Podcasts about hitparade

Madness frontman Suggs sits down with Simon and Brian to talk about the band's new Hit Parade compilation and the writing of their classic hits. From the whimsical charm of 'Baggy Trousers', to the poignant storytelling of 'Embarrassment', Suggs reflects on the balance of joy and pathos in songwriting, the influence of London's rich cultures, and the serendipitous moments that have shaped his artistic expression.

Over-the-top costumes, silly phrases twisted to make catchy hooks, and a backdrop that is not always taken seriously can cause a lot of Eurovision hopefuls to be lumped (or perhaps dismissed) into the category of “joke entries.” We'll explore some examples and try to “get it” in terms of what might be happening under the hood of these songs. Chris Molanphy from Slate's Hit Parade (https://slate.com/podcasts/hit-parade) will join us to help with analyzing the novelty of Eurovision entries. "Joke" Entries Summary What is a novelty song? (1:19) Does "Europop" automatically mean "novelty"? (7:04) Eurovision Joke (or Novelty?) Entries (10:04) When Eurovision hits the Hot 100 (18:57) Subscribe The EuroWhat? Podcast is available wherever you get your podcasts. Find your podcast app to subscribe here (https://www.eurowhat.com/subscribe). Comments, questions, and episode topic suggestions are always welcome. You can shoot us an email (mailto:eurowhatpodcast@gmail.com) or reach out on Bluesky @eurowhat.bsky.social (https://bsky.app/profile/eurowhat.bsky.social). Join the EuroWhat AV Club! If you would like to help financially support the show, we are hosting the EuroWhat AV Club over on Patreon! We have a slew of bonus episodes with deep dives on Eurovision-adjacent topics. Special Guest: Chris Molanphy.

I metalåret 1987 stod den på både heavy-hits og benhård metal: på den ene side poppet metalrock som Def Leppard og megasællerten “Hysteria”, og det nye Whitesnakes “1987” album. På den anden side hårdføre bands som de danske thrash-konger Artillery og dødsmetal-pionererne Death. Sat lidt på spidsen, selvfølgelig, for der var også de bands, som hverken var det ene eller det andet; eksempelvis Guns n' Roses og deres gedigne gennembruds-debutalbum “Appetite For Destruction” og King Diamonds fuldendte metalværk “Abigail”. Og så bød 1987 også på stor international opmærksomhed på andre danske og delvist danske bandprojekter som Pretty Maids, White Lion og Metallica. Metalåret 1987 gennemgås af Jens "Jam" Rasmussen, studievært, og det faste og fornemme triumvirat af studiegæsterne Steffen Jungersen, Michael Stützer Hansen og Michael Denner. Nedslagspunkter: - Det hårdt rockende metalår 1987 må nødvendigvis bydes velkommen af Guns N' Roses og “Welcome To the Jungle”. Studieværten og Steffen Jungersen taler om nummeret, bandet og albummet, naturligvis, “Appetite For Destruction". - Bragende fedt comeback-album fra Guns-forbillederne Aerosmith, det perfekt producerede “Permanent Vacation”. - Def Leppards længe ventede “Hysteria” album er en sand hitparade af fængende heavy-pop sange, som skaber et af historiens bedste sælgende rockalbum. - Motley Crüe udråber et glammet, trefoldigt hard rock-hurra til pigerne på albummet “Girls, Girls, Girls”, som dyrkes af både metal-drengene og heavy-pigerne. - Producer Rick Rubin kaster sin AC/DC- og Rolling Stones-kærlighed over The Cults autentiske rock'n'roll-udspil “Electric”, mens AC/DC's lydtekniker fra “Highway To Hell”, Mike Dearnley, producerer D-A-D debuten “D-A-D Draws a Circle”. - Deep Purples velkomne comeback med mark II lineuppet fortsætter ufortrødent fedt på albummet “The House of Blue Light”, mens Tony Martin debuterer som Black Sabbath-sanger på “The Eternal Idol”. - Det var rock'n'roll, vi kom fra, og som Motörhead deklarerede på deres albumtitel fra 1987. Samme Motörhead, som sprængte samtlige volumeskalaer ved deres koncertbesøg. - Jungersen, Stützer og Rasmussen tager den decibel-blæsende tur tilbage til legendariske Saga i 1987. København, hvor også Manowar skruede op. - Vi fortsætter til Sagas genbo og “lillebror” Carlton, hvor studieværten headbanger ind i sin makkers hoved til showet med Helloween, Running Wild og Overkill, og rammes af en stagedivers militærstøvler til showet med Artillery og Destruction samme sted. YEAH! - Michael Stützer fokuserer mest på sit guitarspil og sit band, hvilket resulterer i det andet Artillery album, “Terror Squad”, som fører an i den europæiske thrash metal-liga sammen med Kreator og førnævnte Destruction. - I januar ‘87 genoptager Metallica deres Europa-turné. Først i Falkoner Teatret, København, og dagen efter i Holstebro Hallen. Senere på året udkommer bandets første indspilning med bassisten Jason Newsted, cover-EP'en "Garage Days The 5,98 Dollar EP". - Fuld smæk på Bay Area-scenen, hvor Exodus udsender album nr. 2 “Pleasures of the Flesh”, Testament deres debutalbum "The Legacy" og Death Angel deres debut “The Ultra-Violence”. Sidstnævnte med en chokerende optræden på hovedscenen på årets Roskilde Festival. - På østkysten rykker Anthrax med “Among The Living”, og der tærskes løs fra Brasilien til Birmingham. Fra Sepultura til Napalm Death. Og i Tampa Bay, Florida udsender Death deres genredefinerende debut “Scream Bloody Gore”. - Michael Denner dukker op i studiet, hvor han og Jungersen tager pulsen på årets danske/dansk-relaterede udspil fra White Lion, Pretty Maids og Denners eget King Diamond, der udsender deres episke hovedværk “Abigail”. God tur tilbage til 1987, og på snarligt genhør i metalåret 1988 om en uges tid! Idé, tilrettelæggelse og research: Jens "Jam" Rasmussen Produktion: Jan Eriksen

