Podcasts about hitparade

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

Der ESC-Song «Made in Switzerland» von Hazel Brugger und Sandra Studer schafft es diese Woche in die Single-Hitparade - ein Erfolg. Es ist aktuell der einzige Schweizer Hit in den Top 50. Wie geht es nun mit dem Song weiter?

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

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

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

   Hit Parade 6 16 2025 20 - Incoscienti Giovani – ACHILLE LAURO* 19 - Non Sono Io - NOEMI 18 - Volevo Essere Un Duro – LUCIO CORSI 17 - La Cura Per Me - Giorgia 16 - Chiamo Io Chiami Tu - GAIA 15 - Lei - MARRACASH 14 - Tu Con Chi Fai L'Amore – THE KOLORS* 13 - Meravigliosa – GUÉ STADIO 12 - Scelte Stupide – Fedez, Clara* 11- Un Mondo A Parte - JOVANOTTI  10- Alibi - TANNANAI 9 - Cose Stupide – ALESSANDRA AMOROSO 8 - Mi Ami Mi Odi – ELODIE* 7 - Amor – ACHILLE LAURO* 6 - Piangere A 90 – BLANCO* 5 - Bottiglie Vuote – PENGUINI TATTICI NUCLEARI, MAX PEZZALI* 4 - Nonostante Tutto – CESARE CREMONINI, ELISA* 3 - Pronto Come Vá – THE KOLORS 2 - A Me Mi Piace – ALFA, MANU CHAO 1 – Maschi – ANNALISA* *Ex#1

Hit Parade 6 9 2025 20 - Incoscienti Giovani –                               ACHILLE LAURO* 19 - Tutta L'Italia – GABRY                                           PONTE 18 - Volevo Essere Un Duro –                                 LUCIO CORSI 17 - La Cura Per Me - Giorgia 16 - Chiamo Io Chiami Tu - GAIA 15 - Lei - MARRACASH 14 - Cuoricini - COMA_COSE* 13 - Meravigliosa – GUÉ STADIO 12 – Non Sono Io - NOEMI 11- Un Mondo A Parte -                                             JOVANOTTI  10- Tu Con Chi Fai L'Amore –                                   THE KOLORS* 9 - Cose Stupide – ALESSANDRA                                AMOROSO 8 - Alibi - TANNANAI 7 - Amor – ACHILLE LAURO* 6 - Mi Ami Mi Odi – ELODIE* 5 - Bottiglie Vuote – PENGUINI TATTICI NUCLEARI, MAX                                             PEZZALI* 4 - Nonostante Tutto – CESARE                         CREMONINI, ELISA* 3 - Scelte Stupide – Fedez, Clara* 2 - A Me Mi Piace – ALFA,                                          MANU  CHAO 1 – Piangere A 90 –                      BLANCO* *Ex#1  

Alex Warren bleibt unangefochten an der Spitze der Hitparade. Der US-amerikanische Musiker und Content-Creator begeistert mit gefühlvollem Pop und einer beeindruckenden Lebensgeschichte: Vom obdachlosen Teenager zum Social-Media-Superstar mit Millionenpublikum. Mehr dazu hier.

The story of Nevermind, Nirvana's genre-defining breakthrough, is a familiar one. Less well known is the saga of Billboard's Modern Rock chart—and how college-rock staples of the 1980s like R.E.M. and The Cure gave way to heavier, more commercially dominant groups of the ‘90s like Soundgarden, Alice in Chains, Pearl Jam, and The Smashing Pumpkins. What sparked the grungification of the charts? How did Modern Rock become the new Top 40? And how did the Seattle sound pave the way for post-grunge bands like Sublime, Third Eye Blind, and even Creed? Join Chris Molanphy as he explores alternative rock's evolution from the cutting edge to the middle of the road. Podcast production by Olivia Briley and Kevin Bendis Learn more about your ad choices. Visit megaphone.fm/adchoices

