Podcasts about hitparade

Jeff Palfini, the co-founder of the Connecticut-based Boondocks Film Society, joins Al to talk about the soundtrack to the 1998 film, The Last Days of Disco. Jeff talks about the intersection of film and music, why movie soundtracks have been important to him and why this particular soundtrack is a favorite of his. He also highlights some of his favorite songs on the album and discusses the upcoming plans for Boondocks Film Society.Jeff made a reference to a podcast called Hit Parade, and you can check it out here: https://slate.com/podcasts/hit-paradeAs Jeff suggests in this episode, you should follow Boondocks Film Society to keep up with their events! @boondocksfilmsociety on Instagram and https://boondocksfilmsociety.org/Al is on Bluesky at @almelchior.bsky.social. This show has accounts on Instagram and Threads at @youmealbum. Be sure to follow @youmealbum to find out in advance about upcoming guests and featured albums for this podcast.Subscribe for free to You, Me and An Album: The Newsletter! https://youmealbum.substack.com/1:10 Jeff joins the show2:18 Jeff talks about his work with Boondocks Film Society6:02 Jeff discusses the premise of The Last Days of Disco9:10 Jeff explains why he chose the soundtrack for this episode14:59 Al wonders how people who aren't into movies keep up with new music16:33 Jeff talks about passive influences on musical tastes19:33 Jeff discusses the mix of songs on the soundtrack20:50 Jeff recently learned about how members of Chic produced much of his favorite music28:35 Jeff and Al talk about disco's long-overdue reevaluation34:34 More love for Chic!35:55 Jeff focuses on the diversity of artists represented on the soundtrack41:39 Al heard “Knock on Wood” differently than when it first came out46;11 Jeff and Al discuss “I Love the Nightlife”50:00 Jeff highlights a couple of his favorite vocal performances on the album52:16 Jeff discusses the song that might be his favorite on the soundtrack54:47 Great songs are often saved for the closing credits1:02:24 Jeff talks about the upcoming plans for Boondocks Film SocietySupport the show

In this special mini-episode of Hit Parade, recorded live on at Housing Works bookstore in New York City, host Chris Molanphy is joined by Dan Charnas—author of the New York Times bestseller Dilla Time, The Life and Afterlife of J Dilla, and the acclaimed The Big Payback: The History of the Business of Hip-Hop. They discuss Chris's new book Old Town Road—how he came to write it, what made the song exceptional, and how decades of chart and genre history led to Lil Nas X's breakthrough. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this special mini-episode of Hit Parade, recorded live on at Housing Works bookstore in New York City, host Chris Molanphy is joined by Dan Charnas—author of the New York Times bestseller Dilla Time, The Life and Afterlife of J Dilla, and the acclaimed The Big Payback: The History of the Business of Hip-Hop. They discuss Chris's new book Old Town Road—how he came to write it, what made the song exceptional, and how decades of chart and genre history led to Lil Nas X's breakthrough. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this special mini-episode of Hit Parade, recorded live on at Housing Works bookstore in New York City, host Chris Molanphy is joined by Dan Charnas—author of the New York Times bestseller Dilla Time, The Life and Afterlife of J Dilla, and the acclaimed The Big Payback: The History of the Business of Hip-Hop. They discuss Chris's new book Old Town Road—how he came to write it, what made the song exceptional, and how decades of chart and genre history led to Lil Nas X's breakthrough. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

Es gibt sie, diese Erscheinungen, die nur durch pure Präsenz den Raum vereinnahmen. So ist das geräumige Studio von #politischkorrekt wieder mal erfüllt von akustischer Dominanz und lyrischer Brillanz. Ihr Übriges dazu tuen eine außergewöhnliche Hitparade, treffsicherer Kleidungsstil und Geschichten aus dem Leben, die ins Ohr gehen: Ob sportliche Großveranstaltungen, Business-Moves, abenteuerliche Städtetrips oder dreiste Banküberfälle – hier hört man hin und staunt. Übrigens man wie man, denn dank hessischem Genderverbot, wäre auch alles andere unzulässig...

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

It's the quick fill-in episode to end all quick fill-in episodes! With Kornflake still unavailable (busy at a lobster-and-British-comedy convention, we assume), there's nobody left in the studio except Kevin and a few stray rubber chickens. So we just have a bunch of podcast recommendations for you, because somebody out there must have more going on than us. There are the other fine shows of the ESO Network, of course, including two new ones: 3 Fries Short (all about Stargate) and Tales From Hollywoodland (with special guest STEVE GUTTENBERG)! Beyond ESO, we also recommend: A Podcask of Amontillado, Bizarre Albums, Built to Go, Conan O'Brien Needs a Friend, Mallwalkin', The Dana Gould Hour, TV Guidance Counselor, Decoder Ring, Dreamland, The Funny Music Podcast, Gilbert Gottfried's Amazing Colossal Podcast, Gleaming the Tube, Hit Parade, The Hustle, Luke and Carrie's Bad Rapport, The Real Brady Bros, The Skeptics' Guide to the Universe, Strange Animals Podcast, and Who Cares About the Rock Hall. We could go on, but that should get you through the week. And if you'd rather rip out those earbuds and read something instead, we're also enjoying the new book Galloping Around the Cosmos. It's a collection of essays about growing up with Star Trek, and several of the authors are friends of the Flopcast. It makes us want to break out our old Mego Enterprise playset. Next week: We'll either get back to our usual silly business, or we'll turn the whole show over to the chickens. The Flopcast website! The ESO Network! The Flopcast on Facebook! The Flopcast on Instagram! The Flopcast on Mastadon! Please rate and review The Flopcast on Apple Podcasts! Email: info@flopcast.net Our music is by The Sponge Awareness Foundation! This week's promo: Earth Station Who!  

Der französische DJ ist bekannt dafür, alte Hits in neue Hits zu verwandeln. Bei seinem neusten Wurf zusammen mit Kim Petras hat er «The Logical Song» von Supertramp genommen - und neu gesampelt. Damit dürfte er einen Stammplatz in der Hitparade auf sicher haben. 

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

Episode 243 includes things you would delete, rip off shopping, online dating guarantees, the Hit Parade anniversary, awkward dating, how common are you? cheating, missing sweet treats and what are Brits good at?

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

Frühling 1996: Gabriel Felder ist damals nicht nur DRS 3 Hitparaden-Moderator, sondern auch Musiker. Und hat plötzlich seinen eigenen Song in der Hitparade. «Let Me In» chartete auf Platz 32. Wie das für ihn war, das erzählt er zum Anlass von 40 Jahren DRS/SRF 3. 

With a shift to a 30 minute format, this musical show features comedian WC Fields, and Al Goodman's orchestra. Playlist: Stop Beating Around the Mulberry Bush, ranked: 2 While a…

C'est une première le ministère de l'Intérieur a donné le bilan des radars dégradés entre 2018 et 1 er semestre 2022. Plus de 35.000 dégradations avec le classement par régions. Détail et explications par notre spécialiste auto Christophe Bourroux

Happy Halloween! Your friends as 66.6 KTRP are back with a brand-new, holiday-themed episode of Rex Banter's "Haunted" Hit Parade! Now poor Rex Banter, your intrepid host, has unfortunately fallen ill and is spending this Halloween in the hospital with an appendicitis, but don't fret, for Rex's pals Gore & Carey, A.K.A. THE GRUESOME TWOSOME (with a little help from their long-time producer Billy Bones), have volunteered to sit in and host this very special broadcast for your listening pleasure! Sit back and let 66.6 KTRP provide all the haunted hits for your swingin' All Hallows shindig! Join the conversation! Visit our official blog (CLICK HERE) and leave us a comment! Tell us what you think of our "haunted" hits and share a few of your own! You can also send us a spooky email (CLICK HERE) which we always appreciate. Also, we're on social media! I know, right?! So be sure to follow us on Instagram (HERE) and BlueSky (HERE) for the complete KTRP experience, whatever that means. Thanks for listening, and be sure to stay tuned, dear listener, because we may have one more terrifying trick up our tattered sleeve this Halloween! --- Send in a voice message: https://podcasters.spotify.com/pod/show/trappo/message

HEY! HO! LET'S GO!! Is this chant: (a) a movement of disaffected hipsters, (b) walkup music for a baseball player, or (c) a really catchy bop? How about all of the above? The legendary New York nightclub CBGB was the birthplace of punk. But it was also the future of pop: the Ramones, Talking Heads, Patti Smith, Blondie. To varying degrees, these acts either became hitmakers, tried to reshape their music for the charts, or influenced generations of future multiplatinum stars. Honestly? Their music was pretty infectious from the jump, even if it was too advanced for the '70s hit parade. The music we called punk contained multitudes: the improvisatory jazz-rock of Television. The demented anthems of the Ramones. The quirky funk of Talking Heads. The stylistic eclecticism of Blondie—who scored four No. 1 hits in four different genres. Join Chris Molanphy on a journey back to New York's dirty days to try to answer: When did CBGB punk morph into chart pop? Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

HEY! HO! LET'S GO!! Is this chant: (a) a movement of disaffected hipsters, (b) walkup music for a baseball player, or (c) a really catchy bop? How about all of the above? The legendary New York nightclub CBGB was the birthplace of punk. But it was also the future of pop: the Ramones, Talking Heads, Patti Smith, Blondie. To varying degrees, these acts either became hitmakers, tried to reshape their music for the charts, or influenced generations of future multiplatinum stars. Honestly? Their music was pretty infectious from the jump, even if it was too advanced for the '70s hit parade. The music we called punk contained multitudes: the improvisatory jazz-rock of Television. The demented anthems of the Ramones. The quirky funk of Talking Heads. The stylistic eclecticism of Blondie—who scored four No. 1 hits in four different genres. Join Chris Molanphy on a journey back to New York's dirty days to try to answer: When did CBGB punk morph into chart pop? Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

Fußball, Party und Staubsauger. Na klingt das nicht nach einer spannenden Folge? Finden wir auch. Darum packen wir noch einen kleinen Schwenk von der dieswöchigen Hitparade oben drauf. Falls ihr Fragen habt könnt ihr die uns gerne per Sprachnachricht zukommen lassen. Wir werden diese dann in der Folge beantworten. Viel Spaß und Erholung beim Hören … Weiterlesen 117 Reiner Sauger →

HEY! HO! LET'S GO!! Is this chant: (a) a movement of disaffected hipsters, (b) walkup music for a baseball player, or (c) a really catchy bop? How about all of the above? The legendary New York nightclub CBGB was the birthplace of punk. But it was also the future of pop: the Ramones, Talking Heads, Patti Smith, Blondie. To varying degrees, these acts either became hitmakers, tried to reshape their music for the charts, or influenced generations of future multiplatinum stars. Honestly? Their music was pretty infectious from the jump, even if it was too advanced for the '70s hit parade. The music we called punk contained multitudes: the improvisatory jazz-rock of Television. The demented anthems of the Ramones. The quirky funk of Talking Heads. The stylistic eclecticism of Blondie—who scored four No. 1 hits in four different genres. Join Chris Molanphy on a journey back to New York's dirty days to try to answer: When did CBGB punk morph into chart pop? Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

HEY! HO! LET'S GO!! Is this chant: (a) a movement of disaffected hipsters, (b) walkup music for a baseball player, or (c) a really catchy bop? How about all of the above? The legendary New York nightclub CBGB was the birthplace of punk. But it was also the future of pop: the Ramones, Talking Heads, Patti Smith, Blondie. To varying degrees, these acts either became hitmakers, tried to reshape their music for the charts, or influenced generations of future multiplatinum stars. Honestly? Their music was pretty infectious from the jump, even if it was too advanced for the '70s hit parade. The music we called punk contained multitudes: the improvisatory jazz-rock of Television. The demented anthems of the Ramones. The quirky funk of Talking Heads. The stylistic eclecticism of Blondie—who scored four No. 1 hits in four different genres. Join Chris Molanphy on a journey back to New York's dirty days to try to answer: When did CBGB punk morph into chart pop? Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode of The Paul Weller Fan Podcast, I am joined by music journalist Adrian Thrills.Adrian became a fan of The Jam from 1976 - pre-Polydor record deal - seeing them at the 100 Club, upstairs at Ronnie Scotts, The Marquee, Red Cow in Hammersmith and at many more gigs... Together with his friend, Shane McGowan, Adrian did one of the very first interviews with the band for own 48 Thrills fanzine (One of the original punk fanzines that launched in '76).As a friend, and journalist, he became part of the inner-circle, even joining the band on the road with gigs in Dunstable, Crawley, Malvern, Falkirk and Barrow-in-Furnesss...Adrian spent the 1980s at NME, where he continued to feature and review The Jam, even conducting one of the final interviews with Paul before the split at the end of 1982.Look closely at the rear sleeve for live album Dig the New Breed for a brilliant shout-out too!"A brief six years , sweaty frantic Red Cow residency, 1st week 50 people, 2nd week 100, by the fourth week. A queue around the block! SWITCH the marquee with Shane, Claudio and Adrian dancing on stage to the confusion of the usual Marquee hippies!"In more recent years, Adrian has been a music writer for The Daily Mail and he's reviewed plenty of Paul Weller albums in his time there.He also created sleeve notes on The Very Best of The Jam, The Jam Live at the BBC and the Hit Parade boxset in 2006. Hosted on Acast. See acast.com/privacy for more information.

If an instrumental tops the charts, it's probably an earworm: “Tequila.” “Wipeout.” “Dueling Banjos.” “The Hustle.” “Feels So Good.” “Chariots of Fire.” “Axel F.” You can probably whistle or hum several of those from memory. But do you remember the artists? All were one-hit wonders. By and large, instrumental hits throughout chart history were flukes. But there were exceptions: a trumpet player from Los Angeles who pretended to be Latin, made up a fake mariachi band, put sexy models on his album covers and topped the charts almost as much as the Beatles. Or, a try-hard, perm-headed soprano saxophone player from Seattle, who turned holding his breath while playing dizzying runs of notes into an athletic feat. How do songs without words become hits? Why were Herb Alpert and Kenny G so good at it? Why did instrumentals fall off the charts after the '80s—and who is bringing them back? (Hint: think oontz-oontz-oontz.) Join Chris Molanphy as he throws away the lyric sheet and explains how a catchy melody can be worth a thousand words. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

If an instrumental tops the charts, it's probably an earworm: “Tequila.” “Wipeout.” “Dueling Banjos.” “The Hustle.” “Feels So Good.” “Chariots of Fire.” “Axel F.” You can probably whistle or hum several of those from memory. But do you remember the artists? All were one-hit wonders. By and large, instrumental hits throughout chart history were flukes. But there were exceptions: a trumpet player from Los Angeles who pretended to be Latin, made up a fake mariachi band, put sexy models on his album covers and topped the charts almost as much as the Beatles. Or, a try-hard, perm-headed soprano saxophone player from Seattle, who turned holding his breath while playing dizzying runs of notes into an athletic feat. How do songs without words become hits? Why were Herb Alpert and Kenny G so good at it? Why did instrumentals fall off the charts after the '80s—and who is bringing them back? (Hint: think oontz-oontz-oontz.) Join Chris Molanphy as he throws away the lyric sheet and explains how a catchy melody can be worth a thousand words. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Nose is off. In its stead: Country music dominated the charts for most of the summer. But the genre has also been the subject of controversy. This hour, we take stock of the state of country music. GUESTS:  Jason Lipshutz: Executive director of music at Billboard Amanda Marie Martinez: Postdoctoral fellow in the Department of American Studies at the University of North Carolina at Chapel Hill, who is currently working on a book project titled The Industry Is Playing the People Cheap: Race and the Country Music Business from Nixon to 9/11 Chris Molanphy: Chart analyst and pop critic who writes about the intersection of culture and commerce in popular music; he is host of Slate's Hit Parade podcast, writes Slate's “Why Is This Song No. 1?” series, and he is author of the new book Old Town Road  The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Google Podcasts, Amazon Music, TuneIn, Listen Notes, or wherever you get your podcasts. Subscribe and never miss an episode.  Subscribe to The Noseletter, an email compendium of merriment, secrets, and ancient wisdom brought to you by The Colin McEnroe Show. Join the conversation on Facebook and Twitter. Colin McEnroe and Cat Pastor contributed to this show.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

If an instrumental tops the charts, it's probably an earworm: “Tequila.” “Wipeout.” “Dueling Banjos.” “The Hustle.” “Feels So Good.” “Chariots of Fire.” “Axel F.” You can probably whistle or hum several of those from memory. But do you remember the artists? All were one-hit wonders. By and large, instrumental hits throughout chart history were flukes. But there were exceptions: a trumpet player from Los Angeles who pretended to be Latin, made up a fake mariachi band, put sexy models on his album covers and topped the charts almost as much as the Beatles. Or, a try-hard, perm-headed soprano saxophone player from Seattle, who turned holding his breath while playing dizzying runs of notes into an athletic feat. How do songs without words become hits? Why were Herb Alpert and Kenny G so good at it? Why did instrumentals fall off the charts after the '80s—and who is bringing them back? (Hint: think oontz-oontz-oontz.) Join Chris Molanphy as he throws away the lyric sheet and explains how a catchy melody can be worth a thousand words. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

If an instrumental tops the charts, it's probably an earworm: “Tequila.” “Wipeout.” “Dueling Banjos.” “The Hustle.” “Feels So Good.” “Chariots of Fire.” “Axel F.” You can probably whistle or hum several of those from memory. But do you remember the artists? All were one-hit wonders. By and large, instrumental hits throughout chart history were flukes. But there were exceptions: a trumpet player from Los Angeles who pretended to be Latin, made up a fake mariachi band, put sexy models on his album covers and topped the charts almost as much as the Beatles. Or, a try-hard, perm-headed soprano saxophone player from Seattle, who turned holding his breath while playing dizzying runs of notes into an athletic feat. How do songs without words become hits? Why were Herb Alpert and Kenny G so good at it? Why did instrumentals fall off the charts after the '80s—and who is bringing them back? (Hint: think oontz-oontz-oontz.) Join Chris Molanphy as he throws away the lyric sheet and explains how a catchy melody can be worth a thousand words. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

Diesen Juli feierte die ehemalige Moloko-Sängerin ihren 50. Geburtstag. Das Geschenk kommt zwei Monate später: ihr sechstes und vermutlich bestes Soloalbum, welches in enger Zusammenarbeit mit DJ Koze entstanden ist... ...und sich darum eigentlich auch nicht gross von der Arbeitsweise ihrer Moloko-Tage unterscheidet, erzählt uns Murphy im Interview. Und das mit der «engen» Zusammenarbeit ist eigentlich auch nicht ganz korrekt: effektiv gemeinsam im Studio standen die beiden nämlich nur ein einziges Mal. Die meiste Zeit arbeitete DJ Koze alleine von seinem Studio in Hamburg aus und veredelte dort die zahlreichen Ideen, die Murphy zuhause beim Staubsaugen oder Putzen kamen. «Hit Parade» ist unser Album der Woche. Wir verlosen täglich CDs – live in der Sendung. Im Zuge des Releases werden wir ebenfalls auf Murphys zutiefst unschöne, als transphobisch interpretierbare Äusserungen eingehen, mit welchen die Sängerin vor kurzem in den Sozialen Medien aufgefallen ist.

Amid yet another rain delay, the Nats lost 7-3 to the Dodgers on Sunday in the series rubber match. Al & Mark start with Trevor Williams. who had another poor outing in a season where his ERA sits at 5.44. Williams has given up 14 earned runs in just 2 September starts. (13:00) Joe LaSorsa performed yeoman's effort as he came up just shy of pitching all of the final 4 innings. LaSorsa joined the team on Friday after his recent stint in Rochester. (21:30) A check in on Carter Kieboom who has been at 3B nearly everyday for weeks. He currently is hitting .189 and is having a slow start to September. Learn more about your ad choices. Visit podcastchoices.com/adchoices

There are 3 lies above all others that the devil wants you to believe. And surveys show that at least for his top of the pops, Lie Number 1, he’s being really successful at it. But ? what if we knew what those lies are, and how to hit them out of the park? Join Berni Dymet, on Christianityworks as he takes a look at the devil’s top lies, and what to do about them.Support the show: https://christianityworks.com/channels/cw/See omnystudio.com/listener for privacy information.

