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.  

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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.

Learn more about your ad choices. Visit megaphone.fm/adchoices

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.

Learn more about your ad choices. Visit megaphone.fm/adchoices

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.

Learn more about your ad choices. Visit megaphone.fm/adchoices

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.

Learn more about your ad choices. Visit megaphone.fm/adchoices

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.

Learn more about your ad choices. Visit megaphone.fm/adchoices

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.

Learn more about your ad choices. Visit megaphone.fm/adchoices

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.

Learn more about your ad choices. Visit megaphone.fm/adchoices

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.

Learn more about your ad choices. Visit megaphone.fm/adchoices

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.

Learn more about your ad choices. Visit megaphone.fm/adchoices