Podcasts about hitparade

We're all familiar with the concept of a one-hit wonder, but what about artists who hit it big a second time—and never again? This week on Hit Parade, Chris Molanphy lays out the ground rules for one of pop's most misunderstood chart distinctions and sorts through the roster of this ultra-exclusive club, which counts Gloria Gaynor, Hozier, the Clash, and Dead or Alive among its members. Then, Chris counts down his favorite fluky examples of two-hit wonders.Podcast production by Kevin Bendis.Get more Hit Parade with Slate Plus! Join for 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.Need to set up your Slate Plus feed? If you subscribed through Slate.com, check out our FAQ at slate.com/podcastfaqs for easy instructions. Members subscribed via Apple Podcasts get automatic access—no setup required. Hosted on Acast. See acast.com/privacy for more information.

We're all familiar with the concept of a one-hit wonder, but what about artists who hit it big a second time—and never again? This week on Hit Parade, Chris Molanphy lays out the ground rules for one of pop's most misunderstood chart distinctions and sorts through the roster of this ultra-exclusive club, which counts Gloria Gaynor, Hozier, the Clash, and Dead or Alive among its members. Then, Chris counts down his favorite fluky examples of two-hit wonders.Podcast production by Kevin Bendis.Get more Hit Parade with Slate Plus! Join for 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. Hosted on Acast. See acast.com/privacy for more information.

Ecoutez L'angle éco de François Lenglet du 24 juin 2026.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

C'est l'été ouéééééééééé ! Et pour ce dernier épisode de la saison, on parle de Everything is crab et de Paralives, mais aussi du Hit Parade de 1998 en sah, bien sur on oublie certainement pas de vous envoyer plein de bonnes ondes pour cet été ! -----------------------------------------------------Discord - https://discord.gg/eUTA6CB2hKLe site - www.coopetcanap.comTwitch - https://twitch.tv/coopetcanapTwitter - https://twitter.com/CoopEtCanapMusic by Adhesive Wombat - www.soundcloud.com/adhesivewombat Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

   Hit Parade     6/22/2026 20 - Vacci Piano - EMMA, RKOMI 19 - Magica Favola - ARISA 18 - Stupida Sfortuna - FULMINACCI 17 - Male Necessario - FEDEZ & MARCO MENGHONI 16 - Bianca - NOEMI* 15 - I Romantici - TOMMASO PARADISO 14 - Il Viaggio Verso Paradiso - ACHILLE LAURO* 13 - Ossesione - SAMURAI JAY 12 - Italia Starter Pack - J AX 11- Superstar - TIZIANO FERRO, GIORGIA 10 - Che Fastidio - DITONELLAPIAGA   9 - Canzone Estiva - ANNALISA 8 - Per Sempre Sí - SAL DA VINCI* 7 - Summer Funk - FRANCESCO GABBANI 6 - Ricordi - BLANCO, ELISA 5 - Buona Domenica - SAYF* 4 - Sorry, Scusa Lo Siento - PENGUINI TATTICI NUCLEARI* 3 - Al Mio Paese - SERENA BRANCALE, LEVANTE, DELIA* 2 - Rolling Stones - THE KOLORS* 1 - Buon Vento - JOVANOTTI, ALFA*       *Ex#1  

If you were watching cable TV around midday at the turn of the millennium, there's a good chance you saw a commercial for a compilation CD called Monster Ballads. It promised you more than two hours of musical cheese—some of the most over-the-top, cornball, leather-clad romantic jams ever to grace the charts, from “Heaven” to “High Enough,” “Carrie” to “Amanda.”There's another, more common term for these rockin' romancers: power ballads. And while this TV ad suggested the power ballad was perfected in the '80s—preferably sung by a dude in spandex, with long, flowing locks—its roots go back decades earlier. Acts as seemingly mild as Roy Orbison, Harry Nilsson and even the Carpenters were pivotal to the way these mega-devotionals evolved. R&B divas would turn power vocals into an athletic sport, alongside hair-metal howlers. Eventually, power ballads colonized the charts in the '80s, the '90s and beyond.Maybe they're cheesy, cringeworthy and melodramatic—but power ballads have proven remarkably enduring, with even 21st-century Zoomer stars like Olivia Rodrigo offering their own variations. So, join Chris Molanphy as he brings on the heartbreak, finds thorns on every rose, explores feelings we can't fight anymore and celebrates pop fans' greatest love of all: the power ballad.Podcast production by Kevin Bendis Hosted on Acast. See acast.com/privacy for more information.