Vous Gnockez Coop et Canap ? Vous le gnogni ? Hé bien voici une dernière rasade de jeux avant le GOTY, un épisode exceptionnel, avec au programme Ball x Pit et Strange Antiquities mais aussi 4 jeux qui rejoignent notre Hit Parade avec l'année 2009 ! Bref, un dernier rodéo avant la cérémonie que le tout Paris nous envie.-----------------------------------------------------Le site - www.coopetcanap.comTwitch - https://twitch.tv/coopetcanapTwitter - https://twitter.com/CoopEtCanapDiscord - https://discord.gg/eUTA6CB2hKMusic by Adhesive Wombat - www.soundcloud.com/adhesivewombat Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

When you hear the term “superproducer,” names like George Martin, Quincy Jones, Max Martin, Pharrell Williams or Missy Elliott might come to mind. But … Robert “Mutt” Lange? Probably not. Yet Lange was by some measures the biggest hitmaker—the producer of more top-selling albums than any of those better-known producers. The South African studio wiz crafted the arena-rock sound of AC/DC and Def Leppard. Then, Lange transformed the Cars, Billy Ocean, Bryan Adams, and Shania Twain into fist-pumping stadium-fillers, too. Join Chris Molanphy as he traces Mutt Lange's legacy of loud—and his uncanny success on the pop charts. He poured sugar on every hit. Podcast production by Kevin Bendis. Get more Hit Parade with Slate Plus! Join for monthly early-access episodes, bonus episodes of "The Bridge," and ad-free listening across all your favorite Slate podcasts. Subscribe directly from the Hit Parade show page on Apple Podcasts or Spotify. Or, visit slate.com/hitparadeplus to get access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

This week on The Global Countdown, Monocle Radio's Fernando Augusto Pacheco explores the Cambodian hit parade.See omnystudio.com/listener for privacy information.

The magnificent Madness are on the Stool of Rock to tell us all about their new compilation album Hit Parade.Video game producer and creator of Grand Theft Auto Dan Houser shares his new book, A Better Paradise.Join Chris and the Class Behind The Glass every morning from 6.30am for laughs with the listeners and the greatest guests. Listen on your smart speaker, just say: "Play Virgin Radio." Hosted on Acast. See acast.com/privacy for more information.

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

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

When you hear the term “superproducer,” names like George Martin, Quincy Jones, Max Martin, Pharrell Williams or Missy Elliott might come to mind. But … Robert “Mutt” Lange? Probably not. Yet Lange was by some measures the biggest hitmaker—the producer of more top-selling albums than any of those better-known producers. The South African studio wiz crafted the arena-rock sound of AC/DC and Def Leppard. Then, Lange transformed the Cars, Billy Ocean, Bryan Adams, and Shania Twain into fist-pumping stadium-fillers, too. Join Chris Molanphy as he traces Mutt Lange's legacy of loud—and his uncanny success on the pop charts. He poured sugar on every hit. Podcast production by Kevin Bendis. Get more Hit Parade with Slate Plus! Join for monthly early-access episodes, bonus episodes of "The Bridge," and ad-free listening across all your favorite Slate podcasts. Subscribe directly from the Hit Parade show page on Apple Podcasts or Spotify. Or, visit slate.com/hitparadeplus to get access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

