Podcasts about hitparade

   Hit Parade     11 24 2025 20 - Oh Ma - ROCCO HUNT, NOEMI 19 - Ex - IRAMA, ELODIE* 18 - Un Selfie Con La Vita - GIGI D'ALESSIO 17 - Bella Madonnina - TANNANAI 16 - Pronto Come Vá - THE KOLORS* 15 - Sola (Ti Amo) - CIOFFI, MAR LUCAS 14 - Serenata - SERENA BRANCALE, ALESSANDRA AMOROSO 13 - Il Mio Giorno Preferito - EROS RAMAZZOTTI* 12 - A Me Mi Piace - ALFA, MANU CHAO* 11- Velo Sugli Occhi – ANGELINA MANGO 10 - Dai Che Fai - BRESH 9 - Fingo & Spingo – TIZIANO FERRO 8 - Per Te – ERNIA*  7 - Questa Domenica - OLLY, JULI 6 – Piazza San Marco - ANNALISA, MARCO MENGONI* 5 - Amaro - PENGUINI TATTICI NUCLEARI 4 - Golpe - GIORGIA* 3 - Senza Una Stupida Storia - ACHILLE LAURO* 2 - Lasciamene Un Pó - TOMMASO PARADISO 1 - Brutta Storia - EMMA, JULI *Ex#1

It's Black Friday at Open Studio! Grab our biggest savings of the year and take your playing to the next level: https://www.openstudiojazz.com/yhi/Songs in the Key of Life stands apart, even next to the other four albums in Stevie Wonder's classic period. It resulted in the most hit singles: "I Wish", "Sir Duke", "As" and "Another Star". Chris Molanphy of the Hit Parade podcast leads us through this album's incredible charts story. Not only did it produce FOUR singles, but it inspired two other chart-topping hits: Coolio's "Gangsta's Paradise" and Will Smith's "Wild Wild West".Plus — Peter and Adam nerd out on the keys, dissecting every track to highlight the musical complexity that makes Songs in the Key of Life a favorite among jazz musicians. You may have heard Songs in the Key of Life ... possibly many times. But you've never heard it quite like this!00:00 - Intro Jam: "As"02:13 - The Chart Story Behind SITKOL05:40 - The Long Wait for Songs in the Key of Life12:45 - "Love's In Need of Love Today"19:40 - Comparing Stevie to Prince20:30 - "I Wish"24:00 - The Ultimate Crossover Hitmaker27:25 - "Sir Duke"32:30 - Making Jazz Fun37:25 - "Passtime Paradise"40:00 - Stevie the Synth Innovator43:50 - How Stevie Commanded the Charts46:40 - How Was This Track Not a Hit Single?52:00 - This Hit Was NOT On an Album56:00 - The SITKOL Jazz Standard1:00:30 - "Another Star"1:04:05 - "As"1:15:00 - How SITKOL Singles Broke Ground1:22:20 - Our Favorite SITKOL Tracks1:25:35 - The Best Moments on SITKOL1:29:50 - Bespoke Spotify Playlists1:32:45 - What to Listen to Next1:35:20 - Quibble Bits1:37:50 - How "Snobby" is This Record?1:40:50 - Is it Better than Kind of Blue?1:42:40 - Packaging Gets a 10/101:45:00 - Outro: "As"

When you hear the term “superproducer,” names like George Martin, Quincy Jones, Max Martin, Pharrell Williams or Missy Elliott might come to mind. But … Robert “Mutt” Lange? Probably not. Yet Lange was by some measures the biggest hitmaker—the producer of more top-selling albums than any of those better-known producers. The South African studio wiz crafted the arena-rock sound of AC/DC and Def Leppard. Then, Lange transformed the Cars, Billy Ocean, Bryan Adams, and Shania Twain into fist-pumping stadium-fillers, too. Join Chris Molanphy as he traces Mutt Lange's legacy of loud—and his uncanny success on the pop charts. He poured sugar on every hit. Podcast production by Kevin Bendis. 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

When you hear the term “superproducer,” names like George Martin, Quincy Jones, Max Martin, Pharrell Williams or Missy Elliott might come to mind. But … Robert “Mutt” Lange? Probably not. Yet Lange was by some measures the biggest hitmaker—the producer of more top-selling albums than any of those better-known producers. The South African studio wiz crafted the arena-rock sound of AC/DC and Def Leppard. Then, Lange transformed the Cars, Billy Ocean, Bryan Adams, and Shania Twain into fist-pumping stadium-fillers, too. Join Chris Molanphy as he traces Mutt Lange's legacy of loud—and his uncanny success on the pop charts. He poured sugar on every hit. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

When you hear the term “superproducer,” names like George Martin, Quincy Jones, Max Martin, Pharrell Williams or Missy Elliott might come to mind. But … Robert “Mutt” Lange? Probably not. Yet Lange was by some measures the biggest hitmaker—the producer of more top-selling albums than any of those better-known producers. The South African studio wiz crafted the arena-rock sound of AC/DC and Def Leppard. Then, Lange transformed the Cars, Billy Ocean, Bryan Adams, and Shania Twain into fist-pumping stadium-fillers, too. Join Chris Molanphy as he traces Mutt Lange's legacy of loud—and his uncanny success on the pop charts. He poured sugar on every hit. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

   Hit Parade     11 17 2025 20 - Oh Ma - ROCCO HUNT, NOEMI 19 - Oceanica - MERK & KREMONT, JOVANOTTI 18 - Un Selfie Con La Vita - GIGI D'ALESSIO 17 - Bella Madonnina - TANNANAI 16 - Pronto Come Vá - THE KOLORS* 15 - Sola (Ti Amo) - CIOFFI, MAR LUCAS 14 - Dai Che Fai - BRESH 13 - Ex - IRAMA, ELODIE* 12 - A Me Mi Piace - ALFA, MANU CHAO* 11- Il Mio Giorno Preferito - EROS RAMAZZOTTI* 10 - Serenata - SERENA BRANCALE, ALESSANDRA AMOROSO 9 – Fingo & Spingo – TIZIANO FERRO 8 - Brutta Storia - EMMA, JULI 7 - Questa Domenica - OLLY, JULI 6 – Piazza San Marco - ANNALISA, MARCO MENGONI* 5 - Amaro - PENGUINI TATTICI NUCLEARI 4 - Golpe - GIORGIA* 3 - Lasciamene Un Pó - TOMMASO PARADISO 2 - Senza Una Stupida Storia - ACHILLE LAURO* 1 - Per Te – ERNIA*                                                                    *Ex#1

   Hit Parade      11 10 2025 20 - Oh Ma - ROCCO HUNT, NOEMI 19 - Cuore Rotto - TIZIANO FERRO* 18 - Un Selfie Con La Vita - GIGI D'ALESSIO 17 - Bella Madonnina - TANNANAI 16 - Pronto Come Vá - THE KOLORS* 15 - Sola (Ti Amo) - CIOFFI, MAR LUCAS 14 - Oceanica - MERK & KREMONT, JOVANOTTI 13 - Ex - IRAMA, ELODIE* 12 - A Me Mi Piace - ALFA, MANU CHAO* 11- Il Mio Giorno Preferito - EROS RAMAZZOTTI* 10 - Serenata - SERENA BRANCALE, ALESSANDRA AMOROSO 9 - Dai Che Fai - BRESH 8 - Brutta Storia - EMMA, JULI 7 - Questa Domenica - OLLY, JULI 6 - Per Te - ERNIA 5 - Amaro - PENGUINI TATTICI NUCLEARI 4 - Golpe - GIORGIA* 3 - Lasciamene Un Pó - TOMMASO PARADISO 2 - Piazza San Marco - ANNALISA, MARCO MENGONI* 1 - Senza Una Stupida Storia - ACHILLE LAURO *Ex#1

Die Dokumentation des deutschen Rappers Haftbefehl erobert nicht nur die Netflix-Charts, sondern auch die Hitparade. Drei Lieder sind diese Woche in den vorderen Platzierungen dabei.

Je fais une dernière allez une p'tite der et j'écris le speech du dernier épisode, juste vite fait alors, on parle de Clover Pit et MEGABONK allez je remet une pièce, la machine est chaude là. Bon vous en faites pas, y'a aussi les rubriques habituelles et on classe 4 jeux de 2014 dans notre immense Hit Parade !!-----------------------------------------------------

Walk into any store or flip on a radio, and you'll probably hear the Police's “Every Breath You Take” sooner or later. Thanks to that ubiquity, the swooning, menacing megahit's songwriter—Sting—is a very wealthy man. Now his former bandmates, Stewart Copeland and Andy Summers, are suing Sting over who deserves to profit from “Breath” and other Police songs. No matter how that dispute turns out, it's a reminder of Sting's uncanny songwriting skill and his charmed life of hitmaking. For more than four decades, Sting seems to resurface every few years with a new earworm, from “Roxanne” to “Russians,” blending New Wave rock with another genre—reggae, jazz, classical, country, even rap and Raï—and in the process, getting sampled by new generations of millennial and zoomer hitmakers. Join Chris Molanphy as he recounts the long, varied, sophisticated, but catchy career of the King of Pain. Whatever he tries, every little thing Sting does is magic. Learn more about your ad choices. Visit megaphone.fm/adchoices

Walk into any store or flip on a radio, and you'll probably hear the Police's “Every Breath You Take” sooner or later. Thanks to that ubiquity, the swooning, menacing megahit's songwriter—Sting—is a very wealthy man. Now his former bandmates, Stewart Copeland and Andy Summers, are suing Sting over who deserves to profit from “Breath” and other Police songs. No matter how that dispute turns out, it's a reminder of Sting's uncanny songwriting skill and his charmed life of hitmaking. For more than four decades, Sting seems to resurface every few years with a new earworm, from “Roxanne” to “Russians,” blending New Wave rock with another genre—reggae, jazz, classical, country, even rap and Raï—and in the process, getting sampled by new generations of millennial and zoomer hitmakers. Join Chris Molanphy as he recounts the long, varied, sophisticated, but catchy career of the King of Pain. Whatever he tries, every little thing Sting does is magic. Learn more about your ad choices. Visit megaphone.fm/adchoices

   Hit Parade      11 3 2025 20 - Oh Ma - ROCCO HUNT, NOEMI 19 - Victoria's Secret - ROSE VILLAIN, TONY EFFE 18 - Un Selfie Con La Vita - GIGI D'ALESSIO 17 - Bella Madonnina - TANNANAI 16 - Pronto Come Vá - THE KOLORS* 15 - Sola (Ti Amo) - CIOFFI, MAR LUCAS 14 - Oceanica - MERK & KREMONT, JOVANOTTI 13 - Ex - IRAMA, ELODIE* 12 - A Me Mi Piace - ALFA, MANU CHAO* 11- Il Mio Giorno Preferito - EROS RAMAZZOTTI* 10- Serenata - SERENA BRANCALE, ALESSANDRA AMOROSO 9 - Cuore Rotto - TIZIANO FERRO* 8 - Brutta Storia - EMMA, JULI 7 - Amaro - PENGUINI TATTICI NUCLEARI 6 - Piazza San Marco - ANNALISA, MARCO MENGONI* 5 - Questa Domenica - OLLY, JULI 4 – Per Te - ERNIA 3 - Lasciamene Un Pó - TOMMASO PARADISO 2 - Golpe - GIORGIA* 1 - Senza Una Stupida Storia - ACHILLE LAURO                                                                    *Ex#1

Wenn Babys nicht einschlafen können, hilft bei manchen nur noch der Dampfabzug in der Küche. Als Abhilfe gibt es auf Streamingdiensten solche rauschenden Klänge, sogenannte White Noise und diese sind in den Streaming-Charts. Ist das auch in der Schweizer Hitparade möglich?

Walk into any store or flip on a radio, and you'll probably hear the Police's “Every Breath You Take” sooner or later. Thanks to that ubiquity, the swooning, menacing megahit's songwriter—Sting—is a very wealthy man. Now, his former bandmates, Stewart Copeland and Andy Summers, are suing Sting over who deserves to profit from “Breath” and other Police songs.. No matter how that dispute turns out, it's a reminder of Sting's uncanny songwriting skill and his charmed life of hitmaking. For more than four decades, Sting seems to resurface every few years with a new earworm, from “Roxanne” to “Russians,” blending New Wave rock with another genre—reggae, jazz, classical, country, even rap and Raï—and in the process, getting sampled by new generations of Millennial and Zoomer hitmakers. Join Chris Molanphy as he recounts the long, varied, sophisticated, but catchy career of the King of Pain. Whatever he tries, every little thing Sting does is magic. Learn more about your ad choices. Visit megaphone.fm/adchoices

Walk into any store or flip on a radio, and you'll probably hear the Police's “Every Breath You Take” sooner or later. Thanks to that ubiquity, the swooning, menacing megahit's songwriter—Sting—is a very wealthy man. Now his former bandmates, Stewart Copeland and Andy Summers, are suing Sting over who deserves to profit from “Breath” and other Police songs. No matter how that dispute turns out, it's a reminder of Sting's uncanny songwriting skill and his charmed life of hitmaking. For more than four decades, Sting seems to resurface every few years with a new earworm, from “Roxanne” to “Russians,” blending New Wave rock with another genre—reggae, jazz, classical, country, even rap and Raï—and in the process, getting sampled by new generations of millennial and zoomer hitmakers. Join Chris Molanphy as he recounts the long, varied, sophisticated, but catchy career of the King of Pain. Whatever he tries, every little thing Sting does is magic. Learn more about your ad choices. Visit megaphone.fm/adchoices

Fernando Augusto Pacheco listens to the most popular songs in India right now. From devotional tracks to rollercoaster romances, India’s hit parade has it all. See omnystudio.com/listener for privacy information.

In the rarefied world of smash pop singles, there are No. 1s—and there are No. 1 debuts. Entering Billboard's Hot 100 at the top is one of the hardest tricks in music. In fact, it wasn't possible in the U.S. until 1995. That's when the record labels hacked the Hot 100 and figured out how to send new singles straight into the chart penthouse.  But scoring a No. 1 in Week One doesn't mean it's built to last. For every enduring hit like “Fantasy,” “Shake It Off” or “Hello,” there are plenty of one-off oddities, coronation pabulum from American Idol finalists, and even a few missteps from chart luminaries. Within a couple of years these fast-breaking hits may be forgotten—never to be spun on the radio or streamed on Spotify. Join Chris Molanphy as he explores the chart calculus, superfan interventions, and fluky conditions that create a perfect storm of pop-chart insta-success. It's a parade of pop bangers that scored a fast pass to the front of the line.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 and Olivia Briley. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the rarefied world of smash pop singles, there are No. 1s—and there are No. 1 debuts. Entering Billboard's Hot 100 at the top is one of the hardest tricks in music. In fact, it wasn't possible in the U.S. until 1995. That's when the record labels hacked the Hot 100 and figured out how to send new singles straight into the chart penthouse.  But scoring a No. 1 in Week One doesn't mean it's built to last. For every enduring hit like “Fantasy,” “Shake It Off” or “Hello,” there are plenty of one-off oddities, coronation pabulum from American Idol finalists, and even a few missteps from chart luminaries. Within a couple of years these fast-breaking hits may be forgotten—never to be spun on the radio or streamed on Spotify. Join Chris Molanphy as he explores the chart calculus, superfan interventions, and fluky conditions that create a perfect storm of pop-chart insta-success. It's a parade of pop bangers that scored a fast pass to the front of the line.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 and Olivia Briley. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the rarefied world of smash pop singles, there are No. 1s—and there are No. 1 debuts. Entering Billboard's Hot 100 at the top is one of the hardest tricks in music. In fact, it wasn't possible in the U.S. until 1995. That's when the record labels hacked the Hot 100 and figured out how to send new singles straight into the chart penthouse.  But scoring a No. 1 in Week One doesn't mean it's built to last. For every enduring hit like “Fantasy,” “Shake It Off” or “Hello,” there are plenty of one-off oddities, coronation pabulum from American Idol finalists, and even a few missteps from chart luminaries. Within a couple of years these fast-breaking hits may be forgotten—never to be spun on the radio or streamed on Spotify. Join Chris Molanphy as he explores the chart calculus, superfan interventions, and fluky conditions that create a perfect storm of pop-chart insta-success. It's a parade of pop bangers that scored a fast pass to the front of the line.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 and Olivia Briley. Learn more about your ad choices. Visit megaphone.fm/adchoices

At first glance you may be forgiven for thinking this fairly obscure 1962 British film was one of those forgettable ‘let's put the show on right here!' teensploitation flicks full of popular music acts of the day, bland and generic enough to offend nobody other than crusty old colonel-types who objected to young people being seen to have fun. But this film, the feature directorial debut by Richard Lester, was something a little different, with an eye for visual flair to differentiate it from the formulaic British musical films which had preceded it. Lester pretty much determined that he had to make the absolute most of what he was given to work with and we see in the film the earliest knockings of what would later become known as the music video; and he would use these techniques to greater effect a couple of years later in A Hard Day's Night. There was also actual proper comedy, not in abundance but any dads in the audience would have been reassured by the presence of Derek Nimmo, Mario Fabrizi, Frank Thornton and Hugh Lloyd – not to mention the soothing tones of Deryck Guyler as ‘The Narrator'. Lester employed cartoonish, one might almost say Goonish flourishes throughout the film: fast motion, reverse spooling, the aforementioned omnipresent narrator who's in on the joke and there's even a custard pie gag. The pairing of just-about-still-relevant pop stars Helen Shapiro and Craig Douglas as the film's colourless leads was necessary to draw the target audience but by 1962 how many teenagers were still into Mr Acker Bilk, Chris Barber or even Chubby Checker? The Beatles' heavy footfall was a creak on the stair and within months this sort of music would be swept away as Merseybeat and beat groups in general bestrode the Hit Parade. Joining Tyler to discuss “the whole swingy parade [which] goes like a good-humoured bomb” (The Daily Mirror) is Andrew Hickey, host of A History of Rock Music in 500 Songs who believes it is a standout film of its genre, but says the credit is largely owed to Richard Lester and his unique directorial style. He discusses the musical and cultural climate in Britain at the time, the origins of Trad Jazz, the early career of Lester and how films like this were usually largely cinematic landfill, plus talks about his show and plans for the future. (Recorded February 2025 and first heard on Goon Pod Film Club)

What I know about Earth, Wind & FireI thought could be told in under a minute,But I was wrong.This group has countless accolades, awards,achievements….And then there's the “ME” relationship.I was introduced to Earth, Wind & Fire in 1975when I noticed the “That's The Way Of The World” albumresting against my old man's record player.Pop (my dad) didn't buy albums,he usually would buy “45's”…or singles—Some of you may not know what a “45” is,and because he was a working musician,pop only purchased music to learn the song.Pop was studying the entire album.That told me that there was something special about this group.Earth, Wind & Fire created “Grown Folks Music,”and in their “hey day,” that didn't work for me.But, it was great for everyone else.The Rags to Riches story of Maurice White and his band,originally named “The Salty Peppers,”came from humble beginnings.From Memphis to Chicago to California,The recruiting of brothers Verdine & Freddie,The alliance with Collaborator Charles Stepney,The addition of Al McKay, Larry Dunn who introduced Philip Bailey.Because of the practices of Maurice Whiteone by one, each walked away. Ending Maurice Whiteand Earth Wind & Fire's Hit Parade.Well, Philip Bailey returned, but not the hits.Before Maurice White diedHe built something great and easy to enjoy,And to learn more,Press play.

In the rarefied world of smash pop singles, there are No. 1s—and there are No. 1 debuts. Entering Billboard's Hot 100 at the top is one of the hardest tricks in music. In fact, it wasn't possible in the U.S. until 1995. That's when the record labels hacked the Hot 100 and figured out how to send new singles straight into the chart penthouse.  But scoring a No. 1 in Week One doesn't mean it's built to last. For every enduring hit like “Fantasy,” “Shake It Off” or “Hello,” there are plenty of one-off oddities, coronation pabulum from American Idol finalists, and even a few missteps from chart luminaries. Within a couple of years these fast-breaking hits may be forgotten—never to be spun on the radio or streamed on Spotify. Join Chris Molanphy as he explores the chart calculus, superfan interventions, and fluky conditions that create a perfect storm of pop-chart insta-success. It's a parade of pop bangers that scored a fast pass to the front of the line. 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 and Olivia Briley. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the rarefied world of smash pop singles, there are No. 1s—and there are No. 1 debuts. Entering Billboard's Hot 100 at the top is one of the hardest tricks in music. In fact, it wasn't possible in the U.S. until 1995. That's when the record labels hacked the Hot 100 and figured out how to send new singles straight into the chart penthouse.  But scoring a No. 1 in Week One doesn't mean it's built to last. For every enduring hit like “Fantasy,” “Shake It Off” or “Hello,” there are plenty of one-off oddities, coronation pabulum from American Idol finalists, and even a few missteps from chart luminaries. Within a couple of years these fast-breaking hits may be forgotten—never to be spun on the radio or streamed on Spotify. Join Chris Molanphy as he explores the chart calculus, superfan interventions, and fluky conditions that create a perfect storm of pop-chart insta-success. It's a parade of pop bangers that scored a fast pass to the front of the line. 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 and Olivia Briley. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the rarefied world of smash pop singles, there are No. 1s—and there are No. 1 debuts. Entering Billboard's Hot 100 at the top is one of the hardest tricks in music. In fact, it wasn't possible in the U.S. until 1995. That's when the record labels hacked the Hot 100 and figured out how to send new singles straight into the chart penthouse.  But scoring a No. 1 in Week One doesn't mean it's built to last. For every enduring hit like “Fantasy,” “Shake It Off” or “Hello,” there are plenty of one-off oddities, coronation pabulum from American Idol finalists, and even a few missteps from chart luminaries. Within a couple of years these fast-breaking hits may be forgotten—never to be spun on the radio or streamed on Spotify. Join Chris Molanphy as he explores the chart calculus, superfan interventions, and fluky conditions that create a perfect storm of pop-chart insta-success. It's a parade of pop bangers that scored a fast pass to the front of the line. 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 and Olivia Briley. Learn more about your ad choices. Visit megaphone.fm/adchoices

Chris Molanphy from the podcast Hit Parade joins the hosts as they discuss some of the weirdest songs from MTV's first day.

The Alan Cox ShowSee omnystudio.com/listener for privacy information.

The Alan Cox Show

Sped-up voices. Wacky instruments. Songs about cavemen, bathtubs, bikinis, and mothers-in-law. From the dawn of rock ‘n' roll through the 1970s—the age of streaking, CB radios, disco and King Tut—novelty songs could be chart-topping hits. But by the corporate '80s, it was harder for goofballs to score hits on regimented radio playlists. Until one perm-headed, mustachioed, accordion-playing parodist who called himself “Weird” rebooted novelty hits for the new millennium.  In the second part of this encore episode of Hit Parade, Chris Molanphy explores the history of novelty hits on the charts. Podcast production by Justin D. Wright and Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

Sped-up voices. Wacky instruments. Songs about cavemen, bathtubs, bikinis, and mothers-in-law. From the dawn of rock ‘n' roll through the 1970s—the age of streaking, CB radios, disco and King Tut—novelty songs could be chart-topping hits. But by the corporate '80s, it was harder for goofballs to score hits on regimented radio playlists. Until one perm-headed, mustachioed, accordion-playing parodist who called himself “Weird” rebooted novelty hits for the new millennium.  In the second part of this encore episode of Hit Parade, Chris Molanphy explores the history of novelty hits on the charts. Podcast production by Justin D. Wright and Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

Sped-up voices. Wacky instruments. Songs about cavemen, bathtubs, bikinis, and mothers-in-law. From the dawn of rock ‘n' roll through the 1970s—the age of streaking, CB radios, disco and King Tut—novelty songs could be chart-topping hits. But by the corporate '80s, it was harder for goofballs to score hits on regimented radio playlists. Until one perm-headed, mustachioed, accordion-playing parodist who called himself “Weird” rebooted novelty hits for the new millennium.  In the second part of this encore episode of Hit Parade, Chris Molanphy explores the history of novelty hits on the charts. Podcast production by Justin D. Wright and Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

Sped-up voices. Wacky instruments. Songs about cavemen, bathtubs, bikinis, and mothers-in-law. From the dawn of rock ‘n' roll through the 1970s—the age of streaking, CB radios, disco and King Tut—novelty songs could be chart-topping hits. But by the corporate '80s, it was harder for goofballs to score hits on regimented radio playlists. Until one perm-headed, mustachioed, accordion-playing parodist who called himself “Weird” rebooted novelty hits for the new millennium.  In this encore episode of Hit Parade, Chris Molanphy explores the history of novelty hits on the charts. Podcast production by Justin D. Wright and Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

Sped-up voices. Wacky instruments. Songs about cavemen, bathtubs, bikinis, and mothers-in-law. From the dawn of rock ‘n' roll through the 1970s—the age of streaking, CB radios, disco and King Tut—novelty songs could be chart-topping hits. But by the corporate '80s, it was harder for goofballs to score hits on regimented radio playlists. Until one perm-headed, mustachioed, accordion-playing parodist who called himself “Weird” rebooted novelty hits for the new millennium.  In this encore episode of Hit Parade, Chris Molanphy explores the history of novelty hits on the charts. Podcast production by Justin D. Wright and Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

Sped-up voices. Wacky instruments. Songs about cavemen, bathtubs, bikinis and mothers-in-law. From the very birth of rock-and-roll, novelty songs were essential elements of the hit parade. Right through the '70s—the age of streaking, CB radios, disco and King Tut—novelty songs could be chart-topping hits. But by the corporate '80s, it was harder for goofballs to score round-the-clock hits on regimented radio playlists. Until one perm-headed, mustachioed, accordion-playing parodist who called himself “Weird” rebooted novelty hits for the new millennium. A video jokester before YouTube, he just might have ushered in the age of the meme. So join Hit Parade this month as we walk through the history of novelty hits on the charts—most especially if M.C. Escher is your favorite M.C. Podcast production by Justin D. Wright  and Kevin Bendis Learn more about your ad choices. Visit megaphone.fm/adchoices

