Podcasts about hitparade

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?

   Hit Parade      10 27 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 - Milano Baby - FABRI BIBRA, JOAN THIELE 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 - Ex - IRAMA, ELODIE* 7 - Amaro - PENGUINI TATTICI NUCLEARI 6 - Piazza San Marco - ANNALISA, MARCO MENGONI* 5 - Questa Domenica - OLLY, JULI 4 - Brutta Storia - EMMA, JULI 3 - Senza Una Stupida Storia - ACHILLE LAURO 2 - Lasciamene Un Pó - TOMMASO PARADISO 1 - Golpe - GIORGIA*                                                                    *Ex#1

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      10 20 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 - Nonostante Tutto - CESARE CREMONINI, ELISA* 16 - Pronto Come Vá - THE KOLORS* 15 - Sola (Ti Amo) - CIOFFI, MAR LUCAS 14 - Oceanica - MERK & KREMONT, JOVANOTTI 13 - Bella Madonnina - TANNANAI 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 - Ex - IRAMA, ELODIE* 7 – Amaro – PENGUINI TATTICI NUCLEARI 6 - Golpe- GIORGIA* 5 - Questa Domenica - OLLY, JULI 4 - Milano Baby – FABRI BIBRA, JOAN THIELE 3 - Senza Una Stupida Storia - ACHILLE LAURO 2 - Lasciamene Un Pó – TOMMASO PARADISO 1 – Piazza San Marco – ANNALISA, MARCO MENGONI*             *Ex#1  

In dieser Folge reisen wir zurück ins Jahr 1990, welches geschichtlich gesehen für Deutschland und die Welt wirklich spannend war. Dafür war es musikalisch eher mau. Der Mainstream wurde von Schnulzen, Schlager und Snap dominiert. Doch außerhalb davon gab es für uns zum Glück auch viel Gutes zu hören und zu kaufen. Wir deckten uns u.a. mit Platten von Pink Turns Blue, Invincible Spirit, Abwärts, The Mission und den Sisters oder von Madchester-Bands ein. Außerdem gehts in dieser Folge um die Top2000D, die einzigen Ost-West-Charts, welche gleichzeitig die längste Hitparade der Welt war. Wir reden über die "All Tomorrows Parties" von vier DDR-Indie-Bands und einer amerikanischen Touristin. Hier das Video zu der Geschichte: https://www.youtube.com/watch?v=krRvKQz0as8&t=11sUnd natürlich gehts um Dinge wie Wende, Währungsunion und Wiedervereinigung - schließlich waren das die drei großen W's des Jahres 1990, die wir einmal aus der Ost- und einmal aus der West-Sicht erlebt haben. Abonniert diesen Podcast und folgt uns auf ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠und / oder ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Kontakt: prost-punk@web.de

251016PC Nein, meine Söhne geb ich nichtMensch Mahler am 16.10.2025 Hook nein, meine Söhne geb ich nichtDie SWR1 Hitparade ist eines der größten Events im Radio im wilden Süden. Dieses Jahr wird der Song von Reinhard May nicht dabei sein. Nicht, weil er nicht gewählt würde – das Antikriegslied ist einer der Dauerbrenner der Hitparade. Unter Tausenden Titeln immer auf den Plätzen zwischen 10 und 20. Dieses Jahr ist der Song nicht mehr auf der Vorschlagsliste. Wir befinden uns im Kriegsmodus, die Einführung der allgemeinen Wehrpflicht wird dieser Tage heiß diskutiert.Hook nein, meine Söhne geb ich nicht …. Aber das sei nicht der Grund, so der SWR auf Anfrage. Man nehme Titel raus, bei denen man „Manipulationsversuche“ feststelle. Aufrufe von Fanclubs oder geballte Abstimmungen beispielsweise. Man kann, wenn man sich durch mehr als 1000 Titeln gescrollt hat, den Song händisch eingeben. Meine Konsequenz, lieber SWR, einer meiner früheren Arbeitgeber: Nein, meine Stimme kriegt ihr nicht. Ich boykottiere die Hitparade. Das hat mindestens ein „G'schmäckle“, wie der Schwabe sagt.Hook neine, meine Söhne kriegt ihr nicht. Hosted on Acast. See acast.com/privacy for more information.

   Hit Parade 10 13 2025 20 - Che Gusto C'É - FABRI FIBRA, TREDICI PIETRO 19 - Victoria's Secret - ROSE VILLAIN, TONY EFFE 18 - Un Selfie Con La Vita - GIGI D'ALESSIO 17 - Nonostante Tutto - CESARE CREMONINI, ELISA* 16 - Pronto Come Vá - THE KOLORS* 15 - Maledetta Rabbia - BLANCO* 14 - Oceanica - MERK & KREMONT, JOVANOTTI 13 - Bella Madonnina - TANNANAI 12 - Oh Ma - ROCCO HUNT, NOEMI 11- Sola (Ti Amo) - CIOFFI, MAR LUCAS 10- Serenata - SERENA BRANCALE, ALESSANDRA AMOROSO 9 - Cuore Rotto - TIZIANO FERRO* 8 - A Me Mi Piace - ALFA, MANU CHAO* 7 – Lasciamene Un Pó – TOMMASO PARADISO 6 - Golpe- GIORGIA* 5 - Il Mio Giorno Preferito - EROS RAMAZZOTTI* 4 - Milano Baby – FABRI BIBRA, JOAN THIELE 3 - Senza Una Stupida Storia - ACHILLE LAURO 2 - Questa Domenica - OLLY, JULI 1 - Ex - IRAMA, ELODIE*        Ex#1

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.

Et allezzzzzz comme si ca ne suffisait pas, non seulement il y a eu un épisode il y a 2 semaines, mais en plus de ça, il y a un nouvel épisode aujourd'hui ! Et pas n'importe lequel !On parle de Final Fantasy Tactics : Ivalice Chronicles, de Dice Gambit, de The Rogue Prince of Persia et on reprend en fanfare notre Hit Parade direction l'année 2015 ! Un programme milles étoiles, ni plus ni moins.-----------------------------------------------------

Rond 1980 maakte Genesis een enorme transformatie door van progrock-band naar een groep die regelmatig opdook in de hitparade. Onderweg verloor de groep een paar belangrijke leden, het ging van kwintet naar trio, maar werd alleen maar groter en succesvoller. Deze podcast gaat over die opvallende omslag.

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)

Your Hit Parade 42-07-18 (xxx) First Song - Three Little Sisters (#09)

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 Show

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

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

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

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