In this installment of Best Of The Gist, we listen to Mike's 2020 conversation with Hit Parade podcast host and music writer Chris Molanphy about 1983s top songs, all of which are now 40 years old. Then we replay Wednesday's Spiel, in which Mike laments about the non-news story that is “near misses” on runways around the nation.  The Gist is produced by Joel Patterson and Corey Wara  Email us at thegist@mikepesca.com  To advertise on the show: https://advertisecast.com/TheGist  Subscribe to our ad-free and/or PescaPlus versions of The Gist: https://subscribe.mikepesca.com/  Follow Mike's Substack: Pesca Profundities | Mike Pesca | Substack  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Talk about '90s rap, and most music fans will throw around the word “gangsta” and talk about the East Coast–West Coast feud that tragically brought down Biggie and Tupac. But one rap group, OutKast, quite literally rose above the fray: At the 1995 Source Awards, while East and West were bickering with each other, OutKast's André Benjamin took the mic and told the rap faithful that hip-hop's future was in the South. For the next quarter century, he was proved indisputably correct. OutKast brought about this sea change by conceiving of hip-hop as everything music: funk, soul, pop, club, even country and indie all found their way into André and Big Boi's music. By the time of their final studio album, they had pulled away almost fully from pure rap—and were rewarded with their biggest hits ever, a No. 1 smash each for Big Boi and André. Including that immortal jam that taught you, the fellas and the ladies—including all Beyoncés and Lucy Lius—what's cooler than being cool. Podcast production by Benjamin Frisch and Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

Talk about '90s rap, and most music fans will throw around the word “gangsta” and talk about the East Coast–West Coast feud that tragically brought down Biggie and Tupac. But one rap group, OutKast, quite literally rose above the fray: At the 1995 Source Awards, while East and West were bickering with each other, OutKast's André Benjamin took the mic and told the rap faithful that hip-hop's future was in the South. For the next quarter century, he was proved indisputably correct. OutKast brought about this sea change by conceiving of hip-hop as everything music: funk, soul, pop, club, even country and indie all found their way into André and Big Boi's music. By the time of their final studio album, they had pulled away almost fully from pure rap—and were rewarded with their biggest hits ever, a No. 1 smash each for Big Boi and André. Including that immortal jam that taught you, the fellas and the ladies—including all Beyoncés and Lucy Lius—what's cooler than being cool. Podcast production by Benjamin Frisch and Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

Talk about '90s rap, and most music fans will throw around the word “gangsta” and talk about the East Coast–West Coast feud that tragically brought down Biggie and Tupac. But one rap group, OutKast, quite literally rose above the fray: At the 1995 Source Awards, while East and West were bickering with each other, OutKast's André Benjamin took the mic and told the rap faithful that hip-hop's future was in the South. For the next quarter century, he was proved indisputably correct. OutKast brought about this sea change by conceiving of hip-hop as everything music: funk, soul, pop, club, even country and indie all found their way into André and Big Boi's music. By the time of their final studio album, they had pulled away almost fully from pure rap—and were rewarded with their biggest hits ever, a No. 1 smash each for Big Boi and André. Including that immortal jam that taught you, the fellas and the ladies—including all Beyoncés and Lucy Lius—what's cooler than being cool. Podcast production by Benjamin Frisch and Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

Talk about '90s rap, and most music fans will throw around the word “gangsta” and talk about the East Coast–West Coast feud that tragically brought down Biggie and Tupac. But one rap group, OutKast, quite literally rose above the fray: At the 1995 Source Awards, while East and West were bickering with each other, OutKast's André Benjamin took the mic and told the rap faithful that hip-hop's future was in the South. For the next quarter century, he was proved indisputably correct. OutKast brought about this sea change by conceiving of hip-hop as everything music: funk, soul, pop, club, even country and indie all found their way into André and Big Boi's music. By the time of their final studio album, they had pulled away almost fully from pure rap—and were rewarded with their biggest hits ever, a No. 1 smash each for Big Boi and André. Including that immortal jam that taught you, the fellas and the ladies—including all Beyoncés and Lucy Lius—what's cooler than being cool. Podcast production by Benjamin Frisch and Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, the panel is joined by pop critic and chart analyst (and host of Slate's Hit Parade podcast) Chris Molanphy for our annual Summer Strut episode. The four dive into the longest listener-suggested summer playlist to date (this year, it's a 682 song behemoth that adds up to approximately 42 hours!) and take turns in an electric, strut-ty roundtable discussion of their top picks. You can find their collective favorites here in the Summer Strut '23 Shortlist: https://open.spotify.com/playlist/6Ivpm4HVLsMw3LFwkgp7lw?si=90d2d26d65264157 To view Dana, Steve, Julia, and Chris's personal shortlists, check out the Summer Strut show page at slate.com/culturefest. In the exclusive Slate Plus segment, the panel does an additional round of their Strut-iest picks. Email us at culturefest@slate.com.  Podcast production by Cameron Drews. Production assistance by Kat Hong.  This episode is sponsored by the podcast About the Journey. Learn more here: https://traveler.marriott.com/about-the-journey/ If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows. You'll also be supporting the work we do here on the Culture Gabfest. Sign up now at Slate.com/cultureplus to help support our work. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, the panel is joined by pop critic and chart analyst (and host of Slate's Hit Parade podcast) Chris Molanphy for our annual Summer Strut episode. The four dive into the longest listener-suggested summer playlist to date (this year, it's a 682 song behemoth that adds up to approximately 42 hours!) and take turns in an electric, strut-ty roundtable discussion of their top picks. You can find their collective favorites here in the Summer Strut '23 Shortlist: https://open.spotify.com/playlist/6Ivpm4HVLsMw3LFwkgp7lw?si=90d2d26d65264157 To view Dana, Steve, Julia, and Chris's personal shortlists, check out the Summer Strut show page at slate.com/culturefest. In the exclusive Slate Plus segment, the panel does an additional round of their Strut-iest picks. Email us at culturefest@slate.com.  Podcast production by Cameron Drews. Production assistance by Kat Hong.  This episode is sponsored by the podcast About the Journey. Learn more here: https://traveler.marriott.com/about-the-journey/ If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows. You'll also be supporting the work we do here on the Culture Gabfest. Sign up now at Slate.com/cultureplus to help support our work. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hour 3: We talked with Joe about the top hits of 1972. Joe was reminiscing about his dancing days. We also took calls from ticked off Mets fans. C-Lo returns for an update and starts with the Yankees not doing much at the trade deadline and losing to the Rays last night. Joe is a big fan of Niki Lattarulo on SNY. He can tell she's from Bergen County just by hearing her. In the final segment of the hour, Gio wonders what it was like in Miami in the 1980's. Joe said the Dodgers fans are the worst. Worse than any NFL team's fans.