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

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

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

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

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

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

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

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

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

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

In the rarefied world of smash pop singles, there are No. 1s—and there are No. 1 debuts. Entering Billboard's Hot 100 at the top is one of the hardest tricks in music. In fact, it wasn't possible in the U.S. until 1995. That's when the record labels hacked the Hot 100 and figured out how to send new singles straight into the chart penthouse.  But scoring a No. 1 in Week One doesn't mean it's built to last. For every enduring hit like “Fantasy,” “Shake It Off” or “Hello,” there are plenty of one-off oddities, coronation pabulum from American Idol finalists, and even a few missteps from chart luminaries. Within a couple of years these fast-breaking hits may be forgotten—never to be spun on the radio or streamed on Spotify. Join Chris Molanphy as he explores the chart calculus, superfan interventions, and fluky conditions that create a perfect storm of pop-chart insta-success. It's a parade of pop bangers that scored a fast pass to the front of the line.Get more Hit Parade with Slate Plus! Join for monthly early-access episodes, bonus episodes of "The Bridge," and ad-free listening across all your favorite Slate podcasts. Subscribe directly from the Hit Parade show page on Apple Podcasts or Spotify. Or, visit slate.com/hitparadeplus to get access wherever you listen. Podcast production by Kevin Bendis and Olivia Briley. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the rarefied world of smash pop singles, there are No. 1s—and there are No. 1 debuts. Entering Billboard's Hot 100 at the top is one of the hardest tricks in music. In fact, it wasn't possible in the U.S. until 1995. That's when the record labels hacked the Hot 100 and figured out how to send new singles straight into the chart penthouse.  But scoring a No. 1 in Week One doesn't mean it's built to last. For every enduring hit like “Fantasy,” “Shake It Off” or “Hello,” there are plenty of one-off oddities, coronation pabulum from American Idol finalists, and even a few missteps from chart luminaries. Within a couple of years these fast-breaking hits may be forgotten—never to be spun on the radio or streamed on Spotify. Join Chris Molanphy as he explores the chart calculus, superfan interventions, and fluky conditions that create a perfect storm of pop-chart insta-success. It's a parade of pop bangers that scored a fast pass to the front of the line.Get more Hit Parade with Slate Plus! Join for monthly early-access episodes, bonus episodes of "The Bridge," and ad-free listening across all your favorite Slate podcasts. Subscribe directly from the Hit Parade show page on Apple Podcasts or Spotify. Or, visit slate.com/hitparadeplus to get access wherever you listen. Podcast production by Kevin Bendis and Olivia Briley. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the rarefied world of smash pop singles, there are No. 1s—and there are No. 1 debuts. Entering Billboard's Hot 100 at the top is one of the hardest tricks in music. In fact, it wasn't possible in the U.S. until 1995. That's when the record labels hacked the Hot 100 and figured out how to send new singles straight into the chart penthouse.  But scoring a No. 1 in Week One doesn't mean it's built to last. For every enduring hit like “Fantasy,” “Shake It Off” or “Hello,” there are plenty of one-off oddities, coronation pabulum from American Idol finalists, and even a few missteps from chart luminaries. Within a couple of years these fast-breaking hits may be forgotten—never to be spun on the radio or streamed on Spotify. Join Chris Molanphy as he explores the chart calculus, superfan interventions, and fluky conditions that create a perfect storm of pop-chart insta-success. It's a parade of pop bangers that scored a fast pass to the front of the line.Get more Hit Parade with Slate Plus! Join for monthly early-access episodes, bonus episodes of "The Bridge," and ad-free listening across all your favorite Slate podcasts. Subscribe directly from the Hit Parade show page on Apple Podcasts or Spotify. Or, visit slate.com/hitparadeplus to get access wherever you listen. Podcast production by Kevin Bendis and Olivia Briley. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