It's hard to make money in the music industry. But if you could flood every streamer with hundreds of “original” songs without having to, you know, write or produce it yourself, there's money there—and less for everyone else.  Guests:  Chris Molanphy, host of Slate's Hit Parade podcast. Kate Knibbs, senior writer at Wired Want more What Next TBD? Subscribe to Slate Plus to access ad-free listening to the whole What Next family and all your favorite Slate podcasts. Subscribe today on Apple Podcasts by clicking “Try Free” at the top of our show page. Sign up now at slate.com/whatnextplus to get access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices

It's hard to make money in the music industry. But if you could flood every streamer with hundreds of “original” songs without having to, you know, write or produce it yourself, there's money there—and less for everyone else.  Guests:  Chris Molanphy, host of Slate's Hit Parade podcast. Kate Knibbs, senior writer at Wired Want more What Next TBD? Subscribe to Slate Plus to access ad-free listening to the whole What Next family and all your favorite Slate podcasts. Subscribe today on Apple Podcasts by clicking “Try Free” at the top of our show page. Sign up now at slate.com/whatnextplus to get access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices

It's hard to make money in the music industry. But if you could flood every streamer with hundreds of “original” songs without having to, you know, write or produce it yourself, there's money there—and less for everyone else.  Guests:  Chris Molanphy, host of Slate's Hit Parade podcast. Kate Knibbs, senior writer at Wired Want more What Next TBD? Subscribe to Slate Plus to access ad-free listening to the whole What Next family and all your favorite Slate podcasts. Subscribe today on Apple Podcasts by clicking “Try Free” at the top of our show page. Sign up now at slate.com/whatnextplus to get access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices

It's hard to make money in the music industry. But if you could flood every streamer with hundreds of “original” songs without having to, you know, write or produce it yourself, there's money there—and less for everyone else.  Guests:  Chris Molanphy, host of Slate's Hit Parade podcast. Kate Knibbs, senior writer at Wired Want more What Next TBD? Subscribe to Slate Plus to access ad-free listening to the whole What Next family and all your favorite Slate podcasts. Subscribe today on Apple Podcasts by clicking “Try Free” at the top of our show page. Sign up now at slate.com/whatnextplus to get access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices

It's hard to make money in the music industry. But if you could flood every streamer with hundreds of “original” songs without having to, you know, write or produce it yourself, there's money there—and less for everyone else.  Guests:  Chris Molanphy, host of Slate's Hit Parade podcast. Kate Knibbs, senior writer at Wired Want more What Next TBD? Subscribe to Slate Plus to access ad-free listening to the whole What Next family and all your favorite Slate podcasts. Subscribe today on Apple Podcasts by clicking “Try Free” at the top of our show page. Sign up now at slate.com/whatnextplus to get access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices

It's hard to make money in the music industry. But if you could flood every streamer with hundreds of “original” songs without having to, you know, write or produce it yourself, there's money there—and less for everyone else.  Guests:  Chris Molanphy, host of Slate's Hit Parade podcast. Kate Knibbs, senior writer at Wired Want more What Next TBD? Subscribe to Slate Plus to access ad-free listening to the whole What Next family and all your favorite Slate podcasts. Subscribe today on Apple Podcasts by clicking “Try Free” at the top of our show page. Sign up now at slate.com/whatnextplus to get access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices

It's hard to make money in the music industry. But if you could flood every streamer with hundreds of “original” songs without having to, you know, write or produce it yourself, there's money there—and less for everyone else.  Guests:  Chris Molanphy, host of Slate's Hit Parade podcast. Kate Knibbs, senior writer at Wired Want more What Next TBD? Subscribe to Slate Plus to access ad-free listening to the whole What Next family and all your favorite Slate podcasts. Subscribe today on Apple Podcasts by clicking “Try Free” at the top of our show page. Sign up now at slate.com/whatnextplus to get access wherever you listen. 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 called Mighty Real. This is part two—catch part one in our previous episode. 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 called Mighty Real. This is part two—catch part one in our previous episode. 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 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

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