What do Lenny Kravitz, a hitmaker primarily in the '90s and '00s, and Bruno Mars, a 2010s–20s hitmaker, have in common? It turns out, a lot: Each man has a wide-ranging ethnic and musical background, with early exposure to unusual sides of showbiz. Each has scored hits in a variety of styles. They are admirers of each other's work and have even performed live together. But the main thing Lenny and Bruno have in common is their skill—some might say habit—of borrowing tropes and styles from hitmakers of the past. Kravitz from the very start of his career emulated the rock stylings of his heroes, like John Lennon and Sly Stone. And Bruno Mars—talk about an Unorthodox Jukebox: His career has been a parade of hits whose sound has spanned from the Police to Rick James to Michael Jackson. Are they cultural appropriators, or genius style chameleons? Join Chris Molanphy as he chronicles two premier pop stylists of the last 30 years who wore genres like costumes and rebooted oldies into modern hits. Don't believe them? Just watch. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

What do Lenny Kravitz, a hitmaker primarily in the '90s and '00s, and Bruno Mars, a 2010s–20s hitmaker, have in common? It turns out, a lot: Each man has a wide-ranging ethnic and musical background, with early exposure to unusual sides of showbiz. Each has scored hits in a variety of styles. They are admirers of each other's work and have even performed live together. But the main thing Lenny and Bruno have in common is their skill—some might say habit—of borrowing tropes and styles from hitmakers of the past. Kravitz from the very start of his career emulated the rock stylings of his heroes, like John Lennon and Sly Stone. And Bruno Mars—talk about an Unorthodox Jukebox: His career has been a parade of hits whose sound has spanned from the Police to Rick James to Michael Jackson. Are they cultural appropriators, or genius style chameleons? Join Chris Molanphy as he chronicles two premier pop stylists of the last 30 years who wore genres like costumes and rebooted oldies into modern hits. Don't believe them? Just watch. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

The law on flexible working changes today. This should make it easier for employees to argue for a flexible working arrangement. It's the culmination of years of hard work and campaigning for more family friendly workplaces. Anita speaks to the Minister for Small Business, Kevin Hollinrake, and Amy Butterworth from the flexible working consultancy Timewise. An investigation by BBC Newsnight and the British Medical Journal (BMJ) has uncovered a row over controversial research about the impact of abortion on the mental health of women. An independent panel resigned from the British Journal of Psychiatry after their recommendation to withdraw the research, which is still being used in US legal cases about abortion access, was not followed. Newsnight's Science Correspondent Kate Lamble joins Anita to discuss what has happened. The 2023 FIFA Women's World Cup kicks off today in New Zealand and Australia. It's set to be the largest ever, both in terms of viewing figures and the number of fixtures. But the tournament starts against a backdrop of uncertainty. This morning came the news of a shooting which left two people dead in the centre of Auckland, New Zealand. And off-pitch there have been frustrations around pay and treatment of the women's teams. Kathryn Batte, Women's Football Correspondent for the Daily Mail talks to Anita. The Irish singer-songwriter Roisin Murphy first rose to fame in the 1990s as one half of the electronic pop duo Moloko, with hits such as Sing it Back and The Time is Now. She has gone on to have a successful solo career with award-nominated albums including Hairless Toys and Róisín Machine. Her upcoming album ‘Hit Parade' is produced in collaboration with electronic music auteur DJ Koze and is due for release in early September. She joins Anita live in the studio to talk about her music and to perform her single 'Fader' with James McCredie on guitar. Presenter: Anita Rani Producer: Rebecca Myatt Studio manager: Bob Nettles and Duncant Hannant