In the rarefied world of smash pop singles, there are No. 1s—and there are No. 1 debuts. Entering Billboard's Hot 100 at the top is one of the hardest tricks in music. In fact, it wasn't possible in the U.S. until 1995. That's when the record labels hacked the Hot 100 and figured out how to send new singles straight into the chart penthouse.  But scoring a No. 1 in Week One doesn't mean it's built to last. For every enduring hit like “Fantasy,” “Shake It Off” or “Hello,” there are plenty of one-off oddities, coronation pabulum from American Idol finalists, and even a few missteps from chart luminaries. Within a couple of years these fast-breaking hits may be forgotten—never to be spun on the radio or streamed on Spotify. Join Chris Molanphy as he explores the chart calculus, superfan interventions, and fluky conditions that create a perfect storm of pop-chart insta-success. It's a parade of pop bangers that scored a fast pass to the front of the line. Get more Hit Parade with Slate Plus! Join for monthly early-access episodes, bonus episodes of "The Bridge," and ad-free listening across all your favorite Slate podcasts. Subscribe directly from the Hit Parade show page on Apple Podcasts or Spotify. Or, visit slate.com/hitparadeplus to get access wherever you listen. Podcast production by Kevin Bendis and Olivia Briley. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the rarefied world of smash pop singles, there are No. 1s—and there are No. 1 debuts. Entering Billboard's Hot 100 at the top is one of the hardest tricks in music. In fact, it wasn't possible in the U.S. until 1995. That's when the record labels hacked the Hot 100 and figured out how to send new singles straight into the chart penthouse.  But scoring a No. 1 in Week One doesn't mean it's built to last. For every enduring hit like “Fantasy,” “Shake It Off” or “Hello,” there are plenty of one-off oddities, coronation pabulum from American Idol finalists, and even a few missteps from chart luminaries. Within a couple of years these fast-breaking hits may be forgotten—never to be spun on the radio or streamed on Spotify. Join Chris Molanphy as he explores the chart calculus, superfan interventions, and fluky conditions that create a perfect storm of pop-chart insta-success. It's a parade of pop bangers that scored a fast pass to the front of the line. Get more Hit Parade with Slate Plus! Join for monthly early-access episodes, bonus episodes of "The Bridge," and ad-free listening across all your favorite Slate podcasts. Subscribe directly from the Hit Parade show page on Apple Podcasts or Spotify. Or, visit slate.com/hitparadeplus to get access wherever you listen. Podcast production by Kevin Bendis and Olivia Briley. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the rarefied world of smash pop singles, there are No. 1s—and there are No. 1 debuts. Entering Billboard's Hot 100 at the top is one of the hardest tricks in music. In fact, it wasn't possible in the U.S. until 1995. That's when the record labels hacked the Hot 100 and figured out how to send new singles straight into the chart penthouse.  But scoring a No. 1 in Week One doesn't mean it's built to last. For every enduring hit like “Fantasy,” “Shake It Off” or “Hello,” there are plenty of one-off oddities, coronation pabulum from American Idol finalists, and even a few missteps from chart luminaries. Within a couple of years these fast-breaking hits may be forgotten—never to be spun on the radio or streamed on Spotify. Join Chris Molanphy as he explores the chart calculus, superfan interventions, and fluky conditions that create a perfect storm of pop-chart insta-success. It's a parade of pop bangers that scored a fast pass to the front of the line. Get more Hit Parade with Slate Plus! Join for monthly early-access episodes, bonus episodes of "The Bridge," and ad-free listening across all your favorite Slate podcasts. Subscribe directly from the Hit Parade show page on Apple Podcasts or Spotify. Or, visit slate.com/hitparadeplus to get access wherever you listen. Podcast production by Kevin Bendis and Olivia Briley. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

The Alan Cox Show

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

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

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

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

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

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

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

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

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

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

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

Outward is going on a little summer break, in the meantime we're leaving you with a delightfully queer episode of Slate's Hit Parade with Chris Molanphy called Mighty Real. This is part two—catch part one in our previous episode. Little Richard was rock ‘n' roll's flamboyant architect. Lesley Gore sang that no one owned her. Sylvester was a gender-fluid icon who helped define disco. Freddie Mercury made rock operatic, and George Michael demanded freedom. What all of these LGBTQ artists had in common was bold hitmaking—and fear of being fully out of the closet. For decades, queer acts topped the charts while cloaking their true identities and paving the way for today's more openly queer stars. For Pride Month, join Chris Molanphy as he traces the hidden history of queer hitmakers on the charts—including those that managed to be both out and No. 1, right up through our modern age of Lil Nas X and Chappell Roan. It's a celebration of these artists' quest to feel… mighty real. Learn more about your ad choices. Visit megaphone.fm/adchoices

