The Slate Music Club returns, in this special year-end edition of Hit Parade’s The Bridge! Host Chris Molanphy joins New York Times pop music critic Lindsay Zoladz, and Julianne Escobedo Shepherd of Hearing Things in a critics’ roundtable led by Slate’s own Carl Wilson. They discuss their favorite albums and singles, as well as the trends that shaped music in 2025.

Among this year’s big musical questions: Have we reached peak Bad Bunny yet? Did those animated Demon Hunters reinvent K-pop? Are Geese the saviors of rock, or just muppets with guitars? Is hip-hop ready to move on from Kendrick and Drake? Plus: Rosalia, Water for Your Eyes, Gaga, Wednesday—and of course, Taylor Swift.

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! Unlock monthly early-access episodes, bonus episodes of “The Bridge,” and ad-free listening across all your favorite Slate podcasts. Visit slate.com/hitparadeplus to get access wherever you listen.

Podcast production by Kevin Bendis.

Don’t miss the rest of this year’s Slate Music Club episode! Become a Slate Plus member! 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.

Hosted on Acast. See acast.com/privacy for more information.

If you need confirmation of Hollywood’s vast influence on mass culture, look no further than the pop charts. From the 1937 classic Snow White and the Seven Dwarfs through this year’s KPop Demon Hunters, soundtracks have launched hits, defined genres—and sometimes even eclipsed the films that inspired them in the first place. Rock classics, funk jams, rap bangers, even Christmas standards: all became hits because we heard them first at the cinema.

Join Chris Molanphy as he unspools nearly a century of hit movie music, from Simon & Garfunkel’s groundbreaking ode to “Mrs. Robinson,” to the, ahem, titanic tin whistle of “My Heart Will Go On.”

Hosted on Acast. See acast.com/privacy for more information.

Sped-up voices. Wacky instruments. Songs about cavemen, bathtubs, bikinis, and mothers-in-law. From the dawn of rock ‘n’ roll through the 1970s—the age of streaking, CB radios, disco and King Tut—novelty songs could be chart-topping hits. But by the corporate ’80s, it was harder for goofballs to score hits on regimented radio playlists. Until one perm-headed, mustachioed, accordion-playing parodist who called himself “Weird” rebooted novelty hits for the new millennium. 

In the second part of this encore episode of Hit Parade, Chris Molanphy explores the history of novelty hits on the charts.

Podcast production by Justin D. Wright and Kevin Bendis.

Hosted on Acast. See acast.com/privacy for more information.

Today on Hit Parade, we trace the multifarious history of the remix: a musical term with a universe of meanings. Rethinks. Reboots. Reinventions. Re-recordings. Even instances where the so-called remix came before the supposed original. (How is that even possible?) In a way, the most pivotal “remix” in chart history was the one so transformative, it compelled a change in our understanding of what a remix even is. In part 1, we explore the experimental origins of the remix and its slow but steady infiltration of the pop charts.

Sign up for Slate Plus now to get episodes in one installment as soon as they're out. You'll also get The Bridge, our trivia show and bonus deep dive. Click here for more info.   

Podcast production by Benjamin Frisch

Hosted on Acast. See acast.com/privacy for more information.

In part two of our deep dive into Daryl Hall & John Oates' genre-defying streak on the pop charts, Chris Molanphy argues they were also more cutting-edge than you may realize, essentially inventing their own form of cross-racial new wave after spending the ’70s trying everything: rock, R&B, folk, funk, even disco. At their Imperial peak in the early ’80s, Hall and Oates commanded the pop, soul and dance charts while still getting played on rock stations. And decades later, when the Rock & Roll Hall of Fame ignored them, it was Black artists—rappers and soul fans—who pushed them in.

Join Chris Molanphy for a dissection of the Philly duo who invented “rock ’n soul” and made their dreams come true.

Sign up for Slate Plus now to get episodes in one installment as soon as they're out. You'll also get The Bridge, our trivia show and bonus deep dive. Click here for more info.   

Podcast production by Asha Saluja.

Hosted on Acast. See acast.com/privacy for more information.

Daryl Hall and John Oates: Their songs were earworms, their videos cheap and goofy. John Oates’s mustache and Daryl Hall’s mullet are relics of their time. And…for about five years, their crazy streak on the pop charts was comparable to Elvis, the Beatles and the Bee Gees.

They were also more cutting-edge than you may realize, essentially inventing their own form of cross-racial new wave after spending the ’70s trying everything: rock, R&B, folk, funk, even disco. At their Imperial peak in the early ’80s, Hall and Oates commanded the pop, soul and dance charts while still getting played on rock stations. And decades later, when the Rock & Roll Hall of Fame ignored them, it was Black artists—rappers and soul fans—who pushed them in.

Join Chris Molanphy for a dissection of the Philly duo who invented “rock ’n soul” and made their dreams come true.

Sign up for Slate Plus now to get episodes in one installment as soon as they're out. You'll also get The Bridge, our trivia show and bonus deep dive. Click here for more info.   

Podcast production by Asha Saluja.

Hosted on Acast. See acast.com/privacy for more information.

Hey Hit Parade fans! Here's an episode from another show we think you’ll like. 

Slate's history podcast One Year introduces you to people and ideas that changed American history, one year at a time. The new season of One Year covers 1995, a year when homegrown terrorists attacked Oklahoma City and America went online. This episode is about “Macarena”—yes, that “Macarena,” the song and the dance that became the defining left-field pop happening of the mid-’90s. This bilingual song by a pair of Spaniards, and a couple of Miami DJs they’d never met, brought joy to millions, and it topped the charts for months, winding up Billboard’s No. 1 hit of 1996—over smashes by Mariah Carey, Boyz II Men and Celine Dion. And then, just as quickly, “Macarena” became a cultural pariah.

If you like this episode, follow One Year wherever you get podcasts.

One Year is produced by Josh Levin, Evan Chung, and Madeline Ducharme. Additional production help from Cheyna Roth. Mixing by Merritt Jacob.

Slate Plus members get to hear more about the making of One Year. Get access to extra episodes, listen to the show without any ads, and support One Year by signing up for Slate Plus for just $1 right now.

Hosted on Acast. See acast.com/privacy for more information.

In part 2 of this holiday episode of Hit Parade, Chris Molanphy dives deep into radio, streaming and Billboard chart data of some your favorite holiday hitmakers to compare their long legacies to the majority-merry ways they are consumed today. And none has been more condensed by Christmas than another artist who was once famous enough to go by her first name: Brenda. A ’60s chart dominator and double–Hall of Famer, Brenda Lee is now mostly known for that tune about Christmas tree rockin’. How did the legendary “Little Miss Dynamite” become Santa’s little helper? And will she ever pass Mariah and go back to No. 1?

Podcast production by Asha Saluja.

Sign up for Slate Plus now to get episodes in one installment as soon as they're out. You'll also get The Bridge, our trivia show and bonus deep dive. Click here for more info.  

Hosted on Acast. See acast.com/privacy for more information.

Bing. Nat. Dean. John and Paul. Darlene. Mariah. Ariana. Musicians so famous, with so many classic hits, you don’t even need their last names. Now here are a few more, with fewer hits: Vince Guaraldi. José Feliciano. Donny Hathaway. The Waitresses. What do all of these acts have in common? Years from now, each of them may be known primarily for a single holiday chestnut. In fact, in the streaming era, some of them already are consumed largely in December.

In this holiday episode of Hit Parade, Chris Molanphy dives deep into radio, streaming and Billboard chart data to compare these acts’ long hitmaking histories to the majority-merry ways they are consumed today. And none has been more condensed by Christmas than another artist who was once famous enough to go by her first name: Brenda. A ’60s chart dominator and double–Hall of Famer, Brenda Lee is now mostly known for that tune about Christmas tree rockin’. How did the legendary “Little Miss Dynamite” become Santa’s little helper? And will she ever pass Mariah and go back to No. 1?

Podcast production by Asha Saluja.

Sign up for Slate Plus now to get episodes in one installment as soon as they're out. You'll also get The Bridge, our trivia show and bonus deep dive. Click here for more info.  

Hosted on Acast. See acast.com/privacy for more information.

In Part 2 of this episode, Chris Molanphy continues his analysis of how Cyndi Lauper, Aimee Mann, and The Bangles, three contemporary female acts with rock foundations and pop sensibilities, progressed out of their distinctive rock scenes and into the spotlight. They found critical and commercial acclaim and remain influential decades later, in a variety of media, from Hollywood to Broadway. What forces were they up against, and how did they fight to define themselves? 

Podcast production by Asha Saluja.

Sign up for Slate Plus now to get episodes in one installment as soon as they're out. You'll also get The Bridge, our trivia show and bonus deep dive. Click here for more info.  

Hosted on Acast. See acast.com/privacy for more information.

Thirty-five years ago, in the fall of 1986, women with rock foundations and pop sensibilities were doing quite well on the charts. Three acts in particular were drawing sizable attention—and they were all singing on the same album: Cyndi Lauper’s True Colors, which featured backing vocals by the Bangles and ’Til Tuesday’s Aimee Mann.

It turns out these women had more than that brief coincidence in common. Lauper, Mann and the Bangles came up at the same postpunk, new-wave moment in ’80s pop. And they fought many of the same battles: record-label machinations…a media that stoked rivalries, whether or not they existed…and a sexist music industry that repeatedly underestimated their skills. In this Hit Parade episode, Chris Molanphy recounts how these women emerged from distinctive rock scenes––from punk-era New York and Boston, to L.A.’s Paisley Underground—then outgrew them. They found critical and commercial acclaim and remain influential decades later, in a variety of media, from Hollywood to Broadway. What forces were they up against, and how did they fight to define themselves? 

Podcast production by Asha Saluja.

Sign up for Slate Plus now to get episodes in one installment as soon as they're out. You'll also get The Bridge, our trivia show and bonus deep dive. Click here for more info.  

Hosted on Acast. See acast.com/privacy for more information.

In Part 2 of this episode of Hit Parade, Chris Molanphy traces the lineage of ’90s bands like Green Day, Offspring and Blink‑182 to their descendants in ’00s emo artisans Fall Out Boy, Panic! at the Disco and their skinny-jeans-wearing, smarty-pants contemporaries.

Podcast production by Asha Saluja with help from Rosemary Belson.

We have a special announcement! This year is the 25th anniversary of Slate. And for a limited time, we’re offering our annual Slate Plus membership at $25 off. As a Slate Plus member, you'll get to hear every Hit Parade episode in full, the day it arrives; plus Hit Parade—“The Bridge,” our bonus episodes, with guest interviews, deeper dives on our episode topics, and pop-chart trivia. Plus, you’ll get no ads on any Slate podcast, unlimited reading on the Slate site, and member-exclusive episodes and segments. This offer lasts until October 31st, so sign up now at slate.com/hitparadeplus.

Hosted on Acast. See acast.com/privacy for more information.

“Punk happened, past tense.” That’s what Boomer-era critics and true-believer punks told the younger generations. Punk’s whole reason for being was rejecting the mainstream. But punk wasn’t just a movement—it was also a genre. And 20 years after it first emerged, punk went from underground to overground, dominating the radio for the first time.

In this episode of Hit Parade, Chris Molanphy traces how punk traveled from Sid Vicious to strip mall, through the lineage of ’90s bands Green Day, Offspring and Blink‑182, and ’00s emo artisans Fall Out Boy, Panic! at the Disco and their skinny-jeans-wearing, smarty-pants contemporaries. From the CBGB era to the current Billboard Hot 100, punk is no historical artifact—it’s still morphing and adapting. And for all its supposed opposition to convention, the dirty little secret is: Punk has always been catchy.

Podcast production by Asha Saluja with help from Rosemary Belson.

We have a special announcement! This year is the 25th anniversary of Slate. And for a limited time, we’re offering our annual Slate Plus membership at $25 off. As a Slate Plus member, you'll get to hear every Hit Parade episode in full, the day it arrives; plus Hit Parade—“The Bridge,” our bonus episodes, with guest interviews, deeper dives on our episode topics, and pop-chart trivia. Plus, you’ll get no ads on any Slate podcast, unlimited reading on the Slate site, and member-exclusive episodes and segments. This offer lasts until October 31st, so sign up now at slate.com/hitparadeplus.

Hosted on Acast. See acast.com/privacy for more information.

Sped-up voices. Wacky instruments. Songs about cavemen, bathtubs, bikinis, and mothers-in-law. From the dawn of rock ‘n’ roll through the 1970s—the age of streaking, CB radios, disco and King Tut—novelty songs could be chart-topping hits. But by the corporate ’80s, it was harder for goofballs to score hits on regimented radio playlists. Until one perm-headed, mustachioed, accordion-playing parodist who called himself “Weird” rebooted novelty hits for the new millennium. 

In 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.

Hosted on Acast. See acast.com/privacy for more information.

In Part 2 of our 50th episode of Hit Parade, we go back 50 years, celebrating the semicentennial of the year when, critics claim, “music changed everything.” The Quiet Beatle became the Favorite Beatle, when Mick Jagger sang lyrics even he regrets, when Carole King graduated from songwriter to singer-songwriter, and commercial juggernaut, when blaxploitation took over the charts and the Oscars, and when the radio was somehow awash in Osmonds. It wasn’t a perfect year—but Hit Parade host Chris Molanphy is fond of ’71 for personal reasons.

 Podcast production by Asha Saluja with help from Rosemary Belson.

Sign up for Slate Plus now to get episodes in one installment as soon as they're out. You'll also get The Bridge, our trivia show and bonus deep dive. Click here for more info.  

Hosted on Acast. See acast.com/privacy for more information.

At any given time, the music world is celebrating some anniversary, but 1971 has received more than its share of commemorations this year. And with good reason: Carole King. Marvin Gaye. Joni Mitchell. Sly Stone. Janis Joplin. The Who. All released their best work a half-century ago.

For our 50th episode of Hit Parade, we go back 50 years, celebrating the semicentennial of the year when, critics claim, “music changed everything.” The Quiet Beatle became the Favorite Beatle, when Mick Jagger sang lyrics even he regrets, when Carole King graduated from songwriter to singer-songwriter, and commercial juggernaut, when blaxploitation took over the charts and the Oscars, and when the radio was somehow awash in Osmonds. It wasn’t a perfect year—but Hit Parade host Chris Molanphy is fond of ’71 for personal reasons.

 Podcast production by Asha Saluja with help from Rosemary Belson.

Sign up for Slate Plus now to get episodes in one installment as soon as they're out. You'll also get The Bridge, our trivia show and bonus deep dive. Click here for more info.  

Hosted on Acast. See acast.com/privacy for more information.

In part 2 of this episode of Hit Parade, Chris Molanphy continues his deep dive on Yacht Rock, the retroactive genre label for the sleek, jazzy, R&B-flavored sound that cropped up in the late '70s and early '80s amongst polished, perfectionist West Coast studio musicians.

Whatever you call it, this music really did command the charts at the turn of the ’80s: from Steely Dan to George Benson, Michael McDonald to Kenny Loggins, Toto to…Michael Jackson?! Believe it: even Thriller is partially a Yacht Rock album. This month, Hit Parade breaks down what Yacht Rock was and how it took over the charts four decades ago—from the perfectionism of “Peg,” to the bounce of “What a Fool Believes,” to the epic smoothness of “Africa.”

This episode was released in August 2020 exclusively for Slate Plus listeners. Sign up for Slate Plus now to get episodes in one installment as soon as they're out. You'll also get The Bridge, our trivia show and bonus deep dive. Click here for more info.  

Hosted on Acast. See acast.com/privacy for more information.

In the late ’70s and early ’80s, a scene and a sound cropped up on the West Coast: polished, perfectionist studio musicians who generated sleek, jazzy, R&B-flavored music. About a quarter-century later, this sound was given a name: Yacht Rock. The inventors of the genre name weren’t thinking about boats…well, unless the song was Christopher Cross’s “Sailing.” Yacht Rock was meant to signify deluxe, yuppified, “smooth” music suitable for playing on luxury nautical craft.

Whatever you call it, this music really did command the charts at the turn of the ’80s: from Steely Dan to George Benson, Michael McDonald to Kenny Loggins, Toto to…Michael Jackson?! Believe it: even Thriller is partially a Yacht Rock album. This month, Hit Parade breaks down what Yacht Rock was and how it took over the charts four decades ago—from the perfectionism of “Peg,” to the bounce of “What a Fool Believes,” to the epic smoothness of “Africa.”

This episode was released in August 2020 exclusively for Slate Plus listeners. Sign up for Slate Plus now to get episodes in one installment as soon as they're out. You'll also get The Bridge, our trivia show and bonus deep dive. Click here for more info.  

Hosted on Acast. See acast.com/privacy for more information.

In Part 2 of this episode of Hit Parade, Chris Molanphy continues his analysis of the career and legacy of the legendary and sometimes-misunderstood Bruce Springsteen. In his second decade, Springsteen wasn’t just a hitmaker—he was the archetype: the symbol of flag-waving American rock, even when the song was less patriotism than protest. Advertisers, other pop stars, President Ronald Reagan—everybody glommed onto Bruce, and virtually all of them got him wrong. Just in time for summer, Hit Parade takes on the Boss, pop star. How did Bruce Springsteen invent his persona and find his truth?

Podcast production by Asha Saluja.

Hit Parade episodes are now split into two parts, released two weeks apart. For the full episode right now, sign up for Slate Plus and you'll also get The Bridge, our Trivia show and bonus deep dive. Click here for more info.  

Hosted on Acast. See acast.com/privacy for more information.

Bruce Springsteen has been a legend so long, it’s easy to forget that, for his first decade, he had trouble getting a hit. Yes, even the legendary “Born to Run”: It missed Billboard’s Top 20. And yet, several of Springsteen’s songs became big hits for others: the song with the misheard lyric about “a deuce” that went to No. 1 for a British band. The song he couldn’t finish that became a hit for a punk priestess. The song he refused to let his record label hear that became a massive hit for the Pointer Sisters. The hit he almost gave away to the Ramones.

In his second decade, on the other hand, Springsteen wasn’t just a hitmaker—he was the archetype: the symbol of flag-waving American rock, even when the song was less patriotism than protest. Advertisers, other pop stars, President Ronald Reagan—everybody glommed onto Bruce, and virtually all of them got him wrong. Just in time for summer, Hit Parade takes on the Boss, pop star. How did Bruce Springsteen invent his persona and find his truth?

For the full episode right now, sign up for Slate Plus and you'll also get The Bridge, our Trivia show and bonus deep dive. Click here for more info.  

Production by Asha Saluja, with help from Rosemary Belson.

Hosted on Acast. See acast.com/privacy for more information.

In Part 2 of this episode of Hit Parade, Chris Molanphy continues his analysis of when singing became central to rap music. Rap has always been musical. But back in the day, rappers generally, well, rapped: talked in cadence over a beat. Fans judged MCs primarily by their rhymes and rhythms, not their melodies.

Now? Rappers are mostly singers: MCs from Drake to DaBaby slip seamlessly in and out of melody. Some hits that appear on Billboard’s Rap charts feature literally no rapping. When did this change?

Part 2 takes a close look at an integral pivot point in this progression: when Beyoncé changed the game by singing with triple-time flow like the baddest MC.

Podcast production by Asha Saluja.

Hit Parade episodes are now split into two parts, released two weeks apart. For the full episode right now, sign up for Slate Plus and you'll also get The Bridge, our Trivia show and bonus deep dive. Click here for more info.  

Hosted on Acast. See acast.com/privacy for more information.

Let’s be clear: Rap has always been musical. But back in the day, rappers generally, well, rapped: talked in cadence over a beat. Fans judged MCs primarily by their rhymes and rhythms, not their melodies.

Now? Rappers are mostly singers: MCs from Drake to DaBaby slip seamlessly in and out of melody. Some hits that appear on Billboard’s Rap charts feature literally no rapping. When did this change?

In this episode of Hit Parade, Chris Molanphy walks through the history of hip-hop—from Gil Scott-Heron to Lil Nas X—to trace the evolving role of melody in rap’s conquest of the charts. The broadening of rap to include more female MCs, from Queen Latifah to Lauryn Hill, had a lot to do with it. But all roads lead through rap-and-B’s power couple, Jay-Z and Beyoncé. The pivot point may have been when Queen Bey realized she could sing with triple-time flow like the baddest MC.

Podcast production by Asha Saluja.

Hit Parade episodes are now split into two parts, released two weeks apart. For the full episode right now, sign up for Slate Plus and you'll also get The Bridge, our Trivia show and bonus deep dive. Click here for more info.  

Hosted on Acast. See acast.com/privacy for more information.

In Part 2 of this episode of Hit Parade, Chris Molanphy continues his analysis of Milli Vanilli, the musical act that many of us who were around in 1989 listened to more than they might admit. They also have quite a legacy: a blend of pop, dance and rap that now seems commonplace but was still relatively novel then. If you’ve danced to Europop that fronts like hip-hop, you’re living in a world Milli Vanilli helped create.

Chris Molanphy continues to break down the history of Milli Vanilli mastermind Frank Farian’s musical career: from his burst of Billboard chart success, to the storied past of the Best New Artist Grammy award. From MTV News to Behind the Music, the Milli Vanilli story has been told and retold. But the Billboard chart feats achieved by Rob and Fab, and their accomplices, reveal just how addicted America was to their music—and maybe, how they won that Grammy.

Hit Parade episodes are now split into two parts, released two weeks apart. For the full episode right now, sign up for Slate Plus and you'll also get The Bridge, our Trivia show and bonus deep dive. Click here for more info.  

Podcast production by Asha Saluja with help from Rosemary Belson.

Hosted on Acast. See acast.com/privacy for more information.

For a musical project that’s synonymous with deceit, Milli Vanilli sold an awful lot of records. They also have quite a legacy: a blend of pop, dance and rap that now seems commonplace but was still relatively novel in 1989. If you’ve danced to Europop that fronts like hip-hop, you’re living in a world Milli Vanilli helped create.

In this episode of Hit Parade, Chris Molanphy breaks down the history of Milli Vanilli mastermind Frank Farian’s musical career: from his days with Boney M, a hit-making, half-real, half-fake group that was a precursor to his later scheme; to his enlistment of European model–dancers Rob Pilatus and Fabrice Morvan to be the faux-frontpeople of Milli Vanilli. From MTV News to Behind the Music, the Milli Vanilli story has been told and retold. But the Billboard chart feats achieved by Rob and Fab, and their accomplices, reveal just how addicted America was to their music—and maybe, how they won that Grammy.

Hit Parade episodes are now split into two parts, released two weeks apart. For the full episode right now, sign up for Slate Plus and you'll also get The Bridge, our Trivia show and bonus deep dive. Click here for more info.  

Podcast production by Asha Saluja with help from Rosemary Belson.

Hosted on Acast. See acast.com/privacy for more information.

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.

Hosted on Acast. See acast.com/privacy for more information.

In Part 2 of this episode of Hit Parade, Chris Molanphy continues his analysis of Taylor: the country years, dissecting how she gradually, step by step, became the new queen of pop one irresistible song at a time. She went from interviewing bigger stars on MTV’s red carpet one year, to being the talk of the Video Music Awards the next—even before Kanye took that microphone away from her. He told Taylor he would let her finish, but the game was already over. Swift had the most played song in the USA.

Podcast production by Asha Saluja, with help from Rosemary Belson.

Hosted on Acast. See acast.com/privacy for more information.

Taylor Swift’s new album is a reboot of an old album: Fearless, her 2008 chart-topping juggernaut that made her the biggest star on the Billboard charts. But Fearless (Taylor’s Version)—filled with banjos, steel guitars and fiddles—is also a reminder for those who forgot: Swift was once the top act in country music, too. From Dolly Parton to Shania Twain, the Chicks to Faith Hill, no country artist has ever crossed over to pop the way Taylor did, utterly dominating one genre before she took over another.

In this episode, Chris Molanphy focuses on Taylor: the country years, dissecting how she gradually, step by step, became the new queen of pop one irresistible song at a time. She went from interviewing bigger stars on MTV’s red carpet one year, to being the talk of the Video Music Awards the next—even before Kanye took that microphone away from her. He told Taylor he would let her finish, but the game was already over. Swift had the most played song in the USA.

Podcast production by Asha Saluja, with help from Rosemary Belson.

Hosted on Acast. See acast.com/privacy for more information.

In Part 2 of this episode of Hit Parade, Chris Molanphy continues his analysis of the music of Sam Cooke. The Oscar-nominated film One Night in Miami… imagines the conversation between Cooke, Malcolm X, Cassius Clay and Jim Brown the night in 1964 they gathered to celebrate the soon-to-be Muhammad Ali’s heavyweight victory. Malcolm X challenges Sam Cooke to use his amazing voice to help “the struggle.” Little did he know Cooke had already recorded his civil‑rights masterpiece, “A Change Is Gonna Come.”

In his too-brief career—seven years as a gospel star, then seven more as a chart-conquering superstar—Sam Cooke took a remarkable journey: from the pathbreaking pop of “You Send Me,” to the wistful R&B of “(What a) Wonderful World,” to the yearning romance of “Bring It on Home to Me,” to—of course—the now-legendary “Change Is Gonna Come.” Meet the man who defined what soul music was and could be.

Hit Parade episodes are now split into two parts, released two weeks apart. For the full episode right now, sign up for Slate Plus and you'll also get The Bridge, our Trivia show and bonus deep dive. Click here for more info.

Podcast production by Asha Saluja.

Hosted on Acast. See acast.com/privacy for more information.

The Oscar-nominated film One Night in Miami… imagines the conversation between Sam Cooke, Malcolm X, Cassius Clay and Jim Brown the night in 1964 they gathered to celebrate the soon-to-be Muhammad Ali’s heavyweight victory. Malcolm X challenges Sam Cooke to use his amazing voice to help “the struggle.” Little did he know Cooke had already recorded his civil‑rights masterpiece, “A Change Is Gonna Come.”

In this episode, Chris Molanphy sets the record straight on the man now called the King of Soul. In his too-brief career—seven years as a gospel star, then seven more as a chart-conquering superstar—Sam Cooke took a remarkable journey: from the pathbreaking pop of “You Send Me,” to the wistful R&B of “(What a) Wonderful World,” to the yearning romance of “Bring It on Home to Me,” to—of course—the now-legendary “Change Is Gonna Come.” Meet the man who defined what soul music was and could be.

Hit Parade episodes are now split into two parts, released two weeks apart. For the full episode right now, sign up for Slate Plus and you'll also get The Bridge, our Trivia show and bonus deep dive. Click here for more info.

Podcast production by Asha Saluja.

Hosted on Acast. See acast.com/privacy for more information.

In Part 2 of this episode of Hit Parade, Chris Molanphy continues to demonstrate a weird chart phenomenon he calls The AC/DC Rule.

Hit Parade episodes are now split into two parts, released two weeks apart. For the full episode right now, sign up for Slate Plus and you'll also get The Bridge, our Trivia show and bonus deep dive. Click here for more info.

What was the only No. 1 album by Jimi Hendrix? How about the first No. 1 by Billy Joel? Jackson Browne? Pat Benatar? Pearl Jam? Lady Gaga?

In all cases, the answer isn’t obvious—it’s not the album you know best, the one with the most hits on it. It’s the album after that classic that goes to No. 1. And there’s no better example than AC/DC, the Australian-by-way-of-Scotland hard rock band that’s sold more than 20 million copies of Back in Black. But it was their next album (can you name it?) that topped the Billboard album chart.

Just as less-good movie sequels open better at the box office than classic first installments, follow-up albums often chart higher than their slow-growing but hit-packed predecessors. Some of the rock and pop legends who fell prey to this chart phenomenon might surprise you…might just leave you shook all night long.

Podcast production by Asha Saluja.

Hosted on Acast. See acast.com/privacy for more information.

Quick, what was the only No. 1 album by Jimi Hendrix? How about the first No. 1 by Billy Joel? Jackson Browne? Pat Benatar? Pearl Jam? Lady Gaga?

In all cases, the answer isn’t obvious—it’s not the album you know best, the one with the most hits on it. It’s the album after that classic that goes to No. 1. And there’s no better example than AC/DC, the Australian-by-way-of-Scotland hard rock band that’s sold more than 20 million copies of Back in Black. But it was their next album (can you name it?) that topped the Billboard album chart.

Chris Molanphy has coined a term for this weird chart phenomenon: He calls it The AC/DC Rule. Just as less-good movie sequels open better at the box office than classic first installments, follow-up albums often chart higher than their slow-growing but hit-packed predecessors. Some of the rock and pop legends who fell prey to this chart phenomenon might surprise you…might just leave you shook all night long.

Podcast production by Asha Saluja.

Hosted on Acast. See acast.com/privacy for more information.

Hit Parade is back for non-Slate Plus listeners! Upcoming episodes will be split into two parts, released two weeks apart. For the full episode right now, sign up for Slate Plus and you'll also get The Bridge, our Trivia show and bonus deep dive into our subjects. slate.com/hitparadeplus.

In Part 2 of this episode of Hit Parade, we continue the story of how Chic—cofounded by guitarist Nile Rodgers and bassist Bernard Edwards—gave life to disco through the 1980s and beyond. Their “Good Times” bassline spawned a slew of copycats, from “Rapper’s Delight” to “Another One Bites the Dust” to “Rapture.” And as if that wasn’t enough, over the next decade, the Chic masterminds became the secret sauce for a range of cutting-edge pop acts, producing and writing for everyone from Diana Ross and David Bowie to Madonna, Duran Duran and the B-52’s. Nile Rodgers even scored a hit in the 2010s with a pair of French robots who “got lucky” with another take on the Chic groove.

Podcast production by Asha Saluja.

Hosted on Acast. See acast.com/privacy for more information.

Hit Parade is back for non-Slate Plus listeners! Upcoming episodes will be split into two parts, released two weeks apart. For the full episode right now, sign up for Slate Plus and you'll also get The Bridge, our Trivia show and bonus deep dive into our subjects. slate.com/hitparadeplus.

How can you tell disco didn’t really die at the start of the 1980s? Because half of ’80s pop owed its sound to one of disco’s most seminal acts. Chic—cofounded by guitarist Nile Rodgers and bassist Bernard Edwards—would be legendary if all they’d done was record the’70s disco smashes “Le Freak,” “I Want Your Love” and “Good Times.” Indeed, the “Good Times” bassline spawned a slew of copycats, from “Rapper’s Delight” to “Another One Bites the Dust” to “Rapture.”

As if that wasn’t enough, over the next decade, the Chic masterminds became the secret sauce for a range of cutting-edge pop acts, producing and writing for everyone from Diana Ross and David Bowie to Madonna, Duran Duran and the B-52’s. Nile Rodgers even scored a hit in the 2010s with a pair of French robots who “got lucky” with another take on the Chic groove.

Podcast production by Asha Saluja.

Hosted on Acast. See acast.com/privacy for more information.

Hit Parade is back for non-Slate Plus listeners! Upcoming episodes will be split into two parts, released two weeks apart. For the full episode right now, sign up for Slate Plus and you'll also get The Bridge, our Trivia show and bonus deep dive into our subjects. slate.com/hitparadeplus.

In Part 2 of this episode of Hit Parade, we continue the story of how Nirvana’s Nevermind ousted Michael Jackson’s Dangerous from the top of the Billboard album chart, Chris Molanphy examines the chart dynamics that not only ushered in the grunge era but also invented a new music sales strategy, the post-Christmas album, and how that trend has been shaped and changed by the rise of rap, and the surprise album drop.

Podcast production by Benjamin Frisch.

Hosted on Acast. See acast.com/privacy for more information.

Hit Parade is back for non-Slate Plus listeners! Upcoming episodes will be split into two parts, released two weeks apart. For the full episode right now, sign up for Slate Plus and you'll also get The Bridge, our Trivia show and bonus deep dive into our subjects. slate.com/hitparadeplus.

When Nirvana’s Nevermind ousted Michael Jackson’s Dangerous from the top of the Billboard album chart, it made headlines in early 1992. Only, it didn’t really happen in ’92. What gave Nirvana the win happened right after Christmas ’91. Teenagers who were home for the holidays voted with their gift cards, and they gave Kurt Cobain’s band the win over the King of Pop. This month, Chris Molanphy examines the chart dynamics that not only ushered in the grunge era but also invented a new music sales strategy, the post-Christmas album.

Podcast production by Benjamin Frisch.

Hosted on Acast. See acast.com/privacy for more information.

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.

Hosted on Acast. See acast.com/privacy for more information.

Hit Parade is back for non-Slate Plus listeners! Upcoming episodes will be split into two parts, released two weeks apart. For the full episode right now, sign up for Slate Plus and you'll also get The Bridge, our Trivia show and bonus deep dive into our subjects. slate.com/hitparadeplus.

Hit Parade continues the story of Garth Brooks. In the ’90s, he was country-authentic, ignored pop radio, and still utterly dominated the charts as the decade’s biggest multiplatinum megastar. Brooks took on chart competitors from Guns n’ Roses to Madonna to Mariah Carey and bested them all … until he tried taking on the Beatles. (And we’re still scratching our heads over that Chris Gaines thing.) 

Hosted on Acast. See acast.com/privacy for more information.

Hit Parade is back for non-Slate Plus listeners! Upcoming episodes will be split into two parts, released two weeks apart. For the full episode right now, sign up for Slate Plus and you'll also get The Bridge, our Trivia show and bonus deep dive into our subjects. slate.com/hitparadeplus.

Today your Hit Parade marches to the week ending October 27th, 1990, when “Friends in Low Places” by Garth Brooks was in its fourth week at No. 1 on Billboard’s Hot Country Singles and Tracks, the same week his album No Fences instantly went gold and platinum, affirming that he was country music’s biggest star. Soon enough, Brooks would become —more than any rock star, rapper or pop diva—the archetypal artist of the SoundScan era. On part 1, we explore country music's boom and bust 1970's and 80's before diving into the world that made Garth Brooks megastardom possible.

Hosted on Acast. See acast.com/privacy for more information.

Hit Parade is back for non-Slate Plus listeners! Upcoming episodes will be split into two parts, released two weeks apart. For the full episode right now, sign up for Slate Plus and you'll also get The Bridge, our Trivia show and bonus deep dive into our subjects. slate.com/hitparadeplus.

In part 2 of our episode on Meatloaf maestro Jim Steinman: Chris Molanphy continues the story of how Steinman moved on from Meatloaf to emerge as a hitmaker for other artists like Bonnie Tyler with "Total Eclipse of the Heart" and Celine Dion with “It’s All Coming Back to Me Now”. At the height of his power, he had more credits in the top 40 than Michael Jackson and Lionel Richie.

Hosted on Acast. See acast.com/privacy for more information.

Hit Parade is back for non-Slate Plus listeners! Upcoming episodes will be split into two parts, released two weeks apart. For the full episode right now, sign up for Slate Plus and you'll also get The Bridge, our Trivia show and bonus deep dive into our subjects. slate.com/hitparadeplus.

Producers and songwriters have a major impact on how a finished pop song sounds, and feels. But it’s possible no hitmaking mastermind—not even Phil Spector—has had a more specific pop sound than Jim Steinman. His songs have an unmistakable signature: pounding pianos, revving motorcycles, sometimes literal thunder. And power-vocalists singing passionate lyrics that don’t always make sense but always sound like the fate of the world depends on this song.

Chris Molanphy tells the story of a fervent, headstrong songwriter who fused with a singer who called himself Meat Loaf, creating a blockbuster song cycle called Bat Out of Hell. Steinman then went on to spread his pomp-rock to other artists: Bonnie Tyler’s “Total Eclipse of the Heart.” Air Supply’s “Making Love Out of Nothing at All.” Celine Dion’s “It’s All Coming Back to Me Now.” Every song sounded like a hallelujah chorus and a Broadway show—even though Steinman’s actual Broadway show was a notorious flop. But nothing keeps Jim Steinman down. Forever’s gonna start tonight.

Hosted on Acast. See acast.com/privacy for more information.

Hit Parade is back for non-Slate Plus listeners! Upcoming episodes will be split into two parts, released two weeks apart. For full episodes on the day of release, sign up for Slate Plus and you'll also get The Bridge, our trivia show and deep dive into our subjects. slate.com/hitparadeplus.

In part two of our one-hit wonders show, we propose three rules to identify a one-hit wonder, which is not as easy as it sounds: Dexys Midnight Runners? They’re a one-hit wonder. Men Without Hats? Nope, not fair. Lou Reed? Yes. Marky Mark? No. In this episode, Chris breaks it all down, explaining why “Take on Me” is a pop classic but A-ha are still only one-hitters in America.

Hosted on Acast. See acast.com/privacy for more information.

Hit Parade is back for non-Slate Plus listeners! Upcoming episodes will be split into two parts, released two weeks apart. For the full episode right now, sign up for Slate Plus and you'll also get The Bridge, our Trivia show and deep dive into our subjects. slate.com/hitparadeplus.

“One-hit wonder” is a popular term in our culture—and not just in music: sportscasters, Wall Street analysts and news anchors all use it. But what does “one-hit wonder” actually mean on the pop charts? Hit Parade host Chris Molanphy has thought a lot about this—and he has rules to determine who’s really a one-hit wonder. They might surprise you: Dexys Midnight Runners? They’re a one-hit wonder. Men Without Hats? Nope, not fair. Lou Reed? Yes. Marky Mark? No. In this episode, Chris breaks it all down, explaining why “Take on Me” is a pop classic but A-ha are still only one-hitters in America.

Hosted on Acast. See acast.com/privacy for more information.

First, we have a few announcements about the future of Hit Parade—and it’s good news for both Slate Plus members and non-Plus listeners. While the economic challenges of COVID-19 certainly haven’t abated, Hit Parade has attracted enough new Plus members to allow us to take some episodes out from behind Slate’s paywall starting in September.

Starting next month, full-length Hit Parade episodes will debut in the middle of the month, not the end (our next full-length episode drops on Friday, September 18). If you are a Plus member, you’ll hear the whole show all at once, the day it drops. If you are not a Plus member, you will receive the first half of the episode mid-month, with ads, and you’ll have to wait a couple of weeks to hear the second half of the show, at month’s end. Finally, Hit Parade—“The Bridge” episodes will remain Plus-only.

IAgain, thanks to many of you who signed up for Slate Plus just to hear Hit Parade, and of course the thousands of longtime Plus members. We plan to keep giving you the bonus content you expect. And a hearty welcome back to non-Plus listeners—we hope you’ll consider joining Slate Plus in the future, but you can also support Hit Parade by spreading the word about our episodes. And to sign up for Slate Plus to support the show, head over to slate.com/hitparadeplus.

In this mini-episode of Hit Parade, host Chris Molanphy is joined by J.D. Ryznar, “Hollywood” Steve Huey, and Dave Lyons, creators of the web series Yacht Rock and follow-up podcast Beyond Yacht Rock. Not only did they invent the very term that inspired the latest episode of Hit Parade, they have kept the fire alive by refining what the genre means.

The Yacht Rockers and Chris discuss the enduring legacy of the term they created—from why the name stuck, to how it was perceived by the various artists whose music it defined. (Boz Scaggs is reportedly not happy.) They also reveal songs they’d re-rate against their signature Yachtski scale, songs commonly tagged Yacht that are actually “Nyacht,” and how they curate the boundaries of the genre. They even offer a Hit Parade–exclusive announcement about what’s next for their smooth creation.

Finally, Chris quizzes a Slate Plus listener with some music trivia, gives her a chance to turn the tables on him, and previews next month’s full-length episode.

Podcast production by Asha Saluja. 

Hosted on Acast. See acast.com/privacy for more information.

Hey, Hit Parade listeners—we’ve got an unusual schedule for August. Today’s show is a recording of last week’s installment of Slate’s Wednesday Night Live, which was a live Hit Parade trivia edition. I was the host, and I got to quiz several Slate luminaries on Billboard chart brainteasers. We had a blast. 

Then, later this month, in the place where we would normally bring you a full-length story, we’ll instead be doing a super-sized edition of our regular Hit Parade—“The Bridge” show. We’ll be following up last month’s Yacht Rock episode with some very special guests. You won’t want to miss it.

Like many media organizations at the moment, Slate is getting hit pretty hard by what's going on with the economy in the wake of the COVID-19 pandemic. We want to continue doing our work, providing you with all our great podcasts, news and reporting, and we simply cannot do that without your support. So we're asking you to sign up for Slate Plus, our membership program. It's just $35 for the first year, and it goes a long way to supporting us in this crucial moment.

Hosted on Acast. See acast.com/privacy for more information.

Like many media organizations at the moment, Slate is getting hit pretty hard by what's going on with the economy in the wake of the COVID-19 pandemic. We want to continue doing our work, providing you with all our great podcasts, news and reporting, and we simply cannot do that without your support. So we're asking you to sign up for Slate Plus, our membership program. It's just $35 for the first year, and it goes a long way to supporting us in this crucial moment.

In the late ’70s and early ’80s, a scene and a sound cropped up on the West Coast: polished, perfectionist studio musicians who generated sleek, jazzy, R&B-flavored music. About a quarter-century later, this sound was given a name: Yacht Rock. The inventors of the genre name weren’t thinking about boats…well, unless the song was Christopher Cross’s “Sailing.” Yacht Rock was meant to signify deluxe, yuppified, “smooth” music suitable for playing on luxury nautical craft.

Whatever you call it, this music really did command the charts at the turn of the ’80s: from Steely Dan to George Benson, Michael McDonald to Kenny Loggins, Toto to…Michael Jackson?! Believe it: even Thriller is partially a Yacht Rock album. This month, Hit Parade breaks down what Yacht Rock was and how it took over the charts four decades ago—from the perfectionism of “Peg,” to the bounce of “What a Fool Believes,” to the epic smoothness of “Africa.”

Hosted on Acast. See acast.com/privacy for more information.

In this mini-episode of Hit Parade, host Chris Molanphy is joined by Jessica Hopper, acclaimed critic for publications like Rolling Stone, The New York Times Magazine, GQ, The Guardian, Elle and Bookforum, and author of the books The Girls’ Guide to Rocking, The First Collection of Criticism by a Living Female Rock Critic and Night Moves. Her deeply researched September 2019 piece for Vanity Fair, “Building a Mystery: An Oral History of Lilith Fair,” informed and helped inspire the latest episode of Hit Parade. Jessica and Chris discuss the reasons for the festival’s success against the odds, the legacy of its acts big and small, and what a future evolution of a Lilith Fair could look like.

Next, Chris quizzes a very special Slate Plus listener with some music trivia: TJ Raphael, founding co-host and producer of “The Bridge.” TJ originally conceived of the Lilith Fair episode as she departed “The Bridge”—so Chris has invited her back to talk about her earliest memories of woman-fronted alt-rock. Then Chris finally puts TJ in the trivia hot seat.

Podcast production by Asha Saluja. 

A special Hit Parade announcement: Like many media organizations at the moment, Slate is getting hit pretty hard by what's going on with the economy in the wake of the COVID-19 pandemic. We want to continue doing our work, providing you with all our great podcasts, news and reporting, and we simply cannot do that without your support. So we're asking you to sign up for Slate Plus, our membership program. It's just $35 for the first year, and it goes a long way to supporting us in this crucial moment.

As part of this effort, as of April 2020, Hit Parade episodes are available to Slate Plus members only. To listen to future episodes in full, you'll need to become a Slate Plus member. This is the best way to support our show and our work, and we hope you will pitch in if you can. Your membership will also give access to everything on Slate.com, you'll get ad-free versions of this and other shows, and you'll get bonus segments and bonus episodes of other Slate podcasts. Plus, once you become a member, you can sign up to do trivia with Chris Molanphy on Hit Parade—“The Bridge” episodes.

Please sign up today at slate.com/hitparadeplus. We thank you for your support.

Hosted on Acast. See acast.com/privacy for more information.

Little Richard was rock ‘n’ roll’s flamboyant architect. Lesley Gore sang that no one owned her. Sylvester was a gender-fluid icon who helped define disco. Freddie Mercury made rock operatic, and George Michael demanded freedom.

What all of these LGBTQ artists had in common was bold hitmaking—and fear of being fully out of the closet. For decades, queer acts topped the charts while cloaking their true identities and paving the way for today’s more openly queer stars.

For Pride Month, join Chris Molanphy as he traces the hidden history of queer hitmakers on the charts—including those that managed to be both out and No. 1, right up through our modern age of Lil Nas X and Chappell Roan. It’s a celebration of these artists’ quest to feel… mighty real.

Get more Hit Parade with Slate Plus! Join for monthly early-access episodes, bonus episodes of "The Bridge," and ad-free listening across all your favorite Slate podcasts. Subscribe directly from the Hit Parade show page on Apple Podcasts or Spotify. Or, visit slate.com/hitparadeplus to get access wherever you listen.

Hosted on Acast. See acast.com/privacy for more information.

Like many media organizations at the moment, Slate is getting hit pretty hard by what's going on with the economy in the wake of the COVID-19 pandemic. We want to continue doing our work, providing you with all our great podcasts, news and reporting, and we simply cannot do that without your support. So we're asking you to sign up for Slate Plus, our membership program. It's just $35 for the first year, and it goes a long way to supporting us in this crucial moment.

For decades—literally since Woodstock—female musicians had battled music-industry perceptions that amassing too many of them, on the radio or on the road, was bad for business. And yet, by the ’90s, women were vital to the rise of alt-rock and hip-hop on the charts: from Suzanne Vega to Queen Latifah, Tracy Chapman to Sheryl Crow, Natalie Merchant to Missy Elliott.

Sarah McLachlan harnessed this energy into an all-woman tour she dubbed Lilith Fair. Its string of sellouts from 1997 to ’99 affirmed women’s clout in the decade of grunge-and-gangsta. But the festival was also criticized for its narrow focus and for branding “women’s music” as a genre. More than two decades later, Hit Parade assesses the legacy of Lilith on the charts and on the road—how its performers, attendees and musical descendants are helping to ensure the future is female.

Hosted on Acast. See acast.com/privacy for more information.

In this mini-episode of Hit Parade, host Chris Molanphy is joined by Dr. Regina Bradley, Assistant Professor of English and African Diaspora Studies at Kennesaw State University in Kennesaw, Georgia, She is the author of the forthcoming book Chronicling Stankonia: The Rise of the Hip Hop South; cohost of the southern hip-hop podcast Bottom of the Map on WABE and PRX; and host of the recent YouTube series OutKasted Conversations. Gina and Chris discuss the most recent full-length episode of Hit Parade, OutKast’s roots in Atlanta’s decades-long funk tradition, and what they meant to Southerners who felt alienated not just by bicoastal hip-hop but also by Atlanta’s unequal progress on the challenges faced by its black residents.

Next, Chris quizzes a Slate Plus listener with some music trivia, and the contestant turns the tables with a chance to try to stump Chris with a question of his own. Then, Chris teases the upcoming full-length episode of Hit Parade, which will look at Lilith Fair, the all-female festival tour in the late ’90s, how it reflected women’s role in alternative rock, and its legacy to this day. 

A special Hit Parade announcement: Like many media organizations at the moment, Slate is getting hit pretty hard by what's going on with the economy in the wake of the COVID-19 pandemic. We want to continue doing our work, providing you with all our great podcasts, news and reporting, and we simply cannot do that without your support. So we're asking you to sign up for Slate Plus, our membership program. It's just $35 for the first year, and it goes a long way to supporting us in this crucial moment.

As part of this effort, as of April 2020, Hit Parade episodes are available to Slate Plus members only. To listen to future episodes in full, you'll need to become a Slate Plus member. This is the best way to support our show and our work, and we hope you will pitch in if you can. Your membership will also give access to everything on Slate.com, you'll get ad-free versions of this and other shows, and you'll get bonus segments and bonus episodes of other Slate podcasts. Plus, once you become a member, you can sign up to do trivia with Chris Molanphy on Hit Parade—“The Bridge” episodes.

Please sign up today at slate.com/hitparadeplus. We thank you for your support.

Podcast production by Asha Saluja. 

Hosted on Acast. See acast.com/privacy for more information.

A special Hit Parade announcement: Like many media organizations at the moment, Slate is getting hit pretty hard by what's going on with the economy in the wake of the COVID-19 pandemic. We want to continue doing our work, providing you with all our great podcasts, news and reporting, and we simply cannot do that without your support. So we're asking you to sign up for Slate Plus, our membership program. It's just $35 for the first year, and it goes a long way to supporting us in this crucial moment.

As part of this effort, we're going to be making Full Hit Parade episodes available to Slate Plus members only. To listen to the episode in full, and episodes in future months, you'll need to become a Slate Plus member. This is the best way to support our show and our work, and we hope you will pitch in if you can. Your membership will also give access to everything on Slate.com, you'll get ad-free versions of this and other shows, and you'll get bonus segments and bonus episodes of other Slate podcasts. Plus, once you become a member, you can sign up to do trivia with Chris Molanphy on Hit Parade—“The Bridge” episodes. Please sign up today at slate.com/hitparadeplus. We thank you for your support.

On this preview episode: Outkast is inarguably one of the most important acts in hip hop and pop music history, but their impressive chart runs, and the brand of Atlanta hip hop they championed, was far from inevitable. This is the story of Outkast and how they established Atlanta as a major center of hip hop culture in the United States while racking up some of the most unexpected hits in the history of popular music.

Hosted on Acast. See acast.com/privacy for more information.