What do Lenny Kravitz, a hitmaker primarily in the '90s and '00s, and Bruno Mars, a 2010s–20s hitmaker, have in common? It turns out, a lot: Each man has a wide-ranging ethnic and musical background, with early exposure to unusual sides of showbiz. Each has scored hits in a variety of styles. They are admirers of each other's work and have even performed live together. But the main thing Lenny and Bruno have in common is their skill—some might say habit—of borrowing tropes and styles from hitmakers of the past. Kravitz from the very start of his career emulated the rock stylings of his heroes, like John Lennon and Sly Stone. And Bruno Mars—talk about an Unorthodox Jukebox: His career has been a parade of hits whose sound has spanned from the Police to Rick James to Michael Jackson. Are they cultural appropriators, or genius style chameleons? Join Chris Molanphy as he chronicles two premier pop stylists of the last 30 years who wore genres like costumes and rebooted oldies into modern hits. Don't believe them? Just watch. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

What do Lenny Kravitz, a hitmaker primarily in the '90s and '00s, and Bruno Mars, a 2010s–20s hitmaker, have in common? It turns out, a lot: Each man has a wide-ranging ethnic and musical background, with early exposure to unusual sides of showbiz. Each has scored hits in a variety of styles. They are admirers of each other's work and have even performed live together. But the main thing Lenny and Bruno have in common is their skill—some might say habit—of borrowing tropes and styles from hitmakers of the past. Kravitz from the very start of his career emulated the rock stylings of his heroes, like John Lennon and Sly Stone. And Bruno Mars—talk about an Unorthodox Jukebox: His career has been a parade of hits whose sound has spanned from the Police to Rick James to Michael Jackson. Are they cultural appropriators, or genius style chameleons? Join Chris Molanphy as he chronicles two premier pop stylists of the last 30 years who wore genres like costumes and rebooted oldies into modern hits. Don't believe them? Just watch. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hit Parade host Chris Molanphy returns to discuss one of the defining pop stars of the late 1980s, Paula Abdul. Louie and Chris discuss the virtuosic choreography that snatched Paula a ticket to pop superstardom, her three year run of signature hits beginning with 1988's blockbuster Forever Your Girl through 1991's Spellbound, her contributions to the MTV music video boom, why her final album, 1995's Head Over Heels, flopped, and her second act as a TV personality. Finally, they rank Paula Abdul in the official Pop Pantheon.Listen to Pop Pantheon's Paula Abdul Essentials PlaylistJoin Pop Pantheon: All Access, Our Patreon Channel, for Exclusive Content and MoreShop Merch in Pop Pantheon's StoreGrab Tickets to See Louie DJ at Gorgeous Gorgeous in LA on 7/14Follow Chris Molanphy on TwitterFollow Chris Molanphy on InstagramFollow DJ Louie XIV on InstagramFollow DJ Louie XIV on TwitterFollow Pop Pantheon on InstagramFollow Pop Pantheon on Twitter

Season 6, Episode 18: Your Hit Parade Special Guest Stars: Tim English and Britt Schramm Air Date: January 24, 1978 Have a question or comment? E-MAIL: firewaterpodcast@comcast.net You can find M*A*S*HCast on these platforms: Apple Podcasts  https://itunes.apple.com/us/podcast/m-a-s-hcast/id1329304951 Amazon Music Spotify Stitcher Follow M*A*S*HCast on Twitter: https://twitter.com/MASH4077Cast This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK: Visit the Fire & Water WEBSITE: http://fireandwaterpodcast.com Follow Fire & Water on TWITTER – https://twitter.com/FWPodcasts Like our Fire & Water FACEBOOK page – https://www.facebook.com/FWPodcastNetwork Support The Fire & Water Podcast Network on Patreon: https://www.patreon.com/fwpodcasts Use our HASHTAG online: #FWPodcasts That is all!