Outward is going on a little summer break, in the meantime we're leaving you with a delightfully queer episode of Slate's Hit Parade with Chris Molanphy called Mighty Real. This is part two—catch part one in our previous episode. Little Richard was rock ‘n' roll's flamboyant architect. Lesley Gore sang that no one owned her. Sylvester was a gender-fluid icon who helped define disco. Freddie Mercury made rock operatic, and George Michael demanded freedom. What all of these LGBTQ artists had in common was bold hitmaking—and fear of being fully out of the closet. For decades, queer acts topped the charts while cloaking their true identities and paving the way for today's more openly queer stars. For Pride Month, join Chris Molanphy as he traces the hidden history of queer hitmakers on the charts—including those that managed to be both out and No. 1, right up through our modern age of Lil Nas X and Chappell Roan. It's a celebration of these artists' quest to feel… mighty real. Learn more about your ad choices. Visit megaphone.fm/adchoices

When Kendrick Lamar took the Super Bowl halftime stage in 2025 and had the stadium chanting along to “Not Like Us,” it was clear: Diss tracks had gone stratospheric. The Kendrick vs. Drake beef echoes legendary rap rivalries like Biggie vs. Tupac and Jay-Z vs. Nas—but diss tracks stretch back through a century of American pop to the Tin Pan Alley era. Vaudeville singer Eddie Cantor, James Brown, John Lennon, Carly Simon, Kool Moe Dee, Lauryn Hill, and countless other artists have all tapped the hitmaking power of a personal grudge. Step this way and join Chris Molanphy as he traces the history of answer records, diss tracks, and rap beefs that shaped the charts—and the culture. Get more Hit Parade with Slate Plus! Join for monthly early-access episodes, bonus episodes of "The Bridge," and ad-free listening across all your favorite Slate podcasts. Subscribe directly from the Hit Parade show page on Apple Podcasts or Spotify. Or, visit slate.com/hitparadeplus to get access wherever you listen. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

When Kendrick Lamar took the Super Bowl halftime stage in 2025 and had the stadium chanting along to “Not Like Us,” it was clear: Diss tracks had gone stratospheric. The Kendrick vs. Drake beef echoes legendary rap rivalries like Biggie vs. Tupac and Jay-Z vs. Nas—but diss tracks stretch back through a century of American pop to the Tin Pan Alley era. Vaudeville singer Eddie Cantor, James Brown, John Lennon, Carly Simon, Kool Moe Dee, Lauryn Hill, and countless other artists have all tapped the hitmaking power of a personal grudge. Step this way and join Chris Molanphy as he traces the history of answer records, diss tracks, and rap beefs that shaped the charts—and the culture. Get more Hit Parade with Slate Plus! Join for monthly early-access episodes, bonus episodes of "The Bridge," and ad-free listening across all your favorite Slate podcasts. Subscribe directly from the Hit Parade show page on Apple Podcasts or Spotify. Or, visit slate.com/hitparadeplus to get access wherever you listen. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

Outward is going on a little summer break, in the meantime we're leaving you with a delightfully queer episode of Slate's Hit Parade with Chris Molanphy: Little Richard was rock ‘n' roll's flamboyant architect. Lesley Gore sang that no one owned her. Sylvester was a gender-fluid icon who helped define disco. Freddie Mercury made rock operatic, and George Michael demanded freedom. What all of these LGBTQ artists had in common was bold hitmaking—and fear of being fully out of the closet. For decades, queer acts topped the charts while cloaking their true identities and paving the way for today's more openly queer stars. For Pride Month, join Chris Molanphy as he traces the hidden history of queer hitmakers on the charts—including those that managed to be both out and No. 1, right up through our modern age of Lil Nas X and Chappell Roan. It's a celebration of these artists' quest to feel… mighty real. Learn more about your ad choices. Visit megaphone.fm/adchoices

When Kendrick Lamar took the Super Bowl halftime stage in 2025 and had the stadium chanting along to “Not Like Us,” it was clear: Diss tracks had gone stratospheric. The Kendrick vs. Drake beef echoes legendary rap rivalries like Biggie vs. Tupac and Jay-Z vs. Nas—but diss tracks stretch back through a century of American pop to the Tin Pan Alley era. Vaudeville singer Eddie Cantor, James Brown, John Lennon, Carly Simon, Kool Moe Dee, Lauryn Hill, and countless other artists have all tapped the hitmaking power of a personal grudge. Step this way and join Chris Molanphy as he traces the history of answer records, diss tracks, and rap beefs that shaped the charts—and the culture. Get more Hit Parade with Slate Plus! Join for monthly early-access episodes, bonus episodes of "The Bridge," and ad-free listening across all your favorite Slate podcasts. Subscribe directly from the Hit Parade show page on Apple Podcasts or Spotify. Or, visit slate.com/hitparadeplus to get access wherever you listen. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices