Hit Parade | Music History and Music Trivia Slate Podcasts

In this mini-episode of Hit Parade, host Chris Molanphy is joined by New York Times pop critic Lindsay Zoladz, writer of the paper’s music twice-weekly newsletter The Amplifier. Six years ago, when Lindsay was still at The Ringer, she wrote that girl groups were being extinguished by solo careers. She now says, in the mid-2020s, that the situation for female vocal combos hasn’t gotten much better, but perhaps K-pop will keep the girl group alive.

Next, Chris quizzes a Slate Plus listener with some music trivia, gives him a chance to turn the tables with a question of his own, and previews next month’s full-length episode. Slate Plus members can sign up for a chance to be our trivia contestant on a future episode here.

Podcast production by Kevin Bendis.

Girl groups have long been underestimated—even by the producers and managers who created them.

For women listeners, girl groups narrated profound emotions and expressed personal freedom—even when the singers were not so free themselves. For male listeners, girl groups provided inspiration, and a way to express matters of the heart.

And for all listeners across rock and soul history, girl groups pushed music forward. In the ’60s, the Shirelles, Marvelettes, Ronettes and Shangri-Las kept rock afloat between Elvis Presley and the Beatles. In the ’70s and ’80s, girl groups from the Emotions to Exposé rebooted dance music. In the ’90s, En Vogue, TLC and Destiny’s Child fused hip-hop style with old-school soul—and the Spice Girls fired up a new generation through Girl Power.

Join Chris Molanphy as we shimmy and strut through decades of bops to give girl groups the respect they deserve. You’ll love them tomorrow, because friendship never ends.

Podcast production by Kevin Bendis.

Want more Hit Parade? Join Slate Plus to unlock monthly early-access episodes. Plus, you’ll get ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of our show page. Or, visit slate.com/hitparadeplus to get access wherever you listen.
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Girl groups have long been underestimated—even by the producers and managers who created them.

For women listeners, girl groups narrated profound emotions and expressed personal freedom—even when the singers were not so free themselves. For male listeners, girl groups provided inspiration, and a way to express matters of the heart.

And for all listeners across rock and soul history, girl groups pushed music forward. In the ’60s, the Shirelles, Marvelettes, Ronettes and Shangri-Las kept rock afloat between Elvis Presley and the Beatles. In the ’70s and ’80s, girl groups from the Emotions to Exposé rebooted dance music. In the ’90s, En Vogue, TLC and Destiny’s Child fused hip-hop style with old-school soul—and the Spice Girls fired up a new generation through Girl Power.

Join Chris Molanphy as we shimmy and strut through decades of bops to give girl groups the respect they deserve. You’ll love them tomorrow, because friendship never ends.

Podcast production by Kevin Bendis.

Want more Hit Parade? Join Slate Plus to unlock monthly early-access episodes. Plus, you’ll get ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of our show page. Or, visit slate.com/hitparadeplus to get access wherever you listen.
Learn more about your ad choices. Visit megaphone.fm/adchoices

When you hear “boy band,” what do you picture? Five guys with precision dance moves? Songs crafted by the Top 40 pop machine? Svengalis pulling the puppet strings? Hordes of screaming girls?

As it turns out, not all boy bands fit these signifiers. (Well…except for the screaming girls—they are perennial.) There are boy bands that danced, and some that did not…boy bands that relied entirely on outside songwriters, and those that wrote big hits…boy bands assembled by managers or producers, and quite a few that launched on their own.

From Frankie Lymon and the Teenagers to New Kids on the Block, the Monkees to the Jonas Brothers, Boyz II Men to BTS, New Edition to One Direction, and…yeah, of course, Backstreet Boys and *N Sync, boy bands have had remarkable variety over the years. (In a sense, even a certain ’60s Fab Four started as a boy band.)

Join Chris Molanphy as he tries to define the ineffable quality of boy band–ness, walks through decades of shrieking, hair-pulling pop history, and reminds you that boy bands generated some of our greatest hits, from “I Want You Back” to “I Want It That Way,” “Bye Bye Bye” to “Dynamite.” Help him “bring the fire and set the night alight.”

Podcast production by Kevin Bendis.
Learn more about your ad choices. Visit megaphone.fm/adchoices

When you hear “boy band,” what do you picture? Five guys with precision dance moves? Songs crafted by the Top 40 pop machine? Svengalis pulling the puppet strings? Hordes of screaming girls?

As it turns out, not all boy bands fit these signifiers. (Well…except for the screaming girls—they are perennial.) There are boy bands that danced, and some that did not…boy bands that relied entirely on outside songwriters, and those that wrote big hits…boy bands assembled by managers or producers, and quite a few that launched on their own.

From Frankie Lymon and the Teenagers to New Kids on the Block, the Monkees to the Jonas Brothers, Boyz II Men to BTS, New Edition to One Direction, and…yeah, of course, Backstreet Boys and *N Sync, boy bands have had remarkable variety over the years. (In a sense, even a certain ’60s Fab Four started as a boy band.)

Join Chris Molanphy as he tries to define the ineffable quality of boy band–ness, walks through decades of shrieking, hair-pulling pop history, and reminds you that boy bands generated some of our greatest hits, from “I Want You Back” to “I Want It That Way,” “Bye Bye Bye” to “Dynamite.” Help him “bring the fire and set the night alight.”

Podcast production by Kevin Bendis.
Learn more about your ad choices. Visit megaphone.fm/adchoices

Cover songs once had a simple playbook: Artists would faithfully rerecord a song—note for note and word for word. They might modernize the instrumentation. If they were feeling radical, they’d punch up the vocals a bit.

Now it’s hard to say what a cover is anymore. If Ariana Grande turns “My Favorite Things” into “7 Rings,” does that qualify? When Drake says he’s “Way 2 Sexy,” is he covering Right Said Fred?

The recent chart success of “Fast Car”—country star Luke Combs’ very traditional take on Tracy Chapman’s folk classic—has reinvigorated interest in cover songs. Sometimes, isn’t just remaking the song as-is enough?

Join Chris Molanphy as he explains the chart considerations and artistic motivations that rebooted the cover song, and whether a straight-up remake will ever top the Hot 100 again. We’re long past the days of “Twist and Shout,” “Venus” and “I’ll Be There.”

Podcast production by Olivia Briley.
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