Today, the Pointer Sisters are mostly remembered for their flurry of '80s hits, especially the “Excited” one about losing control and liking it. But their musical history is far more varied: jazz standards? Civil rights–era funk? Country music? Yacht rock? The Pointers applied their impeccable sibling harmonies to all of it. Billboard ranks the Pointer Sisters behind only the Supremes, TLC, and Destiny's Child among hitmaking girl groups. Yet their versatility has gone relatively unheralded—from the Grammy they won in a country category, to the Bruce Springsteen demo they turned into a smash, to the kiddie bop they recorded for Sesame Street. How did the Pointers score so many hits in so many idioms? Join Chris Molanphy as he gives the Pointer Sisters their due as harmonizing innovators and genre-defying hitmakers. Here at Hit Parade, we jump (for their love). Podcast production by Kevin Bendis. This Pride Month, make an impact by helping Macy's and The Trevor Project on their mission to fund life-saving suicide prevention services for LGBTQ youth. Go to macys.com/purpose to learn more.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Today, the Pointer Sisters are mostly remembered for their flurry of '80s hits, especially the “Excited” one about losing control and liking it. But their musical history is far more varied: jazz standards? Civil rights–era funk? Country music? Yacht rock? The Pointers applied their impeccable sibling harmonies to all of it. Billboard ranks the Pointer Sisters behind only the Supremes, TLC, and Destiny's Child among hitmaking girl groups. Yet their versatility has gone relatively unheralded—from the Grammy they won in a country category, to the Bruce Springsteen demo they turned into a smash, to the kiddie bop they recorded for Sesame Street. How did the Pointers score so many hits in so many idioms? Join Chris Molanphy as he gives the Pointer Sisters their due as harmonizing innovators and genre-defying hitmakers. Here at Hit Parade, we jump (for their love). Podcast production by Kevin Bendis. This Pride Month, make an impact by helping Macy's and The Trevor Project on their mission to fund life-saving suicide prevention services for LGBTQ youth. Go to macys.com/purpose to learn more.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Today, the Pointer Sisters are mostly remembered for their flurry of '80s hits, especially the “Excited” one about losing control and liking it. But their musical history is far more varied: jazz standards? Civil rights–era funk? Country music? Yacht rock? The Pointers applied their impeccable sibling harmonies to all of it. Billboard ranks the Pointer Sisters behind only the Supremes, TLC, and Destiny's Child among hitmaking girl groups. Yet their versatility has gone relatively unheralded—from the Grammy they won in a country category, to the Bruce Springsteen demo they turned into a smash, to the kiddie bop they recorded for Sesame Street. How did the Pointers score so many hits in so many idioms? Join Chris Molanphy as he gives the Pointer Sisters their due as harmonizing innovators and genre-defying hitmakers. Here at Hit Parade, we jump (for their love). Podcast production by Kevin Bendis. This Pride Month, make an impact by helping Macy's and The Trevor Project on their mission to fund life-saving suicide prevention services for LGBTQ youth. Go to macys.com/purpose to learn more.  Learn more about your ad choices. Visit megaphone.fm/adchoices

We're talking about worldbuilding this week, and you're getting a glimpse into Jen and Sarah's everyday non-podcasting romance chatter. This one is for everyone — we talk about paranormal and historical romance, about what we think fantasy means when it comes to romance, and (most importantly) about how contemporary romance just might require the most worldbuilding of all of it? Separately, Eric points out the irony of us referring to “two people in a phone booth” in an episode where we talk about how kids today don't know about cassette tapes. If you want more Fated Mates in your life, you are welcome at our Patreon, which comes with an extremely busy and fun Discord community! Join other magnificent firebirds to hang out, talk romance, and be cool together in a private group full of excellent people. Learn more at patreon.com.Show NotesDonald Trump was indicted and was storing his documents, including some with nuclear secrets, in his bathroom at Mar-a-Lago.Thread by Angus Johnson about ChatGPT and writing, which was in response to this article at PW about how AI will soon replace editors.Sarah's editor Carrie Feron says, “Your opening has to tell a story and leave the reader asking a question.”A classic reaction video from Tim and Fred Williams to In the Air Tonight, Questlove was nervous about In the Air Tonight, and a terrific episode of Hit Parade about how Phil Collins changed the sound of drumming.NPR did a terrific piece about Kennedy Ryan and why she's so big right now, and we were briefly interviewed talking about her legacy.Jen tries to make as many of those links as possible into PDFs! Thinking of you in the future times, wondering wtf we were talking about.

Today, the Pointer Sisters are mostly remembered for their flurry of '80s hits, especially the “Excited” one about losing control and liking it. But their musical history is far more varied: jazz standards? Civil rights–era funk? Country music? Yacht rock? The Pointers applied their impeccable sibling harmonies to all of it. Billboard ranks the Pointer Sisters behind only the Supremes, TLC and Destiny's Child among hitmaking girl groups. Yet their versatility has gone relatively unheralded—from the Grammy they won in a country category, to the Bruce Springsteen demo they turned into a smash, to the kiddie bop they recorded for Sesame Street. How did the Pointers score so many hits in so many idioms? Join Chris Molanphy as he gives the Pointer Sisters their due as harmonizing innovators and genre-defying hitmakers. Here at Hit Parade, we jump (for their love). Podcast production by Kevin Bendis. This Pride Month, make an impact by helping Macy's and The Trevor Project on their mission to fund life-saving suicide prevention services for LGBTQ youth. Go to macys.com/purpose to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today, the Pointer Sisters are mostly remembered for their flurry of '80s hits, especially the “Excited” one about losing control and liking it. But their musical history is far more varied: jazz standards? Civil rights–era funk? Country music? Yacht rock? The Pointers applied their impeccable sibling harmonies to all of it. Billboard ranks the Pointer Sisters behind only the Supremes, TLC and Destiny's Child among hitmaking girl groups. Yet their versatility has gone relatively unheralded—from the Grammy they won in a country category, to the Bruce Springsteen demo they turned into a smash, to the kiddie bop they recorded for Sesame Street. How did the Pointers score so many hits in so many idioms? Join Chris Molanphy as he gives the Pointer Sisters their due as harmonizing innovators and genre-defying hitmakers. Here at Hit Parade, we jump (for their love). Podcast production by Kevin Bendis. This Pride Month, make an impact by helping Macy's and The Trevor Project on their mission to fund life-saving suicide prevention services for LGBTQ youth. Go to macys.com/purpose to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices