Podcasts about hitparade

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

  Hit Parade 5 12 2025 20 - Incoscienti Giovani – ACHILLE LAURO* 19 - Tutta L'Italia – GABRY PONTE 18 - Mandare Tutto All' Aria – MARCO MENGHONI* 17 - La Cura Per Me - Giorgia 16 - Fuorilegge – ROSE VILLAIN* 15 - Sottomarini - MAHMOOD 14 - Batito - FEDEZ     13 - Se T'Innamori Muori - NOEMI 12 - Cuoricini - COMA_COSE* 11- Meravigliosa – GUÉ STADIO 10- Un Mondo A Parte - JOVANOTTI 9 - Volevo Essere Un Duro – LUCIO CORSI 8 - Alibi - TANNANAI 7 - Lei - MARRACASH 6 - Balorda Nostalgia- OLLY* 5 - Chiamo Io Chiami Tu - GAIA 4 -Tu Con Chi Fai L'Amore – THE KOLORS 3 - Bottiglie Vuote – PENGUINI TATTICI NUCLEARI, MAX PEZZALI* 2 - Nonostante Tutto – CESARE CREMONINI, ELISA* 1 – Mi Ami Mi Odi –                             ELODIE* *Ex#1

   Hit Parade 5 5 2025 20 - Incoscienti Giovani – ACHILLE LAURO* 19 - Tutta L'Italia – GABRY PONTE 18 - Mandare Tutto All' Aria – MARCO MENGHONI* 17 - Dillo Solo Al Buio – ELISA* 16 - Fuorilegge – ROSE VILLAIN* 15 - Sottomarini - MAHMOOD 14 - Batito - FEDEZ     13 - Se T'Innamori Muori - NOEMI 12 - La Cura Per Me - Giorgia 11- Meravigliosa – GUÉ STADIO 10 - Un Mondo A Parte - JOVANOTTI 9 - Volevo Essere Un Duro – LUCIO CORSI 8 - Alibi - TANNANAI 7 - Cuoricini - COMA_COSE* 6 - Balorda Nostalgia- OLLY* 5 - Chiamo Io Chiami Tu - GAIA 4 - Tu Con Chi Fai L'Amore – THE KOLORS* 3 - Lei - MARRACASH 2         - Nonostante Tutto – CESARE CREMONINI, ELISA* 1 - Bottiglie Vuote – PENGUINI TATTICI                         NUCLEARI,         MAX PEZZALI* *Ex#1  

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

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

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

   Hit Parade 4 28 2025 20 - Incoscienti Giovani – ACHILLE LAURO* 19 - Tutta L'Italia – GABRY PONTE 18 - Mandare Tutto All' Aria – MARCO MENGHONI* 17 - Dillo Solo Al Buio – ELISA* 16 - Dimenticarsi Alle 7 - ELODIE 15 - Sottomarini - MAHMOOD 14 - Batito - FEDEZ     13 - Se T'Innamori Muori - NOEMI 12 - La Cura Per Me - Giorgia 11- Meravigliosa – GUÉ STADIO 10 - Un Mondo A Parte - JOVANOTTI 9 - Volevo Essere Un Duro – LUCIO CORSI 8 - Fuorilegge – ROSE VILLAIN* 7 - Cuoricini - COMA_COSE* 6 – Lei - MARRACASH 5 - Chiamo Io Chiami Tu - GAIA 4 - Tu Con Chi Fai L'Amore – THE KOLORS* 3 - Balorda Nostalgia- OLLY* 2 - Alibi - TANNANAI 1- Nonostante Tutto – CESARE CREMONINI, ELISA* *Ex#1

Shling Shlak un épisode que l'on signe à la pointe de l'épée, d'un KCD qui signifie Kingdom Come Delivrance 2 et d'un AC qui signifie Assassin's Creed Shadows. On va aussi graver (avec une épée à priori) 4 jeux dans notre Hit Parade et bien entendu de ce qui nous attend dans le viseur et dans la piscine !Un épisode en tout point T R A N C H A N T------------------------------------------------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.

  Hit Parade 4 21 2025 20 – L'Albero Delle Noci – BRUNORI SAS 19 – Tutta L'Italia – GABRY PONTE 18 – Mandare Tutto All' Aria – MARCO MENGHONI* 17 - Dillo Solo Al Buio – ELISA* 16 – Booster – TANNANAI* 15 – Sottomarini - MAHMOOD 14 – Batito - FEDEZ     13 – Se T'Innamori Muori - NOEMI 12 – Incoscienti Giovani – ACHILLE LAURO* 11- Meravigliosa – GUÉ STADIO 10- Un Mondo A Parte - JOVANOTTI 9 – Dimenticarsi Alle 7 - ELODIE 8 – La Cura Per Me - Giorgia 7 – Cuoricini - COMA_COSE* 6 – Alibi - TANNANAI 5 – Volevo Essere Un Duro – LUCIO CORSI 4 – Tu Con Chi Fai L'Amore – THE KOLORS* 3 – Balorda Nostalgia- OLLY* 2 – Chiamo Io Chiami Tu - GAIA 1- Fuorilegge – ROSE VILLAIN* *Ex#1

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

Fast zehn Jahre nach ihrem letzten Studioalbum melden sich die Lovebugs mit «Heartbreak City» zurück. Es klingt, als wären sie nie weggewesen. Das liegt vor allem daran, dass Musik für Sänger Adrian Sieber und seine Band nicht nur Freude bringt, sondern ihr Lebenselixier ist. Von der Teilnahme an einem Bandcontest bis zum neuen Album der Lovebugs sind über 30 Jahre vergangen. Songs wie «Coffee And Cigarettes», «Bitter Moon» oder auch «Music Makes My World Go Round» waren zwar keine Hits, fühlen sich aber bis heute durchaus so an. Es gab erfolgreiche Tourneen, erfolgreiche Nummer-1-Alben und es regnete Gold- und Platinauszeichnungen für zehntausende verkaufte Alben. Doch nach dem Album «Land Ho!» (2016), spätestens aber nach dem Live-Album «At The Plaza» (2018), stockte der Zug. Nicht alle Weggefährten der Band hatten den gleichen Drang weiterzumachen wie Sänger Adrian Sieber. Offiziell hat sich die Band zwar nie aufgelöst, wie er immer wieder betonte, doch die Jahre zogen ins Land und er veröffentlichte Musik ohne seine Lovebugs. Doch im Oktober 2024 meldete sich die Band in neuer Besetzung und mit dem neuen Song «Coraline» eindrucksvoll zurück – gerade so, als wären sie nie weggewesen. Mit «Heartbreak City» folgt nun ein Studio-Album, 25 Jahre nach ihrem ersten Album, das in den Charts landete. Wer jetzt ein verstaubtes Album erwartet, sieht sich getäuscht. Die Lovebugs klingen nach Lovebugs, mit grossem Wiedererkennungswert, aber jederzeit frisch und dynamisch. 11 neue Songs für alle Lovebugs-Fans und solche, die es noch werden wollen. Es ist nie zu spät! Adrian Sieber, Lovebugs-Urgestein, und Florian Senn, der 2001 zur Band stiess, sind live zu Gast bei Moderatorin Marietta Tomaschett.

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

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

   Hit Parade 4 14 2025 20 – L'Albero Delle Noci – BRUNORI SAS 19 – Oh Mamma Mia – GUÉ & ROSE VILLAIN 18 – Mandare Tutto All' Aria – MARCO MENGHONI* 17 - Dillo Solo Al Buio – ELISA* 16 – Booster – TANNANAI* 15 – Sottomarini - MAHMOOD 14 – Batito - FEDEZ     13 – Fuorilegge – ROSE VILLAIN 12 – Incoscienti Giovani – ACHILLE LAURO* 11- Tutta L'Italia – GABRY PONTE 10- Un Mondo A Parte - JOVANOTTI 9 – Se T'Innamori Muori - NOEMI 8 – La Cura Per Me - Giorgia 7 – Dimenticarsi Alle 7 - ELODIE 6 – Alibi - TANNANAI 5 – Volevo Essere Un Duro – LUCIO CORSI 4 – Cuoricini - COMA_COSE* 3 – Balorda Nostalgia- OLLY* 2 – Tu Con Chi Fai L'Amore – THE KOLORS* 1- Chiamo Io Chiami Tu - GAIA *Ex#1

Willkommen zur Hitparade! In Teil 2 unserer Four Tops räumen wir mal gründlich auf mit dem Vorurteil, wir würden immer nur obskure und unbekannte Songs vorstellen. Nachdem Linus mal kurz die Grenzen von Torstens Musikgeschmack ausgetestet hat, spielen wir nur noch Songs, die bestimmt fast jede*r kennt. Kaum zu glauben, dass es bis Folge 44 gedauert hat, bis die Fab Four mal in unseren Four Tops vorkommen. Des weiteren enthüllen wir, wer sich hinter dem Decknamen "Mr Yacht Rock" verbirgt und fragen uns, was eigentlich aus Benny Santini geworden ist. Vielleicht kann uns da ein englischer Musiker Auskunft geben? Hier findet ihr den in der Folge erwähnten Podcast über Yacht Rock ("The Yacht or Nyacht Podcast"). Ob ein bestimmter Song dem Genre Yacht Rock zugeordnet werden kann oder nicht, erfahrt ihr hier. Mehr über das Phänomen "Doobie Bounce" gibt es auf dieser Website. Lob, Kritik und Anregungen könnt ihr hier loswerden: listen@ribzap.de Und jetzt viel Spaß beim Hören!

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

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

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

Vor 20 Jahren stiegen Tokio Hotel mit "Durch den Monsun" kometenhaft auf. Auch heute ist die deutsche Band im Höhenflug, sie feiern das Jubiläum mit einer internationalen Tour. Kulinarisch sind die vier jedoch ziemliche Tiefflieger, inwiefern und wie ihr neuster Song klingt, in der Hitparade.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Today on an encore edition of the Rarified Heir Podcast, we are talking to siblings Deb Scott Studebaker & Stan Warnow about their musician/inventor Raymond Scott. Like our good friend Ernie Kovacs, some of you might have heard the name Raymond Scott but don't really know who he was or what he did. Others however, might be salivating knowing that one of the 20thCenturies musical geniuses is the subject of this episode. Either way, both Deb and Stan graciously sat down together to do this interview & wowed us with tales of their complex genius dad. Vintage cartoon fans might know Scott from his songs “Powerhouse” and “Toy Trumpet,” classic television and radio fans may know him and his orchestra from the show “Your Hit Parade” and others may know him as the Godfather of the modern synthesizer & inventor of the Clavinex & Electronium. A performer, a demanding band leader, a composer and the Director of Motown's electronic and research department, Raymond Scott was nothing if not prolific. In addition, we discuss Deb's mother, entertainer Dorothy Collins who was a Broadway star, a nightclub performer and a television star on shows like The Hollywood Palace. We get the lowdown on a father so driven by his creations he gave up performing for tinkering in his office and being one of the founders of electronic music as well as fax machine – decades before it became a reality. It's positively Looney Tunes on this episode of the Rarified Heir Podcast. Everyone has a story.

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

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

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

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

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

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

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

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

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

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

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

You know her honorific: Queen of Soul. And heavy is the head that wears the crown. In her lifetime, Aretha Franklin didn't just want to be revered. She wanted hits. But Franklin made pop come to her, not the other way around. When showtunes and standards didn't work in the '60s, Aretha switched to gritty R&B and gospel harmonies—and started topping the charts. When she recorded a live album in a church in the '70s, it became her best-seller. When the MTV era changed the game in the '80s, she did New Wave synthpop her way—and topped the charts again. In the '90s, she tried house, hip-hop and New Jack Swing, scoring hits deep into her fifties. Join Chris Molanphy as he explains how Aretha Franklin earned her regal title, one hit at a time. She won our respect by infusing the charts with a holy spirit and amazing grace—and she always remained a natural woman. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices