pérez” • “The Journey” from “The Six Triple Eight” • “Like a Bird” from “Sing Sing” • “Mi Camino” also from “Emilia Pérez” and • “Never Too Late” from “Elton John: Never Too Late” 

Our tour through the technical categories continues with a discussion of the Oscar nominees for Original Score. My guests — Louis Weeks (score composer), Chris Molanphy (chart analyst/pop critic), and Jennie Calendar (founder and music supervisor of Soundbloom) — offer a multi-layered set of insights. The 2024 Nominees for Original Score: • “The Brutalist” • “Conclave” • “Emilia Pérez”  • “Wicked” • “The Wild Robot”  

Chris Molanphy returns to Pop Pantheon for the second and final part in our Cher series. Chris and Louie pick up on Cher's career just as she scored a hit in 1979 with “Take Me Home” during the disco craze. Then they track her string of failures through the early eighties before her massively successful pivot to acting, including her Best Actress Oscar win for 1987's Moonstruck. Next they dig into her best-selling album to date, 1989's Heart of Stone, her infomercial era in the nineties and Sonny Bono's tragic death in 1998 which paved the way for yet another comeback with 1998's Believe. Finally, they discuss contemporary Cher, her formidable staying power and lasting legacy and rank Cher in the Official Pop Pantheon.Come to our dance party Main Pop Girls on 2/1 at Parkside Lounge in NYC!Listen to Pop Pantheon's Cher Essentials Playlist on SpotifyJoin Pop Pantheon: All Access, Our Patreon Channel, for Exclusive Content and MoreShop Merch in Pop Pantheon's StoreFollow DJ Louie XIV on InstagramFollow DJ Louie XIV on TwitterFollow Pop Pantheon on Instagram

Chris Molanphy returns to Pop Pantheon for part one of our special two-part series on the Goddess of Pop herself, Cher. Chris and Louie dig into the origins of Cher's mythology, her early work with Sonny Bonno and Phil Spector and Sonny and Cher's breakout hit, “I Got You Babe.” From there, they dive into Cher's iconic looks, her first solo hits and Sonny and Cher's reinvention as television variety stars. Then they tackle the couple's split, Cher's second run of hits, including “Gypsys, Tramps and Thieves” and “Dark Lady,” and the commercial slump she found herself at the end of the seventies. Tune in next week for part two, covering Cher's disco reinvention, Hollywood success, late career hits like "If I Could Turn Back Time" and “Believe” and her ranking in the Official Pop Pantheon. Come to our dance party Main Pop Girls on 2/1 at Parkside Lounge in NYC! Listen to Pop Pantheon's Cher Essentials Playlist on SpotifyJoin Pop Pantheon: All Access, Our Patreon Channel, for Exclusive Content and MoreShop Merch in Pop Pantheon's StoreFollow DJ Louie XIV on InstagramFollow DJ Louie XIV on TwitterFollow Pop Pantheon on Instagram

The Slate Music Club is back, in a special edition of Hit Parade – “The Bridge”! Our year-end panel of critics—NPR Music's Ann Powers, Hearing Things' Julianne Escobedo Shepherd, Slate's own Carl Wilson and Hit Parade host Chris Molanphy—discuss their favorite albums and singles and the trends that shaped the year in pop, rap, country, Latin and global music.  Among the questions the roundtable tackles: Have we reached peak Taylor Swift? Did the Kendrick Lamar–v.-Drake beef overshadow hip-hop's next generation? How much further will country cross over to pop audiences—and how does Latin music fit in? How did music from diverse artists stand in for protest music in 2024? And what will become of music criticism itself? Note: Slate Plus members can hear this special episode in full. Ad-supported listeners will hear the first half. Want to hear the whole discussion? Sign up for Slate Plus! Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Slate Music Club is back, in a special edition of Hit Parade – “The Bridge”! Our year-end panel of critics—NPR Music's Ann Powers, Hearing Things' Julianne Escobedo Shepherd, Slate's own Carl Wilson and Hit Parade host Chris Molanphy—discuss their favorite albums and singles and the trends that shaped the year in pop, rap, country, Latin and global music.  Among the questions the roundtable tackles: Have we reached peak Taylor Swift? Did the Kendrick Lamar–v.-Drake beef overshadow hip-hop's next generation? How much further will country cross over to pop audiences—and how does Latin music fit in? How did music from diverse artists stand in for protest music in 2024? And what will become of music criticism itself? Note: Slate Plus members can hear this special episode in full. Ad-supported listeners will hear the first half. Want to hear the whole discussion? Sign up for Slate Plus! Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Slate Music Club is back, in a special edition of Hit Parade – “The Bridge”! Our year-end panel of critics—NPR Music's Ann Powers, Hearing Things' Julianne Escobedo Shepherd, Slate's own Carl Wilson and Hit Parade host Chris Molanphy—discuss their favorite albums and singles and the trends that shaped the year in pop, rap, country, Latin and global music.  Among the questions the roundtable tackles: Have we reached peak Taylor Swift? Did the Kendrick Lamar–v.-Drake beef overshadow hip-hop's next generation? How much further will country cross over to pop audiences—and how does Latin music fit in? How did music from diverse artists stand in for protest music in 2024? And what will become of music criticism itself? Note: Slate Plus members can hear this special episode in full. Ad-supported listeners will hear the first half. Want to hear the whole discussion? Sign up for Slate Plus! Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

Writer and podcaster Chris Molanphy (Slate's Hit Parade) returns to the show to discuss the music and career of '90s genre-less chameleon Lenny Kravitz. This show is part of Pantheon Podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Chris Molanphy drops by to count down the hits of 1988, a time when we weren't worried, we were happy, and we were making the transition from the exiting of dreams and the entering of cars. Also, in 1988 OJ Simpson was in a new movie called The Naked Gun. Today, OJ Simpson, football great, and adjudicated killer of two people is dead. We can say that and be factual. Plus, an On The Media segment on UNRWA leaves out a bit of context, namely a single inculpatory fact about UNRWA's members involvement in October 7th, or support of Hamas. Link to Episodes mentioned in Spiel: On The Media What Matters Now to Haviv Rettig Gur: UNRWA's problem isn't the terrorists in its ranks Produced by Joel Patterson and Corey Wara Email us at thegist@mikepesca.com To advertise on the show, visit: https://advertisecast.com/TheGist Subscribe to The Gist Subscribe: https://subscribe.mikepesca.com/ Follow Mikes Substack at: Pesca Profundities | Mike Pesca | Substack Learn more about your ad choices. Visit podcastchoices.com/adchoices

Do you watch the Grammy Awards every year and groan, or even yell at the screen? Hit Parade host Chris Molanphy sure does. But he has a weird hot take: The Grammys are better off not trying to be cool. They should reward the popular stuff—especially younger people's music. Where the Recording Academy actually goes wrong is rewarding the old stuff—legendary artists long past their prime, from Frank Sinatra to Eric Clapton, Steely Dan to Beck. The Grammy wins remembered most fondly are artists at the peak of their chart prowess: Carole King. Stevie Wonder. Michael Jackson. George Michael. Lauryn Hill. Adele. Taylor Swift (and more Taylor…and more Taylor…and more…). When did the Grammys get it most right—and wrong? (Was the Toto win really so bad?) And how can they become more relevant? (Hint: much more rap.) Join Chris Molanphy as he offers a chart nerd's take on the Recording Academy and offers guidelines for good Grammy governance, just before the 2024 awards. It's an episode right in the Nick of Time. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

Do you watch the Grammy Awards every year and groan, or even yell at the screen? Hit Parade host Chris Molanphy sure does. But he has a weird hot take: The Grammys are better off not trying to be cool. They should reward the popular stuff—especially younger people's music. Where the Recording Academy actually goes wrong is rewarding the old stuff—legendary artists long past their prime, from Frank Sinatra to Eric Clapton, Steely Dan to Beck. The Grammy wins remembered most fondly are artists at the peak of their chart prowess: Carole King. Stevie Wonder. Michael Jackson. George Michael. Lauryn Hill. Adele. Taylor Swift (and more Taylor…and more Taylor…and more…). When did the Grammys get it most right—and wrong? (Was the Toto win really so bad?) And how can they become more relevant? (Hint: much more rap.) Join Chris Molanphy as he offers a chart nerd's take on the Recording Academy and offers guidelines for good Grammy governance, just before the 2024 awards. It's an episode right in the Nick of Time. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

Do you watch the Grammy Awards every year and groan, or even yell at the screen? Hit Parade host Chris Molanphy sure does. But he has a weird hot take: The Grammys are better off not trying to be cool. They should reward the popular stuff—especially younger people's music. Where the Recording Academy actually goes wrong is rewarding the old stuff—legendary artists long past their prime, from Frank Sinatra to Eric Clapton, Steely Dan to Beck. The Grammy wins remembered most fondly are artists at the peak of their chart prowess: Carole King. Stevie Wonder. Michael Jackson. George Michael. Lauryn Hill. Adele. Taylor Swift (and more Taylor…and more Taylor…and more…). When did the Grammys get it most right—and wrong? (Was the Toto win really so bad?) And how can they become more relevant? (Hint: much more rap.) Join Chris Molanphy as he offers a chart nerd's take on the Recording Academy and offers guidelines for good Grammy governance, just before the 2024 awards. It's an episode right in the Nick of Time. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

Do you watch the Grammy Awards every year and groan, or even yell at the screen? Hit Parade host Chris Molanphy sure does. But he has a weird hot take: The Grammys are better off not trying to be cool. They should reward the popular stuff—especially younger people's music. Where the Recording Academy actually goes wrong is rewarding the old stuff—legendary artists long past their prime, from Frank Sinatra to Eric Clapton, Steely Dan to Beck. The Grammy wins remembered most fondly are artists at the peak of their chart prowess: Carole King. Stevie Wonder. Michael Jackson. George Michael. Lauryn Hill. Adele. Taylor Swift (and more Taylor…and more Taylor…and more…). When did the Grammys get it most right—and wrong? (Was the Toto win really so bad?) And how can they become more relevant? (Hint: much more rap.) Join Chris Molanphy as he offers a chart nerd's take on the Recording Academy and offers guidelines for good Grammy governance, just before the 2024 awards. It's an episode right in the Nick of Time. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

Do you watch the Grammy Awards every year and groan, or even yell at the screen? Hit Parade host Chris Molanphy sure does. But he has a weird hot take: The Grammys are better off not trying to be cool. They should reward the popular stuff—especially younger people's music. Where the Recording Academy actually goes wrong is rewarding the old stuff—legendary artists long past their prime, from Frank Sinatra to Eric Clapton, Steely Dan to Beck. The Grammy wins remembered most fondly are artists at the peak of their chart prowess: Carole King. Stevie Wonder. Michael Jackson. George Michael. Lauryn Hill. Adele. Taylor Swift (and more Taylor…and more Taylor…and more…). When did the Grammys get it most right—and wrong? (Was the Toto win really so bad?) And how can they become more relevant? (Hint: much more rap.) Join Chris Molanphy as he offers a chart nerd's take on the Recording Academy and offers guidelines for good Grammy governance, just before the 2024 awards. It's an episode right in the Nick of Time. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, we revisit one of our favorite episodes of 2023! The panel begins by examining Barbie, Greta Gerwig's hot pink, record-breaking movie about the iconic Mattel doll. Then, the trio dives into Christopher Nolan's Oppenheimer, which chronicles the life of the “Father of the Atomic Bomb,” and explores whether the film achieves its aims. Finally, they are joined by Slate's Chris Molanphy to discuss the controversy behind country singer Jason Aldean's latest song, “Try That In A Small Town.” In the exclusive Slate Plus segment, the panel is once again joined by Chris Molanphy to discuss all things Summer Strut. With the annual show just weeks away, the four pull back the curtain to detail their processes, weird observations, and more. Email us at culturefest@slate.com. Endorsements: Dana: In line with her theme of the week, “Yay movies and go, go, go to the theater,” Dana highly recommends Theater Camp, a delightful film by Ben Platt and Molly Gordon. Julia: Yotam Ottolenghi's recipe for zucchini pasta with crispy capers and pistachios isn't the sort of thing Julia would normally endorse (for one, it's extremely laborious and you will need to fry individual basil leaves), but it's vegan, a showstopper, and completely worth it. Stephen: In honor of the late singer, Stephen recommends two Tony Bennett albums: “The Tony Bennett/Bill Evans Album” (1975) and “Tony Bennett at Carnegie Hall” (1962). Outro music: “Last Sunday” by OTE. Podcast production by Cameron Drews. Production assistance by Kat Hong. If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows. You'll also be supporting the work we do here on the Culture Gabfest. Sign up now at Slate.com/cultureplus to help support our work. Learn more about your ad choices. Visit megaphone.fm/adchoices

Chris Molanphy is here to discuss his new book, what is certainly the most authoritative work of non fiction about the Lil Nas X song "Old Town Road," which is also the name of the book. Plus, Hunter Biden does the old town road of attempting to sidestep a congressional inquest. Also on the show: while congress will vote on an impeachment inquiry, they won't vote on aid for Ukraine. Produced by Joel Patterson and Corey Wara Email us at thegist@mikepesca.com To advertise on the show, visit: https://advertisecast.com/TheGist Subscribe to The Gist Subscribe: https://subscribe.mikepesca.com/ Follow Mikes Substack at: Pesca Profundities | Mike Pesca | Substack Learn more about your ad choices. Visit podcastchoices.com/adchoices

When it crash-landed on the charts in 2019, Lil Nas X's “Old Town Road” felt new and old at the same time: a savvy, TikTok-fueled viral hit that summarized a century of cross-cultural collisions between R&B, rap and country. It was also unexpectedly huge—a record 19 weeks at No. 1 on the Hot 100—and controversial, as Billboard magazine pulled the song from its Hot Country Songs chart, prompting a reckoning on race and the very definition of country music. “Old Town Road” wasn't just a reckoning—it was a culmination. As a hard-to-categorize hit, it called back to cross-genre experiments by everyone from Ray Charles and the Rappin' Duke to Bubba Sparxxx and even Jason Aldean. As a viral smash, its antecedents date back to “The Twist,” right through “Crank That (Soulja Boy)” and “Harlem Shake.” In honor of his new book Old Town Road (now in bookstores!) join Chris Molanphy as he walks through the many predecessors to “Old Town Road” and explains why can't nobody tell Lil Nas X nothin'. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

Country music's had a massive year. Seriously, not since 1958 have we seen so many country tunes topping the Hot 100 in a single year – and it's not been without its share of controversy. Leading this country music revival? Morgan Wallen, for starters. He bounced back from being shunned for dropping a racial slur with his number one single “Last Night.” Then there's Jason Aldean with “Try That in a Small Town,” a song and music video that which unsubtly lynching references. Next up, newcomer Oliver Anthony Music dropped “Richmond North of Richmond,” weaving in QAnon references and welfare shaming into a track largely about government distrust. On a lighter but still contentious note, Luke Combs covered the mega 90s hit “Fast Car,” turning Tracy Chapman into the first black woman with a number one country hit. And let's not forget Zach Bryan and Kacey Musgraves' beautiful duet “I Remember Everything” about a past romance, which also climbed to the top. Many of these songs have just been nominated for Grammys, including “Last Night,” “Fast Car,” and “I Remember Everything.” When all this started happening, we were scratching our heads. Country songs topping the Hot 100? Sure, but not this many in quick succession. Something felt different. And we think we've finally figured it out after diving into Chris Molanphy's new book: Old Town Road. Chris, a music and charts critic, author of Slate's Why Is This Song No. 1 column, and host of the excellent music podcast Hit Parade, explores country music's chart history in his latest book “Old Town Road,” part of Duke's Single Series. He zeroes in on Lil Nas X's 2018 “Old Town Road” and its 2019 Billy Ray Cyrus-amped remix as a case study. So, to get the lowdown on 2023's country chart toppers, we've got to rewind to 2018 and re-examine “Old Town Road” with Chris Molanphy's insights. SONGS DISCUSSED Lil Nas X - Old Town Road Lil Nas X, Billy Ray Cyrus - Old Town Road remix Morgan Waller - Last Night Jason Aldean - Try That In A Small Town Oliver Anthony Music - Rich Men North of Richmond Luke Combs - Fast Car Zach Bryan, Kacey Musgraves - I Remember Everything  Lil Nas X - Sonic Shit Nine Inch Nails - 34 Ghosts IV Billy Ray Cyrus - Achy Breaky Heart Luke Bryan - Light It Up Morgan Wallen - Thinking' Bout Me Jason Aldean - Burnin' It Down  DeFord Bailey - Fox Chase Carter Family - Can The Circle Be Unbroken  Bill Monroe - Mule Skinner Blues  Hank Williams - Wealth Won't Save Your Soul  Ray Charles - You Are My Sunshine Pine Ridge Boys - You Are My Sunshine Patsy Cline - Crazy  Lionel Richie - Stuck On You  Blano Brown - The Git Up  Learn more about your ad choices. Visit podcastchoices.com/adchoices

In early August, Christopher Anthony Lunsford, who goes by Oliver Anthony, quietly released a song called "Rich Men North of Richmond." A week later, the folk song had rocketed to the top of the Billboard charts — a historic feat for someone with no chart history to speak of. But the ascent wasn't without controversy. The song, to some, sounded like a right-wing anthem. And it was heralded as such online by right wing pundits, and included as a part of the first question of the opening Republican presidential primary debate. But Oliver Anthony's politics, and the song's appeal, have turned out to be a little more complicated. This week, OTM correspondent Micah Loewinger sits down with Chris Molanphy, Slate's pop-chart columnist, and author of the forthcoming book "Old Town Road," to talk about how such an unlikely song rose to the top. Micah speaks to Molanphy about how the Billboard charts have gotten weirder, and more anarchic, and what "Rich Men North of Richmond" has in common with "Ballad of the Green Berets," a song released almost 60 years prior.

In early August, Christopher Anthony Lunsford, who goes by Oliver Anthony, quietly released a song called "Rich Men North of Richmond." A week later, the folk song had rocketed to the top of the Billboard charts — a historic feat for someone with no chart history to speak of. But the ascent wasn't without controversy. The song, to some, sounded like a right-wing anthem. And it was heralded as such online by right wing pundits, and included as a part of the first question of the opening Republican presidential primary debate. But Oliver Anthony's politics, and the song's appeal, have turned out to be a little more complicated. This week, OTM correspondent Micah Loewinger sits down with Chris Molanphy, Slate's pop-chart columnist, and author of the forthcoming book "Old Town Road," to talk about how such an unlikely song rose to the top. Micah speaks to Molanphy about how the Billboard charts have gotten weirder, and more anarchic, and what "Rich Men North of Richmond" has in common with "Ballad of the Green Berets," a song released almost 60 years prior.