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.

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On this week’s show, Slate senior editor Rebecca Onion sits in for Julia Turner. First, the hosts examine Dahomey, an audacious new documentary by acclaimed filmmaker Mati Diop (Atlantics.)‌ With a one hour, eight minute run time, Dahomey is an incredibly rich text in a very small package, and contemplates the repatriation of 26 royal treasures plundered from the Kingdom of Dahomey as they journey back to their homeland, which now lies within the Republic of Benin.

Then, the three dive into Netflix’s Death, Let Me Do My Special, a one-woman show performed and written by Rachel Bloom (Crazy Ex-Girlfriend.)‌ The special is perceptive, macabre, and whimsical, as Bloom reflects on the pandemic years and the loss of her close friend and collaborator, Adam Schlesinger. Finally, what is Mark Zuckerberg wearing?‌ That is the question Brendon Holder asks in a recent Substack essay and that is bewildering the panel. Is the Meta CEO simply trying to beat the dweeb allegations through oversized t-shirts and a boyish haircut? Or is there something more sinister going on here?

In the exclusive Slate Plus segment, the panel discusses the role TV plays in their lives, inspired by a recent mega-article published by GQ, “How to Watch TV.” 

Email us at [email protected]. 

Endorsements:

Dana:‌ The AOC‌ and Tim Walz Twitch stream, specifically, the moment when Walz calls Tony Hinchcliffe a “jackwad” following a racist comment. 

Rebecca:‌ The Voyage Home by Pat Parker.

Stephen:‌ Todd Gitlin’s 2001 essay, “Unsafe in any state.”

Podcast production by Jared Downing. Production assistance by Kat Hong.

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U2 have millions of admirers—and haters: from the fans who regard them as rock’s conscience, to the cynics who blanch at lead singer Bono’s self-importance. Here’s the thing: U2 want to play to both crowds. They know why the haters can’t stand them. After a decade of earnestness in the ’80s, Bono, The Edge, Adam Clayton and Larry Mullen called BS on themselves, rebooting their sound and image for the ’90s age of irony.

This shouldn’t have worked. Instead, U2 became as big as ever, and kept scoring hits. Then, when the whole sardonic thing stopped working for them, at the turn of the millennium, they went back to anthemic U2—and the hits kept coming. Their ability to pivot so many times and keep scoring hits over multiple decades is rare in pop history.

Join Chris Molanphy as he explains how U2 pulled this off. How did they balance cool and cringe? How did they outlast new wave, college rock, hair metal and grunge to remain chart-toppers into the era of teenpop and hip-hop? And…what exactly were they thinking when they forced an album onto your iPhone? They don’t mean to bug ya, but…why can’t we live with or without U2?

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.

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The 2004 presidential race would be the first fully Fox News election—a contest that was framed by Fox, and fought on its terms. But the fight over Fox News was about more than just partisan politics. It also launched covert ops against reporters and let loose a secret army of online trolls. And when a Fox producer made serious allegations against Bill O’Reilly, the network showed just how far it would go to defend its biggest star—no matter the cost.

To read our full reporting on the most recent legal actions between Bill O'Reilly and Andrea Mackris, and learn more about how a non-disclosure agreement from two decades ago has kept Mackris silent, go to slate.com/foxnda.

Want more from Slow Burn? Join Slate Plus to unlock full access to all seasons, including members-only bonus episodes from The Rise of Fox News. You'll also enjoy ad-free listening to all of your favorite Slate podcasts. Subscribe now by clicking "Try Free" at the top of the Slow Burn show page on Apple Podcasts. Or, visit slate.com/slowburnplus to get access wherever you listen.

Season 10 of Slow Burn was written and reported by Josh Levin. It was executive produced by Lizzie Jacobs.

Slow Burn is produced by Sophie Summergrad, Joel Meyer, and Rosie Belson with help from Patrick Fort, Jacob Fenston, and Julia Russo. 

Derek John is Slate’s executive producer of narrative podcasts.

This season was edited by Susan Matthews and Hillary Frey.

Merritt Jacob is our senior technical director. Mix and sound design by Joe Plourde. 

Our theme music was composed by Alexis Cuadrado. Derreck Johnson created the artwork for this season. Episode artwork by Ivylise Simones.

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On December 4th, the Supreme Court will hear arguments for U.S. v. Skrmetti, a case that could decide the fate of gender-affirming care for trans people across the country. Outward’s own Jules Gill Peterson contributed to an amicus brief for the case, a document that provides expertise and historical context to assist the court in making it’s decision. In this episode, Bryan and Christina reunite with Jules to break down her contributions to the document and dive into the history of transition and the powerful voices of trans youth from across time.

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As Fox News gathered strength, progressive activists turned to comedian Al Franken and fledgling online communities to punch back. But could the left put up a real fight without a Fox News of its own? And what did Fox’s critics miss when they focused only on its politics?

Want more from Slow Burn? Join Slate Plus to unlock full access to all seasons, including members-only bonus episodes from The Rise of Fox News. You'll also enjoy ad-free listening to all of your favorite Slate podcasts. Subscribe now by clicking "Try Free" at the top of the Slow Burn show page on Apple Podcasts. Or, visit slate.com/slowburnplus to get access wherever you listen.

Season 10 of Slow Burn was written and reported by Josh Levin. It was executive produced by Lizzie Jacobs.

Slow Burn is produced by Sophie Summergrad, Joel Meyer, and Rosie Belson with help from Patrick Fort, Jacob Fenston, and Julia Russo. 

Derek John is Slate’s executive producer of narrative podcasts.

This season was edited by Susan Matthews and Hillary Frey.

Merritt Jacob is our senior technical director. Mix and sound design by Joe Plourde. 

Our theme music was composed by Alexis Cuadrado. Derreck Johnson created the artwork for this season. Episode artwork by Ivylise Simones.

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

After 9/11, the Fox News Channel rallied a huge portion of the country around the Bush administration’s vision of the world. But as the U.S. marched to war in the Middle East, journalists, liberal watchdogs, and comedians began pushing back. Could The Daily Show, Fox News’ own liberal pundits, or an employee-turned-whistleblower take Fox down a peg?

Want more from Slow Burn? Join Slate Plus to unlock full access to all seasons, including members-only bonus episodes from The Rise of Fox News. You'll also enjoy ad-free listening to all of your favorite Slate podcasts. Subscribe now by clicking "Try Free" at the top of the Slow Burn show page on Apple Podcasts. Or, visit slate.com/slowburnplus to get access wherever you listen.

Season 10 of Slow Burn was written and reported by Josh Levin. It was executive produced by Lizzie Jacobs.

Slow Burn is produced by Sophie Summergrad, Joel Meyer, and Rosie Belson with help from Patrick Fort, Jacob Fenston, and Julia Russo. 

Derek John is Slate’s executive producer of narrative podcasts.

This season was edited by Susan Matthews and Hillary Frey.

Merritt Jacob is our senior technical director. Mix and sound design by Joe Plourde. 

Our theme music was composed by Alexis Cuadrado. Derreck Johnson created the artwork for this season. Episode artwork by Ivylise Simones.

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

Whatever happened to selling out? The defining concern of Generation X has become a relic from another era. How that happened is best illustrated by one of the idea’s last gasps, when in 2001, Oprah Winfrey invited author Jonathan Franzen to come on her show to discuss his new novel The Corrections. A month later, she withdrew the invitation, kicking off a media firestorm.

The Oprah-Franzen Book Club Dust-Up of 2001 was a moment when two ways of thinking about selling out smashed into each other, and one of them—the one that was on its way out already—crashed and burned in public, seldom to be seen again.

Some of the voices you’ll hear in this episode include screenwriter Helen Childress; writer and musician Franz Nicolay; New York Times critic Wesley Morris, Oprah producer Alice McGee; Boris Kachka, author of Hothouse: The Art of Survival and the Survival of Art at America’s Most Celebrated Publishing House, Farrar, Straus, and Giroux; Bethany Klein, author of Selling Out: Culture, Commerce and Popular Music; and Laura Miller, Slate’s book critic.