The story of Nevermind, Nirvana's genre-defining breakthrough, is a familiar one. Less well known is the saga of Billboard's Modern Rock chart—and how college-rock staples of the 1980s like R.E.M. and The Cure gave way to heavier, more commercially dominant groups of the ‘90s like Soundgarden, Alice in Chains, Pearl Jam, and The Smashing Pumpkins. What sparked the grungification of the charts? How did Modern Rock become the new Top 40? And how did the Seattle sound pave the way for post-grunge bands like Sublime, Third Eye Blind, and even Creed? Join Chris Molanphy as he explores alternative rock's evolution from the cutting edge to the middle of the road. Podcast production by Olivia Briley and Kevin Bendis Learn more about your ad choices. Visit megaphone.fm/adchoices

Hit Parade 6 2 2025 20 - Incoscienti Giovani –                               ACHILLE LAURO* 19 - Tutta L'Italia – GABRY                                           PONTE 18 - Volevo Essere Un Duro –                                  LUCIO CORSI 17 - La Cura Per Me - Giorgia 16 - Fuorilegge – ROSE VILLAIN* 15 - Lei - MARRACASH 14 - Cuoricini - COMA_COSE* 13 - Balorda Nostalgia- OLLY* 12 – Non Sono Io - NOEMI 11- Un Mondo A Parte -                                             JOVANOTTI  10- Meravigliosa – GUÉ STADIO 9 - Cose Stupide – ALESSANDRA                                     AMOROSO 8 - Alibi - TANNANAI 7 - Chiamo Io Chiami Tu - GAIA 6 - Mi Ami Mi Odi – ELODIE* 5 - Bottiglie Vuote – PENGUINI              TATTICI NUCLEARI, MAX                                       PEZZALI* 4 -Tu Con Chi Fai L'Amore – THE                                        KOLORS* 3 - Amor – ACHILLE LAURO* 2 - Nonostante Tutto – CESARE                       CREMONINI, ELISA* 1 – Scelte Stupide –                 Fedez, Clara                                        *Ex#1  

6 von 10 Songs in den Top 10 sind diese Woche ESC-Hits. Spannend: nicht der ESC-Siegersong «Wasted Love» von JJ wurde am meisten gekauft und gestreamt. Welcher Ohrwurm das Rennen macht und wie gut sich Zoë Më in der Hitparade schlägt, hört ihr hier.

On danse aujourd'hui dans Coop et Canap, et pas qu'un peu, et on lance des dés aussi, bien sûr, vous nous connaissez, et pour le coup on se prive pas, d'autant qu'on va aussi continuer notre hit parade : 2001 dites vous, c'est pas rien. Et bien entendu on fera un peu de viseur et de piscine, surtout à l'approche des beaux jours.-----------------------------------------------------

Als Tochter eines Schweizers und einer Amerikanerin hat Amber Rae den Country quasi schon mit der Muttermilch aufgesogen. Die 26-Jährige trägt nicht nur Cowboyhut und -boots, sondern hat soeben auch ihre neue EP «Dreams the Size of Texas» herausgegeben und ist für einen Prix Walo nominiert. Amber Rae hat schon als Kind die Lieber zur Musik entdeckt und mit 12 ihren ersten Song geschrieben. Die amerikanische Kultur war im Elternhaus präsent, da die Mutter aus Kalifornien stammt und ein Teil von Amber Raes Familie in Arizona lebt. 2020 gab sie ihre erste EP heraus und hat sich seitdem einen festen Platz in der wachsenden Schweizer Country-Szene erobert. So wie Amber Rae stammt auch Shem Thomes ursprünglich aus dem Rheintal. Der Singer/Songwriter hat es bis ins Finale von The Voice of Switzerland geschafft und die Hitparade gestürmt. «Wer bin ich?» Diese Frage steht im Mittelpunkt seines neuen Songs «Who I am». Er ist ein Statement für Authentizität und ein Aufruf, sich mit all seinen Gefühlen fallen lassen zu können. Der Basler Musiker Zian windet mit seinem neuen Song «Fire to the Sky» all denjenigen Menschen ein Kränzchen, die täglich über sich hinauswachsen. Anlässlich zum 50-jährigen Jubiläum der Schweizer Paraplegiker-Stiftung setzt Zian ein musikalisches Zeichen für Mut, Willenskraft und unaufhaltsame Energie. Eine warme Stimme und melancholische Balladen sind die Markenzeichen von Eliane. Nach einer Babypause meldet sich die Luzernerin mit der Single «Wonder» zurück. Geschrieben hat sie den federleichten Popsong, als sie von dem kleinen Wunder in ihrem Bauch erfuhr. Swissmade – 100% Schweizer Musik. Neuheiten und Klassiker.

Hit Parade 5 26,25 20 - Incoscienti Giovani –                               ACHILLE LAURO* 19 - Tutta L'Italia – GABRY                                            PONTE 18 - Volevo Essere Un Duro –                                LUCIO CORSI 17 - La Cura Per Me - Giorgia 16 - Fuorilegge – ROSE VILLAIN* 15 - Lei - MARRACASH 14 - Cuoricini - COMA_COSE* 13 - Se T'Innamori Muori -                                              NOEMI 12 – Non Sono Io - NOEMI 11- Un Mondo A Parte -                                             JOVANOTTI  10- Meravigliosa – GUÉ STADIO 9 - Cose Stupide – ALESSANDRA                                  AMOROSO 8 - Alibi - TANNANAI 7 - Chiamo Io Chiami Tu - GAIA 6 - Balorda Nostalgia- OLLY* 5 - Bottiglie Vuote – PENGUINI              TATTICI NUCLEARI, MAX                                       PEZZALI* 4 -Tu Con Chi Fai L'Amore – THE                                        KOLORS* 3 - Nonostante Tutto – CESARE                     CREMONINI, ELISA* 2 - Mi Ami Mi Odi – ELODIE*   1 – Amor – ACHILLE                            LAURO* *Ex#1  

The story of Nevermind, Nirvana's genre-defining breakthrough, is a familiar one. Less well known is the saga of Billboard's Modern Rock chart—and how college-rock staples of the 1980s like R.E.M. and The Cure gave way to heavier, more commercially dominant groups of the ‘90s like Soundgarden, Alice in Chains, Pearl Jam, and The Smashing Pumpkins. What sparked the grungification of the charts? How did Modern Rock become the new Top 40? And how did the Seattle sound pave the way for post-grunge bands like Sublime, Third Eye Blind, and even Creed? Join Chris Molanphy as he explores alternative rock's evolution from the cutting edge to the middle of the road. Podcast production by Olivia Briley and Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

The story of Nevermind, Nirvana's genre-defining breakthrough, is a familiar one. Less well known is the saga of Billboard's Modern Rock chart—and how college-rock staples of the 1980s like R.E.M. and The Cure gave way to heavier, more commercially dominant groups of the ‘90s like Soundgarden, Alice in Chains, Pearl Jam, and The Smashing Pumpkins. What sparked the grungification of the charts? How did Modern Rock become the new Top 40? And how did the Seattle sound pave the way for post-grunge bands like Sublime, Third Eye Blind, and even Creed? Join Chris Molanphy as he explores alternative rock's evolution from the cutting edge to the middle of the road. Podcast production by Olivia Briley and Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

In der Fernsehshow «ESC-Mania» coverte Jan Seven Dettwyler den ESC-Siegessong von Udo Jürgens. 1966 holte sich Jürgens den Titel mit seinem Song «Merci Cherie». Ob es für das Cover auch bald einen Platz in der Hitparade gibt, wird sich zeigen.

Nemo veröffentlicht die zweite Single seit dem ESC-Hit «The Code». Rechtzeitig zum ESC in Basel liefert Nemo mit «Casanova» eine weitere queere Hymne. Was hinter dem Song steckt, erzählt Nemo in der Hitparade.