If you were watching cable TV around midday at the turn of the millennium, there's a good chance you saw a commercial for a compilation CD called Monster Ballads. It promised you more than two hours of musical cheese—some of the most over-the-top, cornball, leather-clad romantic jams ever to grace the charts, from “Heaven” to “High Enough,” “Carrie” to “Amanda.”There's another, more common term for these rockin' romancers: power ballads. And while this TV ad suggested the power ballad was perfected in the '80s—preferably sung by a dude in spandex, with long, flowing locks—its roots go back decades earlier. Acts as seemingly mild as Roy Orbison, Harry Nilsson and even the Carpenters were pivotal to the way these mega-devotionals evolved. R&B divas would turn power vocals into an athletic sport, alongside hair-metal howlers. Eventually, power ballads colonized the charts in the '80s, the '90s and beyond.Maybe they're cheesy, cringeworthy and melodramatic—but power ballads have proven remarkably enduring, with even 21st-century Zoomer stars like Olivia Rodrigo offering their own variations. So, join Chris Molanphy as he brings on the heartbreak, finds thorns on every rose, explores feelings we can't fight anymore and celebrates pop fans' greatest love of all: the power ballad.Podcast production by Kevin Bendis Hosted on Acast. See acast.com/privacy for more information.

Hit Parade 6/15/2026 20 - Tu Mi Piaci Tanto - SAYF 19 - Magica Favola - ARISA 18 - Stupida Sfortuna - FULMINACCI 17 - Male Necessario - FEDEZ & MARCO MENGHONI 16 - Bianca - NOEMI* 15 - I Romantici - TOMMASO PARADISO 14 - Il Viaggio Verso Paradiso - ACHILLE LAURO* 13 - Ossesione - SAMURAI JAY 12 - Italia Starter Pack - J AX 11- Vacci Piano - EMMA, RKOMI 10 - Che Fastidio - DITONELLAPIAGA   9 - Canzone Estiva - ANNALISA 8 - Per Sempre Sí - SAL DA VINCI* 7 – Summer Funk – FRANCESCO GABBANI 6 - Ricordi - BLANCO, ELISA 5 - Superstar - TIZIANO FERRO, GIORGIA 4 - Sorry, Scusa Lo Siento - PENGUINI TATTICI NUCLEARI* 3 - Al Mio Paese - SERENA BRANCALE, LEVANTE, DELIA* 2 - Rolling Stones - THE KOLORS* 1- Buona Domenica - SAYF* *Ex#1  

Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/mimmo-moramarco-ilmimmo--4112035/support.

Som a la Catalunya del Nord per descobrir el nou

     Hit Parade      6/5/2026 20 - Tu Mi Piaci Tanto - SAYF 19 - Magica Favola - ARISA 18 - Stupida Sfortuna - FULMINACCI 17 - Male Necessario - FEDEZ & MARCO MENGHONI 16 - Bianca - NOEMI* 15 - I Romantici - TOMMASO PARADISO 14 - Il Viaggio Verso Paradiso - ACHILLE LAURO* 13 - Voilá - ELETTRA LAMBORGHINI 12 - Italia Starter Pack - J AX 11- Vacci Piano - EMMA, RKOMI 10 - Che Fastidio - DITONELLAPIAGA   9 - Canzone Estiva - ANNALISA 8 - Per Sempre Sí - SAL DA VINCI* 7 - Ossesione - SAMURAI JAY 6 - Ricordi - BLANCO, ELISA 5 - Superstar - TIZIANO FERRO, GIORGIA 4 - Buona Domenica - SAYF 3 - Al Mio Paese - SERENA BRANCALE, LEVANTE, DELIA* 2 - Rolling Stones - THE KOLORS* 1 - Sorry, Scusa Lo Siento - PENGUINI TATTICI NUCLEARI*                                                                    *Ex#1

Da quando nell'agosto 1969 il musicista Serge Gainsbourg (1928-1991) e l'attrice Jane Birkin (1946-2023) pubblicarono il singolo Je t'aime moi non plus, dando il via al fenomeno del sexy sound, niente fu come prima.CensuraLa canzone che mima un rapporto sessuale, destò un tale scandalo da essere censurata dalla maggior parte dei paesi dove ne era possibile l'acquisto.

In 1979, Sister Sledge changed the sound of wedding receptions forever with “We Are Family.” Believe it or not, the Chic-penned banger never made it to No. 1. Steely Dan helped invent Yacht Rock with 1977's jazzy bop “Peg.” (They would have loved it better if it had cracked the Top 10.) And in 1972, Elton John told a timeless tale of a blue-jean baby, a “Tiny Dancer.” Casey Kasem never counted it down.Today on Hit Parade: Chris Molanphy celebrates “near misses”—now-ubiquitous hits that missed the mark on the pop charts, stalling out at No. 2, No. 11, or No. 41. In this episode, Chris zooms in on near-misses from the 1970s, including songs from Paul McCartney, the Spinners, Jackson Browne, Cat Stevens, Diana Ross, and Michael Jackson. Get more Hit Parade with Slate Plus! Join for 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.Need to set up your Slate Plus feed? If you subscribed through Slate.com, check out our FAQ at slate.com/podcastfaqs for easy instructions. Members subscribed via Apple Podcasts get automatic access—no setup required. Hosted on Acast. See acast.com/privacy for more information.

In 1979, Sister Sledge changed the sound of wedding receptions forever with “We Are Family.” Believe it or not, the Chic-penned banger never made it to No. 1. Steely Dan helped invent Yacht Rock with 1977's jazzy bop “Peg.” (They would have loved it better if it had cracked the Top 10.) And in 1972, Elton John told a timeless tale of a blue-jean baby, a “Tiny Dancer.” Casey Kasem never counted it down.Today on Hit Parade: Chris Molanphy celebrates “near misses”—now-ubiquitous hits that missed the mark on the pop charts, stalling out at No. 2, No. 11, or No. 41. In this episode, Chris zooms in on near-misses from the 1970s, including songs from Paul McCartney, the Spinners, Jackson Browne, Cat Stevens, Diana Ross, and Michael Jackson. Get more Hit Parade with Slate Plus! Join for 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. Hosted on Acast. See acast.com/privacy for more information.

In 1979, Sister Sledge changed the sound of wedding receptions forever with “We Are Family.” Believe it or not, the Chic-penned banger never made it to No. 1. Steely Dan helped invent Yacht Rock with 1977's jazzy bop “Peg.” (They would have loved it better if it had cracked the Top 10.) And in 1972, Elton John told a timeless tale of a blue-jean baby, a “Tiny Dancer.” Casey Kasem never counted it down.Today on Hit Parade: Chris Molanphy celebrates “near misses”—now-ubiquitous hits that missed the mark on the pop charts, stalling out at No. 2, No. 11, or No. 41. In this episode, Chris zooms in on near-misses from the 1970s, including songs from Paul McCartney, the Spinners, Jackson Browne, Cat Stevens, Diana Ross, and Michael Jackson. Get more Hit Parade with Slate Plus! Join for 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. Hosted on Acast. See acast.com/privacy for more information.

The opening riff of “White Wedding” is instantly recognizable—a skittering, syncopated guitar line quickly swallowed by pummeling drums. But the song itself is a bit of an enigma. Is it rock? Pop? New wave? Rockabilly punk? Like much of Billy Idol's career, the song exists somewhere in between. Idol was a shape-shifter, blurring genre lines in pursuit of bigger hooks, bigger audiences and, eventually, pop stardom.Raised near London and running with the Sex Pistols' inner circle, Idol arrived with genuine punk bona fides. But with the rise of MTV and the explosion of new wave, he refashioned himself as the bleach-blond, leather-clad rock crooner who sneered his way to the top of the charts.Join Chris Molanphy as he traces the rise, reinvention and Rock Hall canonization of an original MTV icon.Get more Hit Parade with Slate Plus! Join for 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.Need to set up your Slate Plus feed? If you subscribed through Slate.com, check out our FAQ at slate.com/podcastfaqs for easy instructions. Members subscribed via Apple Podcasts get automatic access—no setup required. Hosted on Acast. See acast.com/privacy for more information.

The opening riff of “White Wedding” is instantly recognizable—a skittering, syncopated guitar line quickly swallowed by pummeling drums. But the song itself is a bit of an enigma. Is it rock? Pop? New wave? Rockabilly punk? Like much of Billy Idol's career, the song exists somewhere in between. Idol was a shape-shifter, blurring genre lines in pursuit of bigger hooks, bigger audiences and, eventually, pop stardom.Raised near London and running with the Sex Pistols' inner circle, Idol arrived with genuine punk bona fides. But with the rise of MTV and the explosion of new wave, he refashioned himself as the bleach-blond, leather-clad rock crooner who sneered his way to the top of the charts.Join Chris Molanphy as he traces the rise, reinvention and Rock Hall canonization of an original MTV icon.Get more Hit Parade with Slate Plus! Join for 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. Hosted on Acast. See acast.com/privacy for more information.

The opening riff of “White Wedding” is instantly recognizable—a skittering, syncopated guitar line quickly swallowed by pummeling drums. But the song itself is a bit of an enigma. Is it rock? Pop? New wave? Rockabilly punk? Like much of Billy Idol's career, the song exists somewhere in between. Idol was a shape-shifter, blurring genre lines in pursuit of bigger hooks, bigger audiences and, eventually, pop stardom.Raised near London and running with the Sex Pistols' inner circle, Idol arrived with genuine punk bona fides. But with the rise of MTV and the explosion of new wave, he refashioned himself as the bleach-blond, leather-clad rock crooner who sneered his way to the top of the charts.Join Chris Molanphy as he traces the rise, reinvention and Rock Hall canonization of an original MTV icon.Get more Hit Parade with Slate Plus! Join for 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. Hosted on Acast. See acast.com/privacy for more information.

Hit Parade podcaster and music writer Chris Molanphy joins the show to discuss how he approached this year's Rock & Roll Hall of Fame ballot. This show is part of ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Pantheon Podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Donna Summer was a hit-maker for two decades and a dance floor deity for more than three. Her collaborations with Giorgio Moroder and Pete Bellotte were formative in dance, electronic, and rock music, influencing everyone from David Bowie and Blondie to Madonna and Moby. But the rock establishment was stinting in its appreciation—whether at Comiskey Park in Chicago in 1979 or the Rock and Roll Hall of Fame in the 2000s. In Part 2 of this encore episode from 2017, Chris Molanphy examines how Summer became the queen of disco … and then transcended that role altogether.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. Hosted on Acast. See acast.com/privacy for more information.

Hit Parade is on a brief break, but if you need a daily dose of fascinating stories, check out History Daily. Host Lindsay Graham (the history guy! not the senator!) explores what happened "on this day in history," with a broad mix of politics, sports, technology, medicine, and much more. Chris recommends this episode about the genesis of MTV—including the forgotten role played by a former member of the Monkees. Find History Daily's huge archive of quick-hit history at: https://www.historydaily.com/ Hosted on Acast. See acast.com/privacy for more information.

Donna Summer was a hit-maker for two decades and a dance floor deity for more than three. Her collaborations with Giorgio Moroder and Pete Bellotte were formative in dance, electronic, and rock music, influencing everyone from David Bowie and Blondie to Madonna and Moby. But the rock establishment was stinting in its appreciation—whether at Comiskey Park in Chicago in 1979 or the Rock and Roll Hall of Fame in the 2000s. In Part 2 of this encore episode from 2017, Chris Molanphy examines how Summer became the queen of disco … and then transcended that role altogether.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. Hosted on Acast. See acast.com/privacy for more information.

Hit Parade is on a brief break, but if you need a daily dose of fascinating stories, check out History Daily. Host Lindsay Graham (the history guy! not the senator!) explores what happened "on this day in history," with a broad mix of politics, sports, technology, medicine, and much more. Chris recommends this episode about the genesis of MTV—including the forgotten role played by a former member of the Monkees. Find History Daily's huge archive of quick-hit history at: https://www.historydaily.com/ Hosted on Acast. See acast.com/privacy for more information.

Donna Summer was a hit-maker for two decades and a dance floor deity for more than three. Her collaborations with Giorgio Moroder and Pete Bellotte were formative in dance, electronic, and rock music, influencing everyone from David Bowie and Blondie to Madonna and Moby. But the rock establishment was stinting in its appreciation—whether at Comiskey Park in Chicago in 1979 or the Rock and Roll Hall of Fame in the 2000s. In Part 2 of this encore episode from 2017, Chris Molanphy examines how Summer became the queen of disco … and then transcended that role altogether.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. Hosted on Acast. See acast.com/privacy for more information.

Hit Parade is on a brief break, but if you need a daily dose of fascinating stories, check out History Daily. Host Lindsay Graham (the history guy! not the senator!) explores what happened "on this day in history," with a broad mix of politics, sports, technology, medicine, and much more. Chris recommends this episode about the genesis of MTV—including the forgotten role played by a former member of the Monkees. Find History Daily's huge archive of quick-hit history at: https://www.historydaily.com/ Hosted on Acast. See acast.com/privacy for more information.

In the years immediately following the Second World War, the Barton Brothers, an anarchic Catskill comedy duo, began recording humorous macaronic (that is, bilingual) parody songs that relied in no small part on Yiddish theater and radio for raw material. The Bartons' unexpected success—their send-up of Yiddish radio, “Joe & Paul,” was a bona fide hit, however improbable—inspired clarinetist Mickey Katz, based in Los Angeles and working with first-rate studio players, to begin recording his own exceedingly funny Yiddish-mixed-with-English lyrics set to the melodies of current Hit Parade songs. Capitol Records issued (possibly to their own amazement) a steady stream of these Yinglish albums by Katz all through the 1950s and into the ‘60s. These in turn inspired Allan Sherman, a TV gameshow writer/producer, to begin recording his own parodies of standards and folk songs. Though hardly any of Sherman's lyrics had actual Yiddish content, many still had a clearly Jewish inflection that often alluded—phonetically, grammatically, or syntactically—to Yiddish beginnings. Close readings of selected tracks by the Bartons, by Katz, and by Sherman will focus on their language, their music, their delivery, and what made them so influential and so very funny. This lecture originally took place on July 9, 2020. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In the years immediately following the Second World War, the Barton Brothers, an anarchic Catskill comedy duo, began recording humorous macaronic (that is, bilingual) parody songs that relied in no small part on Yiddish theater and radio for raw material. The Bartons' unexpected success—their send-up of Yiddish radio, “Joe & Paul,” was a bona fide hit, however improbable—inspired clarinetist Mickey Katz, based in Los Angeles and working with first-rate studio players, to begin recording his own exceedingly funny Yiddish-mixed-with-English lyrics set to the melodies of current Hit Parade songs. Capitol Records issued (possibly to their own amazement) a steady stream of these Yinglish albums by Katz all through the 1950s and into the ‘60s. These in turn inspired Allan Sherman, a TV gameshow writer/producer, to begin recording his own parodies of standards and folk songs. Though hardly any of Sherman's lyrics had actual Yiddish content, many still had a clearly Jewish inflection that often alluded—phonetically, grammatically, or syntactically—to Yiddish beginnings. Close readings of selected tracks by the Bartons, by Katz, and by Sherman will focus on their language, their music, their delivery, and what made them so influential and so very funny. This lecture originally took place on July 9, 2020. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/jewish-studies

In the years immediately following the Second World War, the Barton Brothers, an anarchic Catskill comedy duo, began recording humorous macaronic (that is, bilingual) parody songs that relied in no small part on Yiddish theater and radio for raw material. The Bartons' unexpected success—their send-up of Yiddish radio, “Joe & Paul,” was a bona fide hit, however improbable—inspired clarinetist Mickey Katz, based in Los Angeles and working with first-rate studio players, to begin recording his own exceedingly funny Yiddish-mixed-with-English lyrics set to the melodies of current Hit Parade songs. Capitol Records issued (possibly to their own amazement) a steady stream of these Yinglish albums by Katz all through the 1950s and into the ‘60s. These in turn inspired Allan Sherman, a TV gameshow writer/producer, to begin recording his own parodies of standards and folk songs. Though hardly any of Sherman's lyrics had actual Yiddish content, many still had a clearly Jewish inflection that often alluded—phonetically, grammatically, or syntactically—to Yiddish beginnings. Close readings of selected tracks by the Bartons, by Katz, and by Sherman will focus on their language, their music, their delivery, and what made them so influential and so very funny. This lecture originally took place on July 9, 2020. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Donna Summer was a hit-maker for two decades and a dance floor deity for more than three. Her collaborations with Giorgio Moroder and Pete Bellotte were formative in dance, electronic, and rock music, influencing everyone from David Bowie and Blondie to Madonna and Moby. But the rock establishment was stinting in its appreciation—whether at Comiskey Park in Chicago in 1979 or the Rock and Roll Hall of Fame in the 2000s. In this encore episode from 2017, Chris Molanphy examines how Summer became the queen of disco … and then transcended that role altogether.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. Hosted on Acast. See acast.com/privacy for more information.

Donna Summer was a hit-maker for two decades and a dance floor deity for more than three. Her collaborations with Giorgio Moroder and Pete Bellotte were formative in dance, electronic, and rock music, influencing everyone from David Bowie and Blondie to Madonna and Moby. But the rock establishment was stinting in its appreciation—whether at Comiskey Park in Chicago in 1979 or the Rock and Roll Hall of Fame in the 2000s. In this encore episode from 2017, Chris Molanphy examines how Summer became the queen of disco … and then transcended that role altogether.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. Hosted on Acast. See acast.com/privacy for more information.

Donna Summer was a hit-maker for two decades and a dance floor deity for more than three. Her collaborations with Giorgio Moroder and Pete Bellotte were formative in dance, electronic, and rock music, influencing everyone from David Bowie and Blondie to Madonna and Moby. But the rock establishment was stinting in its appreciation—whether at Comiskey Park in Chicago in 1979 or the Rock and Roll Hall of Fame in the 2000s. In this encore episode from 2017, Chris Molanphy examines how Summer became the queen of disco … and then transcended that role altogether.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. Hosted on Acast. See acast.com/privacy for more information.

The 100th episode of Hit Parade has put host Chris Molanphy in a reflective mood. So in Part 2, he unfurls the story of the late, great American Top 40 host Casey Kasem—a perennial inspiration for this podcast and the chart king that Chris calls “the original poptimist.” Enjoy this long-distance dedication, as Chris pays tribute to a radio hero with a preternatural understanding of the power of pop to unify.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.This episode will be available for free on March 27, 2026. Hosted on Acast. See acast.com/privacy for more information.

The 100th episode of Hit Parade has put host Chris Molanphy in a reflective mood. So in Part 2, he unfurls the story of the late, great American Top 40 host Casey Kasem—a perennial inspiration for this podcast and the chart king that Chris calls “the original poptimist.” Enjoy this long-distance dedication, as Chris pays tribute to a radio hero with a preternatural understanding of the power of pop to unify.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.This episode will be available for free on March 27, 2026. Hosted on Acast. See acast.com/privacy for more information.

The 100th episode of Hit Parade has put host Chris Molanphy in a reflective mood. So in Part 2, he unfurls the story of the late, great American Top 40 host Casey Kasem—a perennial inspiration for this podcast and the chart king that Chris calls “the original poptimist.” Enjoy this long-distance dedication, as Chris pays tribute to a radio hero with a preternatural understanding of the power of pop to unify.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.This episode will be available for free on March 27, 2026. Hosted on Acast. See acast.com/privacy for more information.

To mark Hit Parade's 100th episode, host Chris Molanphy is doing something he's never done: He's going to talk about himself—and just how nerdy you have to be to host a show like Hit Parade. Chris reflects on the origins and depth of his chart fandom, and ponders existential questions like: What makes a person want to track these rankings? Why do we care about what, or who, is No. 1?Join Chris for this exploration of how the charts have informed, inspired and infiltrated his life—and yours, too.Coming up in Part 2: Chris pays tribute to one of his heroes and a huge influence on Hit Parade: the chart king who counted down the hits every week ... from coast to coast. Available on March 27, but Slate Plus members can listen right now!Not a Slate Plus member? Get early access, 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. Hosted on Acast. See acast.com/privacy for more information.

To mark Hit Parade's 100th episode, host Chris Molanphy is doing something he's never done: He's going to talk about himself—and just how nerdy you have to be to host a show like Hit Parade. Chris reflects on the origins and depth of his chart fandom, and ponders existential questions like: What makes a person want to track these rankings? Why do we care about what, or who, is No. 1?Join Chris for this exploration of how the charts have informed, inspired and infiltrated his life—and yours, too.Coming up in Part 2: Chris pays tribute to one of his heroes and a huge influence on Hit Parade: the chart king who counted down the hits every week ... from coast to coast. Available on March 27, but Slate Plus members can listen right now!Not a Slate Plus member? Get early access, 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. Hosted on Acast. See acast.com/privacy for more information.

To mark Hit Parade's 100th episode, host Chris Molanphy is doing something he's never done: He's going to talk about himself—and just how nerdy you have to be to host a show like Hit Parade. Chris reflects on the origins and depth of his chart fandom, and ponders existential questions like: What makes a person want to track these rankings? Why do we care about what, or who, is No. 1?Join Chris for this exploration of how the charts have informed, inspired and infiltrated his life—and yours, too.Coming up in Part 2: Chris pays tribute to one of his heroes and a huge influence on Hit Parade: the chart king who counted down the hits every week ... from coast to coast. Available on March 27, but Slate Plus members can listen right now!Not a Slate Plus member? Get early access, 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. Hosted on Acast. See acast.com/privacy for more information.

In 1964, Lorey Kaye, a twenty-year-old from New Haven, CT, moved to Manhattan to start a new life in the big city. Lorey was a fresh-faced, dark-haired hippie, who attracted attention as much for her headstrong, determined, street smart attitude as for her striking good looks. She was hired as a waitress in a new nightclub that had just opened in Times Square – called Steve Paul’s ‘The Scene'. The club was an immediate hit with gigs by the likes of BB King, Jimi Hendrix, and Sammy Davis Jr., regular visitors like Andy Warhol and Edie Sedgwick – and Lorey was at the heart of the action. Another group, The Lovin’ Spoonful, also played there regularly, and their lead singer, John Sebastian, took a shine to her. John and Lorey started seeing each other, and Lorey became his muse, inspiring him to compose a number of the group's hit singles about her, such as ‘She's A Lady' and ‘Rain on the Roof', even mentioning her by name in some of the lyrics. Lorey and John Sebastian (1967) They got hitched in 1966 – by then Lorey had started work as an insider gossip columnist at Hit Parade magazine – and now known as Lorey Sebastian, she became a popular staple in the 1960s Greenwich Village folk-rock music scene. Lorey and John's relationship was glamorous, high-profile, and short-lived. Lorey broke up with John in 1968 when they were in Ireland. The legend is that she fell in with a group of gypsies, and felt compelled to tune in, drop out, and join them instead. It was said that John never fully recovered from the breakup. Lorey (right), with John Sebastian and Mama Cass (1967) Fast forward to the mid 1970s. Lorey was back in New York, now in her mid 30s and looking for a purpose. She'd become a member of the television and film workers union, with the vague ambition of being a still photographer on movie sets. To make a little extra money, she also did work as a crew member on sex films. It was on a Gerry Damiano movie that she met Jamie Gillis. Jamie sidled up to her, pushing her in the back, and exclaiming, “What a place to bump into a girl like you!” It was corny but it worked, and Lorey invited him back to her place. The mutual attraction was instant and sexual – but, for Jamie, there was something more this time. For a confirmed promiscuous bachelor, Jamie confided to friends that, whisper it quietly, Lorey might actually be the one. He spent time with her, encouraged her photography ambitions, taking her to exhibitions and galleries, and was tickled that one of his favorite songs, The Lovin’ Spoonful's ‘Daydream,' had been written for her. Not to suggest that Jamie's relationship with New York magazine's Insatiable Critic, Gael Greene, was over. Far from it. Even if the novelty of Jamie and Gael's physical and emotional relationship had subsided, they were still intent on documenting their lives, in and out of bed, for a proposed joint-autobiographical book. They continued to go the city's restaurants, cultural events, and glamorous parties, while Jamie spent his in-between time wrestling with whether he wanted an acting career, playing poker, going to the occasional audition, and making semi-regular starring appearances in adult films. In short, Jamie wanted to pursue Lorey, but not give up the affair with Gael. This is Part 2 of the story of Jamie Gillis and Gael Greene in 1978. Jamie This podcast is 49 minutes long. Listen to Part 1 of The Porn Star and the Foodie: Jamie Gillis & Gael Greene in 1978 here. * The post The Porn Star and the Foodie: Jamie Gillis & Gael Greene in 1978 Part 2, Lorey Sebastian – Podcast 159 appeared first on The Rialto Report.

On today's Saturday Matinee, we shine a spotlight on the dazzling career of pop music's shapeshifting extraterrestrial: David Bowie. Link to Hit Parade: https://slate.com/podcasts/hit-parade Support the show! Join Into History for ad-free listening and more. History Daily is a co-production of Airship and Noiser.

These days, country and pop acts regularly invade each other's territory. But in Nashville during the 1970s, “crossover” was a dirty word. Then came two rising stars who offered up a new hybrid of Americana-style pop.John Denver infused his folk balladry with homespun lyrics about country roads and wide-open skies. Olivia Newton-John sang over twangy melodies that belied her British-Australian roots. Both faced backlash—especially when they started topping the country and pop charts simultaneously and winning prizes that used to go to Nashville legends.Eventually, both artists outgrew country music. Denver became a ubiquitous entertainer and beloved Muppet wingman. Newton-John dazzled in the film Grease, then reinvented herself as a leather-clad siren unafraid to get physical.Join Chris Molanphy as he traces the parallel rise of two country-pop titans from the Rocky Mountains to Xanadu.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. Visit slate.com/hitparadeplus to get access wherever you listen. Hosted on Acast. See acast.com/privacy for more information.

These days, country and pop acts regularly invade each other's territory. But in Nashville during the 1970s, “crossover” was a dirty word. Then came two rising stars who offered up a new hybrid of Americana-style pop.John Denver infused his folk balladry with homespun lyrics about country roads and wide-open skies. Olivia Newton-John sang over twangy melodies that belied her British-Australian roots. Both faced backlash—especially when they started topping the country and pop charts simultaneously and winning prizes that used to go to Nashville legends.Eventually, both artists outgrew country music. Denver became a ubiquitous entertainer and beloved Muppet wingman. Newton-John dazzled in the film Grease, then reinvented herself as a leather-clad siren unafraid to get physical.Join Chris Molanphy as he traces the parallel rise of two country-pop titans from the Rocky Mountains to Xanadu.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. Visit slate.com/hitparadeplus to get access wherever you listen. Hosted on Acast. See acast.com/privacy for more information.