This episode was written by Willa Paskin and produced by Benjamin Frisch. It was edited by Benjamin Frisch and Gabriel Roth. Cleo Levin was our research assistant.

Decoder Ring is produced by Evan Chung, Katie Shepherd, and Max Freedman, with help from Sofie Kodner. Derek John is Executive Producer. Merritt Jacob is Senior Technical Director.

If you haven’t yet, please subscribe and rate our feed in Apple Podcasts or wherever you get your podcasts. And even better, tell your friends.

If you’re a fan of the show, please sign up for Slate Plus. Members get to listen to Decoder Ring and all other Slate podcasts without any ads and have total access to Slate’s website. Your support is also crucial to our work. Go to slate.com/decoderplus to join Slate Plus today. 

Disclosure: 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

GLP-1 drugs like Ozempic, WeGovy, Mounjaro and others revolutionized weight loss and chronic weight management. But what does it feel like for the patients who take them?

On this week’s episode of Well, Now Kavita and Maya talk with journalist and author Johann Hari. Over the course of a year, Johann dived into the research and history behind GLP-1 drugs and how they became the latest and most effective way to lose weight. All the while, he was also taking Ozempic himself. 

His latest book Magic Pill: The Extraordinary Benefits and Disturbing Risks of the New Weight-Loss Drugs takes a personal and research-based look at the revolutionary, controversial rise of GLP-1 drugs for weight management.

If you liked this episode, check out: The Full Truth About Ozempic and Doctors Agree: Obesity is a Disease. The Public Needs to Catch Up.

Well, Now is hosted by registered dietitian nutritionist Maya Feller and Dr. Kavita Patel.

Podcast production by Vic Whitley-Berry with editorial oversight by Alicia Montgomery.

Send your comments and recommendations on what to cover to [email protected]

Want to listen to Well, Now uninterrupted? Subscribe to Slate Plus to immediately unlock ad-free listening to Well, Now and all your other favorite Slate podcasts. 

Subscribe now on Apple Podcasts by clicking “Try Free” at the top of our show page. Or, visit slate.com/wellplus to get access wherever you listen.

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For a decade and a half, CNN was peerless and ambitious, and it understood its place in the world. At least, it thought it did—until Fox News burst onto television screens. Could CNN save itself by becoming conservative or by going tabloid? And how would CNN and Fox respond when September 11 made the news more important than ever?

Want more from Slow Burn? Join Slate Plus to unlock full access to all seasons, including members-only bonus episodes from The Rise of Fox News. You'll also enjoy ad-free listening to all of your favorite Slate podcasts. Subscribe now by clicking "Try Free" at the top of the Slow Burn show page on Apple Podcasts. Or, visit slate.com/slowburnplus to get access wherever you listen.

Season 10 of Slow Burn was written and reported by Josh Levin. It was executive produced by Lizzie Jacobs.

Slow Burn is produced by Sophie Summergrad, Joel Meyer, and Rosie Belson with help from Patrick Fort, Jacob Fenston, and Julia Russo. 

Derek John is Slate’s executive producer of narrative podcasts.

This season was edited by Susan Matthews and Hillary Frey.

Merritt Jacob is our senior technical director. Mix and sound design by Joe Plourde. 

Our theme music was composed by Alexis Cuadrado. Derreck Johnson created the artwork for this season. Episode artwork by Ivylise Simones.

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

A decade ago, Rolling Stone magazine called 1984 “Pop’s Greatest Year.” A bold statement…but a lot of critics agree. A confluence of factors—the comeback of dance music, the peak of MTV, the Second British Invasion, and the emergence of metal and hip-hop—made the radio a great place to be.

It was a year of fearless genre crossover…cinematic hits…veterans reinventing themselves…ballads that became standards…a newcomer named Madonna…and a movie star who called himself The Kid and made doves cry.

Join Chris Molanphy as he dissects eight reasons why 1984 was awesome for pop fans and walks through all 20 of the year’s No. 1 hits: from “Jump” to “Hello,” “Karma Chameleon” to “Caribbean Queen,” “Let’s Go Crazy” to “Like a Virgin.” This is what it sounds like when pop’s fly.

Podcast production by Kevin Bendis.

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