It's been nearly a decade since Rihanna released a studio album—and fans and critics alike have wondered when, if ever, a follow-up to 2016's Anti might arrive. Which is ironic, because in her heyday, Rihanna was the most productive hitmaker on the charts. Churning out at least one album a year in the late aughts and early ‘10s,  Rihanna's approach to the charts was closer to early Motown or the Beatles than Beyoncé or Taylor. The result: the Barbadian pop deity scored more No. 1s than any 21st century artist, from “SOS” and “Umbrella” through “Diamonds” and “Work.”  Join Chris Molanphy as he traces Rihanna's journey from tropical tyro to commanding chart queen and explores how she found hits at a boundless pace. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

It's been nearly a decade since Rihanna released a studio album—and fans and critics alike have wondered when, if ever, a follow-up to 2016's Anti might arrive. Which is ironic, because in her heyday, Rihanna was the most productive hitmaker on the charts. Churning out at least one album a year in the late aughts and early ‘10s,  Rihanna's approach to the charts was closer to early Motown or the Beatles than Beyoncé or Taylor. The result: the Barbadian pop deity scored more No. 1s than any 21st century artist, from “SOS” and “Umbrella” through “Diamonds” and “Work.”  Join Chris Molanphy as he traces Rihanna's journey from tropical tyro to commanding chart queen and explores how she found hits at a boundless pace. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

Nina Chuba trifft mit ihrem neuen Song «Unsicher» den Nerv der jüngeren Generationen. Sie singt über die Herausforderungen des Erwachsenwerdens. Der Track schafft es diese Woche direkt auf Platz 2 der Hitparade.

It's been nearly a decade since Rihanna released a studio album—and fans and critics alike have wondered when, if ever, a follow-up to 2016's Anti might arrive. Which is ironic, because in her heyday, Rihanna was the most productive hitmaker on the charts. Churning out at least one album a year in the late aughts and early ‘10s,  Rihanna's approach to the charts was closer to early Motown or the Beatles than Beyoncé or Taylor. The result: the Barbadian pop deity scored more No. 1s than any 21st century artist, from “SOS” and “Umbrella” through “Diamonds” and “Work.”  Join Chris Molanphy as he traces Rihanna's journey from tropical tyro to commanding chart queen and explores how she found hits at a boundless pace. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

It's been nearly a decade since Rihanna released a studio album—and fans and critics alike have wondered when, if ever, a follow-up to 2016's Anti might arrive. Which is ironic, because in her heyday, Rihanna was the most productive hitmaker on the charts. Churning out at least one album a year in the late aughts and early ‘10s,  Rihanna's approach to the charts was closer to early Motown or the Beatles than Beyoncé or Taylor. The result: the Barbadian pop deity scored more No. 1s than any 21st century artist, from “SOS” and “Umbrella” through “Diamonds” and “Work.”  Join Chris Molanphy as he traces Rihanna's journey from tropical tyro to commanding chart queen and explores how she found hits at a boundless pace. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

(This is a re-uploaded version of our 2023 Halloween episode "The Haunted Hit Parade", re-edited in an attempt to meet the ridiculous content standards of Spotify.)Gore & Carey, The Gruesome Twosome, are hosting 2023's Haunted Hit Parade! Check out this countdown of the coolest Halloween songs of all time!Visit our blog: CLICK HERESend us an email: CLICK HEREFollow us on Threads: CLICK HERE

When you think of music in the 1960s, some groundbreaking artists probably come to mind: Bob Dylan, Jimi Hendrix and the Jefferson Airplane, for example. But the pop charts paint a very different picture of that decade, which embraced easy listening, groovy bubblegum, novelty and instrumental records—even a guitar-strumming Belgian nun.  In other words, the soundtrack of the era was more like Mad Men and less like Forrest Gump. Join Chris Molanphy as he unearths forgotten hits from Bobby Vinton, Kyu Sakamoto, Jeannie C. Riley, and other unlikely chart-toppers, on a still-strange trip through the ‘60s. Learn more about your ad choices. Visit megaphone.fm/adchoices

When you think of music in the 1960s, some groundbreaking artists probably come to mind: Bob Dylan, Jimi Hendrix and the Jefferson Airplane, for example. But the pop charts paint a very different picture of that decade, which embraced easy listening, groovy bubblegum, novelty and instrumental records—even a guitar-strumming Belgian nun.  In other words, the soundtrack of the era was more like Mad Men and less like Forrest Gump. Join Chris Molanphy as he unearths forgotten hits from Bobby Vinton, Kyu Sakamoto, Jeannie C. Riley, and other unlikely chart-toppers, on a still-strange trip through the ‘60s. Learn more about your ad choices. Visit megaphone.fm/adchoices

When you think of music in the 1960s, some groundbreaking artists probably come to mind: Bob Dylan, Jimi Hendrix and the Jefferson Airplane, for example. But the pop charts paint a very different picture of that decade, which embraced easy listening, groovy bubblegum, novelty and instrumental records—even a guitar-strumming Belgian nun.  In other words, the soundtrack of the era was more like Mad Men and less like Forrest Gump. Join Chris Molanphy as he unearths forgotten hits from Bobby Vinton, Kyu Sakamoto, Jeannie C. Riley, and other unlikely chart-toppers, on a still-strange trip through the ‘60s. Learn more about your ad choices. Visit megaphone.fm/adchoices

When you think of music in the 1960s, some groundbreaking artists probably come to mind: Bob Dylan, Jimi Hendrix and the Jefferson Airplane, for example. But the pop charts paint a very different picture of that decade, which embraced easy listening, groovy bubblegum, novelty and instrumental records—even a guitar-strumming Belgian nun.  In other words, the soundtrack of the era was more like Mad Men and less like Forrest Gump. Join Chris Molanphy as he unearths forgotten hits from Bobby Vinton, Kyu Sakamoto, Jeannie C. Riley, and other unlikely chart-toppers, on a still-strange trip through the ‘60s. Learn more about your ad choices. Visit megaphone.fm/adchoices

Bereits als Teenager war Marianne Rosenberg mit Schlagern wie "Er gehört zu mir" oder "Marleen" ständiger Gast in der Hitparade. Zu ihrem 70. Geburtstag am 10.3. und zum Weltfrauentag wiederholen wir ein Gespräch von 2011.

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

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

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

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

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

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

At the movies, A Complete Unknown depicts Bob Dylan as a 1960s “it” boy—played by a 2020s “it” boy, Timothée Chalamet. But the film ends in 1965. What happened in the six decades after that? Dylan not only kept recording. He actually started topping the charts—in the 1970s, the era of Led Zeppelin, not Pete Seeger. And several of his chart-topping albums came decades later, in the 21st century. Bob's voice got rougher, but loyal audiences kept buying his music. Several of these platinum Dylan LPs are among the most acclaimed in rock history—from Blood on the Tracks to Time Out of Mind. And Dylan stayed an object of fascination through all his changes—as a road warrior, a born-again Christian, a Traveling Wilbury, a JFK conspiracy theorist. Join Chris Molanphy as he walks through Bob Dylan's career decade by decade, from his '60s folkie years to his 21st-century revival. With the biopic reviving interest in rock's poet laureate, there's never been a better time to get tangled up in Bob. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

At the movies, A Complete Unknown depicts Bob Dylan as a 1960s “it” boy—played by a 2020s “it” boy, Timothée Chalamet. But the film ends in 1965. What happened in the six decades after that? Dylan not only kept recording. He actually started topping the charts—in the 1970s, the era of Led Zeppelin, not Pete Seeger. And several of his chart-topping albums came decades later, in the 21st century. Bob's voice got rougher, but loyal audiences kept buying his music. Several of these platinum Dylan LPs are among the most acclaimed in rock history—from Blood on the Tracks to Time Out of Mind. And Dylan stayed an object of fascination through all his changes—as a road warrior, a born-again Christian, a Traveling Wilbury, a JFK conspiracy theorist. Join Chris Molanphy as he walks through Bob Dylan's career decade by decade, from his '60s folkie years to his 21st-century revival. With the biopic reviving interest in rock's poet laureate, there's never been a better time to get tangled up in Bob. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

At the movies, A Complete Unknown depicts Bob Dylan as a 1960s “it” boy—played by a 2020s “it” boy, Timothée Chalamet. But the film ends in 1965. What happened in the six decades after that? Dylan not only kept recording. He actually started topping the charts—in the 1970s, the era of Led Zeppelin, not Pete Seeger. And several of his chart-topping albums came decades later, in the 21st century. Bob's voice got rougher, but loyal audiences kept buying his music. Several of these platinum Dylan LPs are among the most acclaimed in rock history—from Blood on the Tracks to Time Out of Mind. And Dylan stayed an object of fascination through all his changes—as a road warrior, a born-again Christian, a Traveling Wilbury, a JFK conspiracy theorist. Join Chris Molanphy as he walks through Bob Dylan's career decade by decade, from his '60s folkie years to his 21st-century revival. With the biopic reviving interest in rock's poet laureate, there's never been a better time to get tangled up in Bob. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

At the movies, A Complete Unknown depicts Bob Dylan as a 1960s “it” boy—played by a 2020s “it” boy, Timothée Chalamet. But the film ends in 1965. What happened in the six decades after that? Dylan not only kept recording. He actually started topping the charts—in the 1970s, the era of Led Zeppelin, not Pete Seeger. And several of his chart-topping albums came decades later, in the 21st century. Bob's voice got rougher, but loyal audiences kept buying his music. Several of these platinum Dylan LPs are among the most acclaimed in rock history—from Blood on the Tracks to Time Out of Mind. And Dylan stayed an object of fascination through all his changes—as a road warrior, a born-again Christian, a Traveling Wilbury, a JFK conspiracy theorist. Join Chris Molanphy as he walks through Bob Dylan's career decade by decade, from his '60s folkie years to his 21st-century revival. With the biopic reviving interest in rock's poet laureate, there's never been a better time to get tangled up in Bob. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

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

To kick off the New Year, we're sharing a podcast that we think Hit Parade listeners are going to love: Broken Record. Check out this episode with singer/songwriter Norah Jones, co-hosted by Blue Note Records President Don Was. Norah has been with Blue Note Records since releasing her juggernaut 2002 debut album, Come Away With Me. In this conversation, Norah details her musical upbringing and what it was like striking it big with her debut album. She also performs for us, and talks about the musical freedom she's found as part of the Blue Note family. Blue Note is one of the first and longest standing institutions of jazz music. Since its formation in 1939 the label has put out albums by Robert Glasper, Lee Morgan, John Coltrane, Wayne Shorter, Gergory Porter, Bobby McFerrin, and many more. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

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

That damned jingle! In that infernal commercial trying to sell you cars, sneakers, soda, gum! Can't get it out of your head? Well, what if we made it longer, had a famous singer perform it, and put it on the radio? How would you like it then? A surprising number of hits across chart history got their start in advertisements: the Carpenters song that was originally a promo for a California bank. The '70s country-pop smash by a character who didn't exist, and was selling you sliced bread. The Sting song that began as a Japanese beer jingle. The Chris Brown song that sneaked a chewing-gum slogan into the chorus. And that's beyond all the songs and artists whose trajectories were changed by an ad placement—whether it was the R&B classics licensed to sell you Levi's jeans or the indie-rock songs anointed by Apple to make iPod-wearing silhouettes bop. Join Chris Molanphy as he explains how Madison Avenue finds its way into the Hot 100's penthouse. We may think we don't want the hard sell—but an army of Don Drapers are working day and night to buy the world a Coke and keep it company. Podcast production by Kevin Bendis. Disclosure in Podcast Description: A Bond Account is a self-directed brokerage account with Public Investing, member FINRA/SIPC. Deposits into this account are used to purchase 10 investment-grade and high-yield bonds. As of 9/26/24, the average, annualized yield to worst (YTW) across the Bond Account is greater than 6%. A bond's yield is a function of its market price, which can fluctuate; therefore, a bond's YTW is not “locked in” until the bond is purchased, and your yield at time of purchase may be different from the yield shown here. The “locked in” YTW is not guaranteed; you may receive less than the YTW of the bonds in the Bond Account if you sell any of the bonds before maturity or if the issuer defaults on the bond. Public Investing charges a markup on each bond trade. See our Fee Schedule. Bond Accounts are not recommendations of individual bonds or default allocations. The bonds in the Bond Account have not been selected based on your needs or risk profile. See https://public.com/disclosures/bond-account to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices

After a tepid embrace of Beyoncé's Cowboy Carter and a back-and-forth over Lil Nas X's “Old Town Road,” country music fans are all in on Shaboozey's “A Bar Song (Tipsy).” How has this hip-hop-inflected country hit perched atop the charts for a record-tying 19 weeks?  Guest: Chris Molanphy, chart analyst, pop critic, host of the Hit Parade podcast, and author of Slate's “Why Is This Song No. 1?” series and the book Old Town Road. Want more What Next? Join Slate Plus to unlock full, ad-free access to What Next and all your other favorite Slate podcasts. You can subscribe directly from the What Next show page on Apple Podcasts and Spotify. Or, visit slate.com/whatnextplus to get access wherever you listen. Podcast production by Elena Schwartz, Paige Osburn, Anna Phillips, Madeline Ducharme and Rob Gunther. Disclosure in Podcast Description: A Bond Account is a self-directed brokerage account with Public Investing, member FINRA/SIPC. Deposits into this account are used to purchase 10 investment-grade and high-yield bonds. As of 9/26/24, the average, annualized yield to worst (YTW) across the Bond Account is greater than 6%. A bond's yield is a function of its market price, which can fluctuate; therefore, a bond's YTW is not “locked in” until the bond is purchased, and your yield at time of purchase may be different from the yield shown here. The “locked in” YTW is not guaranteed; you may receive less than the YTW of the bonds in the Bond Account if you sell any of the bonds before maturity or if the issuer defaults on the bond. Public Investing charges a markup on each bond trade. See our Fee Schedule. Bond Accounts are not recommendations of individual bonds or default allocations. The bonds in the Bond Account have not been selected based on your needs or risk profile. See https://public.com/disclosures/bond-account to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices

After a tepid embrace of Beyoncé's Cowboy Carter and a back-and-forth over Lil Nas X's “Old Town Road,” country music fans are all in on Shaboozey's “A Bar Song (Tipsy).” How has this hip-hop-inflected country hit perched atop the charts for a record-tying 19 weeks?  Guest: Chris Molanphy, chart analyst, pop critic, host of the Hit Parade podcast, and author of Slate's “Why Is This Song No. 1?” series and the book Old Town Road. Want more What Next? Join Slate Plus to unlock full, ad-free access to What Next and all your other favorite Slate podcasts. You can subscribe directly from the What Next show page on Apple Podcasts and Spotify. Or, visit slate.com/whatnextplus to get access wherever you listen. Podcast production by Elena Schwartz, Paige Osburn, Anna Phillips, Madeline Ducharme and Rob Gunther. Disclosure in Podcast Description: A Bond Account is a self-directed brokerage account with Public Investing, member FINRA/SIPC. Deposits into this account are used to purchase 10 investment-grade and high-yield bonds. As of 9/26/24, the average, annualized yield to worst (YTW) across the Bond Account is greater than 6%. A bond's yield is a function of its market price, which can fluctuate; therefore, a bond's YTW is not “locked in” until the bond is purchased, and your yield at time of purchase may be different from the yield shown here. The “locked in” YTW is not guaranteed; you may receive less than the YTW of the bonds in the Bond Account if you sell any of the bonds before maturity or if the issuer defaults on the bond. Public Investing charges a markup on each bond trade. See our Fee Schedule. Bond Accounts are not recommendations of individual bonds or default allocations. The bonds in the Bond Account have not been selected based on your needs or risk profile. See https://public.com/disclosures/bond-account to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices