Recently while scrolling twitter we saw a clip from American Idol of judge Katy Perry admonishing an auditioner on the show to “Enunciate!”The video went viral because of Perry’s incensed reaction, but also because the contestant’s performance of Amy Winehouse’s “Valerie” offered a crystalline example of a popular style of singing that has produced reactions of love and—like for Perry—hate. It’s a style that features elongated vowels, clipped consonants, and runaway phrasing associated with contemporary singers like Halsey, Jorja Smith, and Shawn Mendes, and like many things in the 21st century it got its name from a tweet—specifically by the user @trackdroppa who boasted in 2009, “Voice so smooth it’s like i’m singing in cursive”In this episode we speak to vocal coaches and journalists to to ask: Where did this cursive style come from? What are the vocal techniques used to create this sound? And why does cursive singing create so much backlash?Songs Discussed Shawn Mendes - Stitches Zooey Deschanel, M. Ward - Winnie the Pooh Mick Jagger - Strange Game Selena Gomez, A$AP Rocky - Good For You Frank Zappa, Moon Zappa - Valley Girl Mark Ronson, Amy Winehouse - Valerie benny blanco, Halsey, Khalid	- Eastside  Jorja Smith - Teenage Fantasy Tones And I - Dance Monkey Sia - Cheap Thrills Corinne Bailey Rae - Put Your Records On Blink-182 - All The Small Things SZA - Kill Bill MoreAshaala Shanaehttps://www.themahi.com/founderJumi Akinfenwahttps://www.vice.com/en/contributor/jumi-akinfenwa Learn more about your ad choices. Visit podcastchoices.com/adchoices

Recently while scrolling twitter we saw a <a href="https://youtu.be/xzUtDpVN5Kc?t=131" rel="nofollow" target="_blank">clip</a> from American Idol of judge Katy Perry admonishing an auditioner on the show to “Enunciate!” The video went viral because of Perry’s incensed reaction, but also because the contestant’s performance of Amy Winehouse’s “Valerie” offered a crystalline example of a popular style of singing that has produced reactions of love and—like for Perry—hate.  It’s a style that features elongated vowels, clipped consonants, and runaway phrasing associated with contemporary singers like Halsey, Jorja Smith, and Shawn Mendes, and like many things in the 21st century it got its name from a tweet—specifically by the user @trackdroppa who boasted in 2009, “Voice so smooth it’s like i’m singing in cursive” In this episode we speak to vocal coaches and journalists to to ask: Where did this cursive style come from? What are the vocal techniques used to create this sound? And why does cursive singing create so much backlash? Songs Discussed <ul> <li>Shawn Mendes - Stitches</li> <li>Zooey Deschanel, M. Ward - Winnie the Pooh</li> <li>Mick Jagger - Strange Game</li> <li>Selena Gomez, A$AP Rocky - Good For You</li> <li>Frank Zappa, Moon Zappa - Valley Girl</li> <li>Mark Ronson, Amy Winehouse - Valerie</li> <li>benny blanco, Halsey, Khalid	- Eastside </li> <li>Jorja Smith - Teenage Fantasy</li> <li>Tones And I - Dance Monkey</li> <li>Sia - Cheap Thrills</li> <li>Corinne Bailey Rae - Put Your Records On</li> <li>Blink-182 - All The Small Things</li> <li>SZA - Kill Bill</li> </ul> More Ashaala Shanae<a href="https://www.themahi.com/founder" rel="nofollow" target="_blank">https://www.themahi.com/founder</a> Jumi Akinfenwa<a href="https://www.vice.com/en/contributor/jumi-akinfenwa" rel="nofollow" target="_blank">https://www.vice.com/en/contributor/jumi-akinfenwa</a> Learn more about your ad choices. Visit <a href="https://podcastchoices.com/adchoices" rel="nofollow" target="_blank">podcastchoices.com/adchoices</a>

Your cursive singing is tearing this family apart!

This past week, the film Barbie opened nationwide to massive success – and with it came a soundtrack, executive produced by Mark Ronson.Functioning as both a companion to the movie and a stand-alone collection of hits, the album features everyone from Dua Lipa to reggaeton star Karol G to K-Pop group FIFTY FIFTY. This episode of Switched on Pop, we take a look at the singles from the soundtrack and see how well they embody the ethos of Barbie: plastic and all.  Check out our 2021 interview with Mark Ronson (about Ginuwine’s “Pony”) here. We reference “vibe snatching” in this episode. Take a listen to our episode breaking down the phenomenon here. For more on Billie Eilish’s “No Time to Die,” check out our Bond episode from October 2021 here. Songs Discussed:  Dua Lipa – Dance The Night Billie Eilish – What Was I Made For? PinkPantheress – Angel FIFTY FIFTY, Kaliii – Barbie Dreams Janet Jackson – Together Again FIFTY FIFTY – Cupid The Cardigans – Lovefool Charli XCX – Speed Drive Billie Eilish – No Time To Die Aqua – Barbie Girl Nicki Minaj, Ice Spice, Aqua – Barbie World Karol G, Aldo Ranks – WATATI Jul – My World Ludacris, Wiz Khalifa, Jeremih, Cashmere Cat – Party Girls Ava Max – Not Your Barbie Girl Ava Max – My Head &amp; My Heart A Touch Of Class – Around the World (La La La La La)  Learn more about your ad choices. Visit podcastchoices.com/adchoices

This past week, the film Barbie opened nationwide to massive success – and with it came a soundtrack, executive produced by Mark Ronson. Functioning as both a companion to the movie and a stand-alone collection of hits, the album features everyone from Dua Lipa to reggaeton star Karol G to K-Pop group FIFTY FIFTY. This episode of Switched on Pop, we take a look at the singles from the soundtrack and see how well they embody the ethos of Barbie: plastic and all.  <ul> <li>Check out our 2021 interview with Mark Ronson (about Ginuwine’s “Pony”) <a href="https://switchedonpop.com/episodes/mark-ronson-ginuwine-pony" rel="nofollow" target="_blank">here</a>.</li> <li>We reference “vibe snatching” in this episode. Take a listen to our episode breaking down the phenomenon <a href="https://switchedonpop.com/episodes/invasion-of-the-vibe-snatchers" rel="nofollow" target="_blank">here</a>.</li> <li>For more on Billie Eilish’s “No Time to Die,” check out our Bond episode from October 2021 <a href="https://switchedonpop.com/episodes/james-bond-spycraft-sound-billie-eilish-hans-zimmer-daniel-craig" rel="nofollow" target="_blank">here</a>.</li> </ul> Songs Discussed: <ul> <li>Dua Lipa – Dance The Night</li> <li>Billie Eilish – What Was I Made For?</li> <li>PinkPantheress – Angel</li> <li>FIFTY FIFTY, Kaliii – Barbie Dreams</li> <li>Janet Jackson – Together Again</li> <li>FIFTY FIFTY – Cupid</li> <li>The Cardigans – Lovefool</li> <li>Charli XCX – Speed Drive</li> <li>Billie Eilish – No Time To Die</li> <li>Aqua – Barbie Girl</li> <li>Nicki Minaj, Ice Spice, Aqua – Barbie World</li> <li>Karol G, Aldo Ranks – WATATI</li> <li>Jul – My World</li> <li>Ludacris, Wiz Khalifa, Jeremih, Cashmere Cat – Party Girls</li> <li>Ava Max – Not Your Barbie Girl</li> <li>Ava Max – My Head &amp; My Heart</li> <li>A Touch Of Class – Around the World (La La La La La)</li> </ul> Learn more about your ad choices. Visit <a href="https://podcastchoices.com/adchoices" rel="nofollow" target="_blank">podcastchoices.com/adchoices</a>

Barbie and the plasticity of pop

Louis Armstrong

In 1964, Louis Armstrong knocked the Beatles off the top of the charts with his recording of “Hello, Dolly!” becoming, at age 62, the oldest artist to ever hit number one on the Billboard Hot 100. Sixty years later, Louis Armstrong remains a beloved cultural figure, his oft-imitated voice still instantly recognizable. But Armstrong is more than a source of levity — his artistry and innovations when he made his first recordings a century ago in 1923 set the template for the modern pop star. On this centennial episode, hear Armstrong as you’ve never heard him: a defiant, pathbreaking musician whose voice resonates in every hit record. Songs Discussed Louis Armstrong - Hello, Dolly! King Oliver's Creole Jazz Band - Dippermouth Blues Fletcher Henderson &amp; His Orchestra - Sugar Foot Stomp Louis Armstrong &amp; His Hot Seven - Potato Head Blues, West End Blues, Big Butter And Egg Man, Heebie Jeebies Louis Armstrong - Ain't Misbehavin', Dinah, I'm a Ding Dong Daddy (From Dumas), Black And Blue, Swing That Music Bing Crosby, The Mills Brothers - Dinah The Boswell Sisters - Heebie Jeebies Ella Fitzgerald - Mack The Knife - Live At The Deutschlandhalle, Berlin, 1960 Joey Ramone - What a Wonderful World Ghostface Killah - The Forest Jon Batiste - What A Wonderful World MoreRead Terry Teachout’s brilliant biography of Armstrong, PopsVisit the Louis Armstrong House Museum in Queens, NYListen to Lil Hardin Armstrong’s 1968 interview with Chris Albertson for Riverside Records Learn more about your ad choices. Visit podcastchoices.com/adchoices

In 1964, Louis Armstrong knocked the Beatles off the top of the charts with his recording of “Hello, Dolly!” becoming, at age 62, the oldest artist to ever hit number one on the Billboard Hot 100. Sixty years later, Louis Armstrong remains a beloved cultural figure, his oft-imitated voice still instantly recognizable. But Armstrong is more than a source of levity — his artistry and innovations when he made his first recordings a century ago in 1923 set the template for the modern pop star. On this centennial episode, hear Armstrong as you’ve never heard him: a defiant, pathbreaking musician whose voice resonates in every hit record.  Songs Discussed<ul> <li>Louis Armstrong - Hello, Dolly!</li> <li>King Oliver's Creole Jazz Band - Dippermouth Blues</li> <li>Fletcher Henderson &amp; His Orchestra - Sugar Foot Stomp</li> <li>Louis Armstrong &amp; His Hot Seven - Potato Head Blues, West End Blues, Big Butter And Egg Man, Heebie Jeebies</li> <li>Louis Armstrong - Ain't Misbehavin', Dinah, I'm a Ding Dong Daddy (From Dumas), Black And Blue, Swing That Music</li> <li>Bing Crosby, The Mills Brothers - Dinah</li> <li>The Boswell Sisters - Heebie Jeebies</li> <li>Ella Fitzgerald - Mack The Knife - Live At The Deutschlandhalle, Berlin, 1960</li> <li>Joey Ramone - What a Wonderful World</li> <li>Ghostface Killah - The Forest</li> <li>Jon Batiste - What A Wonderful World</li> </ul> MoreRead Terry Teachout’s brilliant biography of Armstrong, <a href="https://www.powells.com/book/-9780547386379/1-0" rel="nofollow" target="_blank">Pops</a>Visit the <a href="https://www.louisarmstronghouse.org/" rel="nofollow" target="_blank">Louis Armstrong House Museum in Queens</a>, NYListen to <a href="https://www.youtube.com/watch?v=eugwb-b1n0Y&amp;ab_channel=LorenSchoenberg" rel="nofollow" target="_blank">Lil Hardin Armstrong’s 1968 interview</a> with Chris Albertson for Riverside Records Learn more about your ad choices. Visit <a href="https://podcastchoices.com/adchoices" rel="nofollow" target="_blank">podcastchoices.com/adchoices</a>

How Louis Armstrong invented the modern pop star

Taylor Swift is currently the most streamed artist in the world as she’s commandeered the media as she embarks on her Eras tour around the globe. It's likely to be the highest grossing tour of all time, crossing $1B in sales. What’s more, she’s just released her 6th studio album since 2020, and her 3rd re-recording of her older material called Taylor’s Versions. She famously got in a spat with the new owner of her master recordings. She decided to take back control with her own hands and voice, creating mostly true-to-the-original updates alongside a smorgasbord of bonus material.First there was Fearless from 2008, then Red from 2012 and now Speak Now the last of her more country leaning albums having originally arrived in 2010. Switched On Pop listens to Speak Now (Taylor’s Version) for whats is and isn’t working musically, how the re-recordings are fairing, and where this ambitious project may go next.Joining the conversation is Lauren Michele Jackson American cultural critic, assistant professor of English and African American studies at Northwestern, author of White Negroes: When Cornrows Were in Vogue ... and Other Thoughts on Cultural Appropriation and a contributing writer to the New Yorker in her review of Taylor Swift’s midnights said “I’ve always maintained that Swift is incapable of writing a bad song.”MOREPop Pantheon: Checking in on Taylor Swift's Re-Recordings So Far (with Charlie Harding, Larisha Paul &amp; Nora Princiotti)SONGS DISCUSSEDTaylor Swift - Fearless, Red, Speak Now, Never Grow Up, The Story Of Us, Sparks Fly, Mine, Mean, Superman, Karma, Better than Revenge, Electric Touch, Castles Crumbling, When Emma Falls in Love, I Can See You, Back, To December, Last KissDef Leppard - Pour Some Sugar On MeGloria Gaynor - I Will Survive  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Taylor Swift is currently the most streamed artist in the world as she’s commandeered the media as she embarks on her Eras tour around the globe. It's likely to be the highest grossing tour of all time, crossing $1B in sales. What’s more, she’s just released her 6th studio album since 2020, and her 3rd re-recording of her older material called Taylor’s Versions. She famously got in a spat with the new owner of her master recordings. She decided to take back control with her own hands and voice, creating mostly true-to-the-original updates alongside a smorgasbord of bonus material. First there was Fearless from 2008, then Red from 2012 and now Speak Now the last of her more country leaning albums having originally arrived in 2010. Switched On Pop listens to Speak Now (Taylor’s Version) for whats is and isn’t working musically, how the re-recordings are fairing, and where this ambitious project may go next. Joining the conversation is Lauren Michele Jackson American cultural critic, assistant professor of English and African American studies at Northwestern, author of <a href="https://www.penguinrandomhouse.com/books/609002/white-negroes-by-lauren-michele-jackson/" rel="nofollow" target="_blank">White Negroes: When Cornrows Were in Vogue ... and Other Thoughts on Cultural Appropriation</a> and a contributing writer to the New Yorker in her <a href="https://www.newyorker.com/culture/listening-booth/in-taylor-swifts-midnights-the-easter-eggs-arent-the-point" rel="nofollow" target="_blank">review</a> of Taylor Swift’s midnights said “I’ve always maintained that Swift is incapable of writing a bad song.” MORE<a href="https://poppantheon.transistor.fm/episodes/taylor-swifts-re-recordings-friend-or-foe-with-charlie-harding-larisha-paul-nora-princiotti" rel="nofollow" target="_blank">Pop Pantheon: Checking in on Taylor Swift's Re-Recordings So Far (with Charlie Harding, Larisha Paul &amp; Nora Princiotti)</a> SONGS DISCUSSEDTaylor Swift - Fearless, Red, Speak Now, Never Grow Up, The Story Of Us, Sparks Fly, Mine, Mean, Superman, Karma, Better than Revenge, Electric Touch, Castles Crumbling, When Emma Falls in Love, I Can See You, Back, To December, Last KissDef Leppard - Pour Some Sugar On MeGloria Gaynor - I Will Survive  Learn more about your ad choices. Visit <a href="https://podcastchoices.com/adchoices" rel="nofollow" target="_blank">podcastchoices.com/adchoices</a>

Speak Now (about Taylor's versions)

Sam Sanders

Us at Switched On Pop are off on vacation, but don't fret – this week we're still bringing you an episode, courtesy of the Vulture podcast Into It with Sam Sanders. If you've openly wondered why concert tickets seemingly have gotten more confusing and expensive, this episode's for you.–Content creator and head of the Beyhive Kalen Allen is more than OK spending four thousand dollars on one ticket for Beyoncé’s Renaissance tour. 2023 feels like a big year for huge stadium tours for artists like Beyoncé, Taylor Swift, Bruce Springsteen, Ed Sheeran and more. But why are tickets so expensive, and how much are fans willing to put up with in order to go? Sam talks with music journalist Nate Rogers about why the touring industry might just be broken and what lawmakers and some artists are trying to do to fix it. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Us at Switched On Pop are off on vacation, but don't fret – this week we're still bringing you an episode, courtesy of the Vulture podcast Into It with Sam Sanders. If you've openly wondered why concert tickets seemingly have gotten more confusing and expensive, this episode's for you. – Content creator and head of the Beyhive Kalen Allen is more than OK spending four thousand dollars on one ticket for Beyoncé’s Renaissance tour. 2023 feels like a big year for huge stadium tours for artists like Beyoncé, Taylor Swift, Bruce Springsteen, Ed Sheeran and more. But why are tickets so expensive, and how much are fans willing to put up with in order to go? Sam talks with music journalist Nate Rogers about why the touring industry might just be broken and what lawmakers and some artists are trying to do to fix it. Learn more about your ad choices. Visit <a href="https://podcastchoices.com/adchoices" rel="nofollow" target="_blank">podcastchoices.com/adchoices</a>

My Beyoncé Ticket Cost $4,000: Why the Touring Industry Might Be Broken – Into It with Sam Sanders

Vulture might have killed the song of the summer back in 2016, but if you’re a member of the LGBTQ+ community, it’s hard to argue against “Padam Padam” by Kylie Minogue. The track, released this May, has taken the queer community by storm, quickly becoming ubiquitous and inescapable – it's hard to even scroll on Twitter without a well-timed meme about the "padam-ic" popping up on the timeline. However, Minogue's song hasn't even cracked the Billboard Hot 100; instead, its status has morphed into that of a "gay anthem," a song widely celebrated inside the community but unable to garner longstanding success outside of it.This episode of Switched on Pop, producer Reanna Cruz tackles a question that the LGBTQ+ community has debated over for decades: what makes a gay anthem? Through talking with everyone from academics to their close friends, the answer takes us from Judy Garland to 1920s cabaret to, of course, "Padam Padam."Songs Discussed: Kylie Minogue – Padam Padam Édith Piaf – Padam padam Kylie Minogue – Supernova Mischa Spoliansky – Das lila Lied (The Lavender Song) Queen – I Want To Break Free Lady Gaga – Born This Way London Philharmonic Choir – Amazing Grace Traditional – God Save The King Queen – We Are The Champions Tom Robinson Band – Glad to be Gay Diana Ross – I'm Coming Out Judy Garland – Alone Together (Live At Carnegie Hall/1961) Countess Luann – Chic C'est La Vie Judy Garland – The Trolley Song Lady Gaga – La Vie En Rose Bronski Beat – Smalltown Boy Village People – Y.M.C.A. Sylvester – You Make Me Feel (Mighty Real) Miquel Brown – So Many Men, So Little Time Depeche Mode – Never Let Me Down Again The Weather Girls – It's Raining Men Gloria Gaynor – I Will Survive  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Vulture might have killed the song of the summer back in 2016, but if you’re a member of the LGBTQ+ community, it’s hard to argue against “Padam Padam” by Kylie Minogue. The track, released this May, has taken the queer community by storm, quickly becoming ubiquitous and inescapable – it's hard to even scroll on Twitter without a well-timed meme about the "padam-ic" popping up on the timeline. However, Minogue's song hasn't even cracked the Billboard Hot 100; instead, its status has morphed into that of a "gay anthem," a song widely celebrated inside the community but unable to garner longstanding success outside of it. This episode of Switched on Pop, producer Reanna Cruz tackles a question that the LGBTQ+ community has debated over for decades: what makes a gay anthem? Through talking with everyone from academics to their close friends, the answer takes us from Judy Garland to 1920s cabaret to, of course, "Padam Padam." Songs Discussed:<ul> <li>Kylie Minogue – Padam Padam</li> <li>Édith Piaf – Padam padam</li> <li>Kylie Minogue – Supernova</li> <li>Mischa Spoliansky – Das lila Lied (The Lavender Song)</li> <li>Queen – I Want To Break Free</li> <li>Lady Gaga – Born This Way</li> <li>London Philharmonic Choir – Amazing Grace</li> <li>Traditional – God Save The King</li> <li>Queen – We Are The Champions</li> <li>Tom Robinson Band – Glad to be Gay</li> <li>Diana Ross – I'm Coming Out</li> <li>Judy Garland – Alone Together (Live At Carnegie Hall/1961)</li> <li>Countess Luann – Chic C'est La Vie</li> <li>Judy Garland – The Trolley Song</li> <li>Lady Gaga – La Vie En Rose</li> <li>Bronski Beat – Smalltown Boy</li> <li>Village People – Y.M.C.A.</li> <li>Sylvester – You Make Me Feel (Mighty Real)</li> <li>Miquel Brown – So Many Men, So Little Time</li> <li>Depeche Mode – Never Let Me Down Again</li> <li>The Weather Girls – It's Raining Men</li> <li>Gloria Gaynor – I Will Survive</li> </ul> Learn more about your ad choices. Visit <a href="https://podcastchoices.com/adchoices" rel="nofollow" target="_blank">podcastchoices.com/adchoices</a>

What makes a gay anthem?

Another installment of Switches Brew the show where you get to hear from the larger team Switched On Pop team and community about what we're listening to old and new. With recommendations from editor Jolie Myers, producer Reanna Cruz, and listeners Micah Salkind and JT.﻿Songs Discussed Saint Levant - Nails BewhY - Adaptation The Pointer Sisters - Dare Me, I'm So Excited, Jump Junior Jack - Stupidisco blink-182 - Man Overboard, What's My Age Again? All The Small THings White Poppy - Orchid Child Odyssey - Native New Yorker Kate Bush - The Morning Fog Spencer Zahn, Dave Harrington, Jeremy Gustin - A Visit To Harry's House Cicada Ensemble - Murmuration Clip  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Another installment of Switches Brew the show where you get to hear from the larger team Switched On Pop team and community about what we're listening to old and new. With recommendations from editor Jolie Myers, producer Reanna Cruz, and listeners Micah Salkind and JT. ﻿Songs Discussed<ul> <li>Saint Levant - Nails</li> <li>BewhY - Adaptation</li> <li>The Pointer Sisters - Dare Me, I'm So Excited, Jump</li> <li>Junior Jack - Stupidisco</li> <li>blink-182 - Man Overboard, What's My Age Again? All The Small THings</li> <li>White Poppy - Orchid Child</li> <li>Odyssey - Native New Yorker</li> <li>Kate Bush - The Morning Fog</li> <li>Spencer Zahn, Dave Harrington, Jeremy Gustin - A Visit To Harry's House</li> <li>Cicada Ensemble - Murmuration Clip</li> </ul> Learn more about your ad choices. Visit <a href="https://podcastchoices.com/adchoices" rel="nofollow" target="_blank">podcastchoices.com/adchoices</a>

Switches Brew: blink-182, Kate Bush, BewhY, The Pointer Sisters, Saint Levant

As summer comes upon us, it’s time for some Billboard shake ups. On this week’s edition of Chartbreakers, we’re looking at the recent iterations of the Hot 100 and a trend that has slowly been creeping up in popularity over the past few months: the influx of regional Mexican music. The past two years have seen many songs by Mexican artists making their way onto Billboard, all managing to highlight different scenes and sounds from the different states in Mexico. We’re joined this week by the cohost of the NPR Music podcast Alt. Latino, Anamaria Sayre, who says that Mexican regional, or simply, regional, is a marketing “bucket term” that encompasses different Latin genres including everything from norteño to corridos, all genres that are comfortably finding a home in the top 20 of the Hot 100 in 2023.Of course, there’s more happening outside of Latin music. Much of the chart has been stagnant since our last iteration of Chartbreakers, but, as always, there’s been some shake ups thanks to the world of the TikTok sped-up remix, the legacy artist, and on some occasions, a mix of both (we’re looking at you, Miguel).Songs Discussed: Eslabon Armado, Peso Pluma – Ella Baila Sola Bizarrap, Peso Pluma – Peso Pluma: Bzrp Music Sessions, Vol. 55 Grupo Frontera, Bad Bunny – un x100to Fuerza Regida – TQM Grupo Frontera, Fuerza Regida – Bebe Dame Los Tigres del Norte – Prisión De Amor Chalino Sanchez, Banda Brava – Alma Enamorada Chalino Sanchez, Los Amables Del Norte – El Crimen De Culiacán Ramon Ayala y Sus Bravos del Norte – Solo Una Patada Grupo Firme, Junior H – Tronando Ligas Banda MS de Sergio Lizárraga – Que Bendición DannyLux – Mi Otra Mitad Natanael Cano – Pacas De Billetes Miguel – Sure Thing FIFTY FIFTY – Cupid Lana del Rey – Say Yes to Heaven Taylor Swift, Ice Spice – Karma (ft. Ice Spice)  Learn more about your ad choices. Visit podcastchoices.com/adchoices

As summer comes upon us, it’s time for some Billboard shake ups. On this week’s edition of Chartbreakers, we’re looking at the recent iterations of the Hot 100 and a trend that has slowly been creeping up in popularity over the past few months: the influx of regional Mexican music. The past two years have seen many songs by Mexican artists making their way onto Billboard, all managing to highlight different scenes and sounds from the different states in Mexico.  We’re joined this week by the cohost of the NPR Music podcast Alt. Latino, Anamaria Sayre, who says that Mexican regional, or simply, regional, is a marketing “bucket term” that encompasses different Latin genres including everything from norteño to corridos, all genres that are comfortably finding a home in the top 20 of the Hot 100 in 2023. Of course, there’s more happening outside of Latin music. Much of the chart has been stagnant since our last iteration of Chartbreakers, but, as always, there’s been some shake ups thanks to the world of the TikTok sped-up remix, the legacy artist, and on some occasions, a mix of both (we’re looking at you, Miguel). Songs Discussed:<ul> <li>Eslabon Armado, Peso Pluma – Ella Baila Sola</li> <li>Bizarrap, Peso Pluma – Peso Pluma: Bzrp Music Sessions, Vol. 55</li> <li>Grupo Frontera, Bad Bunny – un x100to</li> <li>Fuerza Regida – TQM</li> <li>Grupo Frontera, Fuerza Regida – Bebe Dame</li> <li>Los Tigres del Norte – Prisión De Amor</li> <li>Chalino Sanchez, Banda Brava – Alma Enamorada</li> <li>Chalino Sanchez, Los Amables Del Norte – El Crimen De Culiacán</li> <li>Ramon Ayala y Sus Bravos del Norte – Solo Una Patada</li> <li>Grupo Firme, Junior H – Tronando Ligas</li> <li>Banda MS de Sergio Lizárraga – Que Bendición</li> <li>DannyLux – Mi Otra Mitad</li> <li>Natanael Cano – Pacas De Billetes</li> <li>Miguel – Sure Thing</li> <li>FIFTY FIFTY – Cupid</li> <li>Lana del Rey – Say Yes to Heaven</li> <li>Taylor Swift, Ice Spice – Karma (ft. Ice Spice)</li> </ul> Learn more about your ad choices. Visit <a href="https://podcastchoices.com/adchoices" rel="nofollow" target="_blank">podcastchoices.com/adchoices</a>

Chartbreakers: Mexican regional y más

In the song "Touch" from Daft Punk's final studio album, 2013's Random Access Memories, featured artist Paul Williams sings a line that augured the end of an impressive collaboration: "I need something more." With RAM, Daft Punk pulled out all the stops, going the opposite direction of their previous albums, to "give life back to music" and bestow hearts and souls upon their robotic doppelgängers.RAM features almost no samples or programmed digital instruments, instead leaning into extensive collaborations with legendary studio musicians, iconic producers like Nile Rodgers, and modern mavens such as Pharrell. The making of RAM followed the blueprint of classic albums from what Daft Punk called "the golden age" of recording—Fleetwood Mac, the Eagles, Pink Floyd. The duo spent over a million dollars, held five years of studio sessions, and painstakingly crafted each track. The result was a record that helped usher in a retro disco-funk revival across pop music and generated a smash hit in "Get Lucky." The band had perhaps crafted their magnum opus—but did it also represent the conclusion of their epic narrative of the battle between human and machine?Songs DiscussedDaft Punk - Give Life Back to MusicDaft Punk - Lose Yourself to Dance (feat. Pharrell Williams)Daft Punk - Get Lucky (feat. Pharrell Williams and Nile Rodgers)Daft Punk - Giorgio by MoroderEagles - Hotel CaliforniaDaft Punk - ContactThe Sherbs - We Ride TonightDaft Punk - The Prime Time of Your LifeDaft Punk, Paul Williams - Touch (feat. Paul Williams)Thomas Bangalter - Mythologies: X. L'Accouchement Learn more about your ad choices. Visit podcastchoices.com/adchoices

In the song "Touch" from Daft Punk's final studio album, 2013's Random Access Memories, featured artist Paul Williams sings a line that augured the end of an impressive collaboration: "I need something more." With RAM, Daft Punk pulled out all the stops, going the opposite direction of their previous albums, to "give life back to music" and bestow hearts and souls upon their robotic doppelgängers.RAM features almost no samples or programmed digital instruments, instead leaning into extensive collaborations with legendary studio musicians, iconic producers like Nile Rodgers, and modern mavens such as Pharrell. The making of RAM followed the blueprint of classic albums from what Daft Punk called "the golden age" of recording—Fleetwood Mac, the Eagles, Pink Floyd. The duo spent over a million dollars, held five years of studio sessions, and painstakingly crafted each track. The result was a record that helped usher in a retro disco-funk revival across pop music and generated a smash hit in "Get Lucky." The band had perhaps crafted their magnum opus—but did it also represent the conclusion of their epic narrative of the battle between human and machine?Songs DiscussedDaft Punk - Give Life Back to MusicDaft Punk - Lose Yourself to Dance (feat. Pharrell Williams)Daft Punk - Get Lucky (feat. Pharrell Williams and Nile Rodgers)Daft Punk - Giorgio by MoroderEagles - Hotel CaliforniaDaft Punk - ContactThe Sherbs - We Ride TonightDaft Punk - The Prime Time of Your LifeDaft Punk, Paul Williams - Touch (feat. Paul Williams)Thomas Bangalter - Mythologies: X. L'Accouchement Learn more about your ad choices. Visit <a href="https://podcastchoices.com/adchoices" rel="nofollow" target="_blank">podcastchoices.com/adchoices</a>

Listening 2 Daft Punk: Random Access Memories

Throughout their legendary career, Daft Punk continued to prove that the more robotic their music became, the more human they sounded. This dichotomy came to a head on their third album, aptly titled Human After All. Where their past two records wired their circuits and gave the robots a voice, on Human After All, Thomas Bangalter and Guy-Manuel de Homem-Christo gave Daft Punk sentience. On Human After All robots rock, but they also question their rigid programming. The record's ensuing tour and resulting live album, Alive 2007, furthered the narrative by ushering in a new age of live electronic performance. The impact of these two records range from the development of EDM to everlasting hits like “Technologic.” On episode three of our Listening 2 Daft Punk series, we take a look at these two records, and how both Alive and Human After All imbued the robots with super intelligence.Songs Discussed Daft Punk - Human After All Daft Punk - The Prime Time of Your Life Daft Punk - Robot Rock Breakwater - Release the Beast Daft Punk - Steam Machine Daft Punk - The Brainwasher Black Sabbath - Iron Man Daft Punk - Technologic Daft Punk - Emotion John Williams – Wild Signals Daft Punk – Touch It / Technologic Daft Punk – Oh Yeah Daft Punk – Technologic Busta Rhymes – Touch It Daft Punk – Around the World / Harder Better Faster Stronger Daft Punk – Face to Face / Short Circuit Daft Punk – Da Funk / Daftendirekt Kanye West – Stronger Kanye West – On Sight Daft Punk – Human After All / Together / One More Time / Music Sounds Better With You  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Throughout their legendary career, Daft Punk continued to prove that the more robotic their music became, the more human they sounded. This dichotomy came to a head on their third album, aptly titled Human After All. Where their past two records wired their circuits and gave the robots a voice, on Human After All, Thomas Bangalter and Guy-Manuel de Homem-Christo gave Daft Punk sentience. On Human After All robots rock, but they also question their rigid programming. The record's ensuing tour and resulting live album, Alive 2007, furthered the narrative by ushering in a new age of live electronic performance. The impact of these two records range from the development of EDM to everlasting hits like “Technologic.” On episode three of our Listening 2 Daft Punk series, we take a look at these two records, and how both Alive and Human After All imbued the robots with super intelligence. Songs Discussed<ul> <li>Daft Punk - Human After All</li> <li>Daft Punk - The Prime Time of Your Life</li> <li>Daft Punk - Robot Rock</li> <li>Breakwater - Release the Beast</li> <li>Daft Punk - Steam Machine</li> <li>Daft Punk - The Brainwasher</li> <li>Black Sabbath - Iron Man</li> <li>Daft Punk - Technologic</li> <li>Daft Punk - Emotion</li> <li>John Williams – Wild Signals</li> <li>Daft Punk – Touch It / Technologic</li> <li>Daft Punk – Oh Yeah</li> <li>Daft Punk – Technologic</li> <li>Busta Rhymes – Touch It</li> <li>Daft Punk – Around the World / Harder Better Faster Stronger</li> <li>Daft Punk – Face to Face / Short Circuit</li> <li>Daft Punk – Da Funk / Daftendirekt</li> <li>Kanye West – Stronger</li> <li>Kanye West – On Sight</li> <li>Daft Punk – Human After All / Together / One More Time / Music Sounds Better With You</li> </ul> Learn more about your ad choices. Visit <a href="https://podcastchoices.com/adchoices" rel="nofollow" target="_blank">podcastchoices.com/adchoices</a>

Listening 2 Daft Punk: Human After All / Alive 2007

A podcast all about the making and meaning of popular music. Musicologist Nate Sloan &amp; songwriter Charlie Harding pull back the curtain on how pop hits work magic on our ears &amp; our culture. From Vulture and the Vox Media Podcast Network.

Charlie and Nate host a show that is so entertaining and fun to listen to, and every time I learn new ways to appreciate music, and to see how interconnected all music styles are. Highly recommended!

So fun and also a great way to learn

Literally my favorite podcast. Hosts are amazing and content is educational and engaging

My favorite podcast!

Switched on Pop

Kris Bowers

The Netflix series Bridgerton has hooked audiences with its bodice-ripping sex scenes, a colorblind approach period drama casting, and a soundtrack featuring recreations of modern bangers from pop stars like Ariana Grande and Billie Eilish arranged in the style of a classical string quartet. By bringing modern melodies into the proper world of Regency England, the show reminds us that classical music wasn’t always so stuffy and solemn. In its time, it trafficked in the same scandal as modern pop.Alongside these classical-pop mashups, Bridgerton serves up its own ravishing score from composer Kris Bowers, who joins to break down how he made the past pop.Songs Discussed:Vitamin String Quartet - Thank U, Next, Bad Guy, In My BloodKris Bowers - When You Are Alone, Flawless My Dear, StrangeMaurice Ravel - Tombeau de Couperin, PreludeClara Schumann - Der Mond Kommt Still GegangenJohannes Brahms - Symphony No 3 in F Major Op 90, Mvt 3 (for Four Hand Piano)MoreRead Maria Popova on the letters of Johannes Brahms and Clara Schumannand Adrian Daub on Four Handed Monsters Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Netflix series Bridgerton has hooked audiences with its bodice-ripping sex scenes, a colorblind approach period drama casting, and a soundtrack featuring recreations of modern bangers from pop stars like Ariana Grande and Billie Eilish arranged in the style of a classical string quartet. By bringing modern melodies into the proper world of Regency England, the show reminds us that classical music wasn’t always so stuffy and solemn. In its time, it trafficked in the same scandal as modern pop.Alongside these classical-pop mashups, Bridgerton serves up its own ravishing score from composer <a href="https://www.vulture.com/2018/11/mahershala-ali-piano-playing-green-book.html" rel="nofollow" target="_blank">Kris Bowers</a>, who joins to break down how he made the past pop. Songs Discussed:Vitamin String Quartet - Thank U, Next, Bad Guy, In My BloodKris Bowers - When You Are Alone, Flawless My Dear, StrangeMaurice Ravel - Tombeau de Couperin, PreludeClara Schumann - Der Mond Kommt Still GegangenJohannes Brahms - Symphony No 3 in F Major Op 90, Mvt 3 (for Four Hand Piano) MoreRead <a href="https://www.brainpickings.org/2017/02/21/clara-schumann-johannes-brahms-letters/" rel="nofollow" target="_blank">Maria Popova</a> on the letters of Johannes Brahms and Clara Schumannand <a href="https://global.oup.com/academic/product/four-handed-monsters-9780199981779?cc=us&amp;lang=en&amp;" rel="nofollow" target="_blank">Adrian Daub</a> on Four Handed Monsters Learn more about your ad choices. Visit <a href="https://podcastchoices.com/adchoices" rel="nofollow" target="_blank">podcastchoices.com/adchoices</a>

The Scandalous Sounds of Bridgerton (w Kris Bowers)

On a trajectory to be one of the biggest pop stars for this generation, seventeen year old Billie Eilish is not, however, your typical pop star. Her music speaks to the real anxieties of young people without any veneer. She sings from the perspective of monsters and villains. Her hushed voice, baggy style, and direct demeanor subvert the norms of the pop princess. And her music is dark, but still catchy. Billie co-writes and produces her sound with her older brother Finneas O’Connell. Together this family duo have crafted the second biggest selling album of 2019, “When We All Fall Asleep, Where Do We Go?” On this episode, we examine how Billie and Finneas crafted a cultural phenomenon, why their message speaks to this generation, and we speak with Finneas about the creation of their hit song “Bad Guy.”MORE Watch Billie and Finneas break down “Bury A Friend” on The New York TimesBillie Eilish – Ocean Eyes Billie Eilish – Bored Billie Eilish – You Should See Me In A Crown Billie Eilish – Bad Guy Billie Eilish – Bury A Friend Marilyn Manson – The Beautiful People The Doors – People Are Strange Nine Inch Nails – Closer Billie Eilish – ilomilo Billie Eilish – All Good Girls Go To Hell Billie Eilish – Xanny Frank Sinatra – Dream A Dream Billie Eilish – I love you John Carpenter – Halloween Theme Billie Eilish – Bellyache MOREBillie Eilish explained on Vox.comWatch Billie and Finneas break down “Bury A Friend” on The New York Times Learn more about your ad choices. Visit podcastchoices.com/adchoices

On a trajectory to be one of the biggest pop stars for this generation, seventeen year old Billie Eilish is not, however, your typical pop star. Her music speaks to the real anxieties of young people without any veneer. She sings from the perspective of monsters and villains. Her hushed voice, baggy style, and direct demeanor subvert the norms of the pop princess. And her music is dark, but still catchy. Billie co-writes and produces her sound with her older brother Finneas O’Connell. Together this family duo have crafted the second biggest selling album of 2019, “When We All Fall Asleep, Where Do We Go?” On this episode, we examine how Billie and Finneas crafted a cultural phenomenon, why their message speaks to this generation, and we speak with Finneas about the creation of their hit song “Bad Guy.” MORE<ul> <li>Watch Billie and Finneas break down “Bury A Friend” on <a href="https://www.nytimes.com/video/arts/music/100000006389803/billie-eilish-bury-a-friend.html" rel="nofollow" target="_blank">The New York Times</a>Billie Eilish – Ocean Eyes</li> <li>Billie Eilish – Bored</li> <li>Billie Eilish – You Should See Me In A Crown</li> <li>Billie Eilish – Bad Guy</li> <li>Billie Eilish – Bury A Friend</li> <li>Marilyn Manson – The Beautiful People</li> <li>The Doors – People Are Strange</li> <li>Nine Inch Nails – Closer</li> <li>Billie Eilish – ilomilo</li> <li>Billie Eilish – All Good Girls Go To Hell</li> <li>Billie Eilish – Xanny</li> <li>Frank Sinatra – Dream A Dream</li> <li>Billie Eilish – I love you</li> <li>John Carpenter – Halloween Theme</li> <li>Billie Eilish – Bellyache</li> </ul> MOREBillie Eilish explained on <a href="https://www.vox.com/culture/2019/4/18/18412282/who-is-billie-eilish-explained-coachella-2019" rel="nofollow" target="_blank">Vox.com</a>Watch Billie and Finneas break down “Bury A Friend” on <a href="https://www.nytimes.com/video/arts/music/100000006389803/billie-eilish-bury-a-friend.html" rel="nofollow" target="_blank">The New York Times</a> Learn more about your ad choices. Visit <a href="https://podcastchoices.com/adchoices" rel="nofollow" target="_blank">podcastchoices.com/adchoices</a>

ICYMI: Billie Eilish is a Different Kind of Pop Star (ft. FINNEAS)

This Sunday, The Weeknd will perform his distinctly dark brand of pop at the Super Bowl halftime show. On the surface, the alter-ego of Abel Tesfaye is a strange pick for the ostensibly family-friendly main-stage — for more than a decade, The Weeknd has fused the sounds of pop, R&amp;B, and trap into a cinematic horror-thriller about drugs, sex and the excess of fame. While his sheer volume of Hot 100 hits have rightly earned him mainstream status, even his most commercial material is hardly PG — the 2015 hit “Can’t Feel My Face” is an 80s throwback laced with on-the-nose cocaine metaphors. But over the last year his subversive image has been rewritten by the song “Blinding Lights,” from his 2020 album After Hours. The song vaulted up the charts in March 2020, supported by a viral TikTok challenge: Using the song’s opening instrumental as inspiration, countless families performed the dance together while sheltering in place. Since then, seemingly every radio format, adult contemporary included, has played this song on repeat, making it the longest running song in the Hot 100 top five and top ten (given the songs success, The Weeknd is justly aggrieved by the Grammy’s recent snub).On Switched on Pop’s first episode as part of Vulture, we break down how “Blinding Lights” blends lyrical relatability with musical familiarity, earning The Weeknd the biggest and perhaps most misunderstood hit of his career.Songs DiscussedThe Weeknd - Blinding LightsMichael Sembello - Maniaca-ha - Take on MeBruce Springsteen - Blinded By The LightManfred Mann's Earth Band - Blinded By The LightThe Weeknd - Can't Feel My FaceThe Weeknd - FaithThe Weeknd - In Your EyesThe Weeknd - Save Your TearsThe Weeknd - Until I Bleed OutMoreRead Chris Molanphy's "Why the Weeknd’s “Blinding Lights” Is the First Chart Topper of the Coronavirus Era"Thanks to Arc Iris for the theme song reharmonization Learn more about your ad choices. Visit podcastchoices.com/adchoices

This Sunday, The Weeknd will perform his distinctly dark brand of pop at <a href="https://www.vulture.com/2021/01/weeknd-super-bowl-halftime-show-twice-as-long.html" rel="nofollow" target="_blank">the Super Bowl halftime show</a>. On the surface, the alter-ego of Abel Tesfaye is a strange pick for the ostensibly family-friendly main-stage — for more than a decade, The Weeknd has fused the sounds of pop, R&amp;B, and trap into a cinematic horror-thriller about drugs, sex and the excess of fame. While his sheer volume of Hot 100 hits have rightly earned him mainstream status, even his most commercial material is hardly PG — the 2015 hit “<a href="https://www.vulture.com/2015/08/weeknds-cant-feel-my-face-hits-no-1.html" rel="nofollow" target="_blank">Can’t Feel My Face</a>” is an 80s throwback laced with on-the-nose cocaine metaphors. But over the last year his subversive image has been rewritten by the song “Blinding Lights,” from <a href="https://www.vulture.com/2020/04/the-weeknd-after-hours-pnd-partymobile-album-review.html" rel="nofollow" target="_blank">his 2020 album After Hours</a>. The song vaulted up the charts in March 2020, supported by <a href="https://www.vulture.com/article/the-best-tiktoks-of-2020.html" rel="nofollow" target="_blank">a viral TikTok challenge</a>: Using the song’s opening instrumental as inspiration, countless families performed the dance together while sheltering in place. Since then, seemingly every radio format, adult contemporary included, has played this song on repeat, making it the longest running song in the <a href="https://www.vulture.com/2020/09/the-weeknd-blinding-lights-billboard-record.html" rel="nofollow" target="_blank">Hot 100 top five</a> and <a href="https://www.billboard.com/articles/business/chart-beat/9488596/billie-eilish-therefore-i-am-hot-100-number-two/?utm_medium=social&amp;utm_source=twitter" rel="nofollow" target="_blank">top ten</a> (given the songs success, The Weeknd is justly aggrieved by the <a href="https://twitter.com/theweeknd/status/1331394452447870977" rel="nofollow" target="_blank">Grammy’s recent snub</a>).On Switched on Pop’s first episode as part of Vulture, we break down how “Blinding Lights” blends lyrical relatability with musical familiarity, earning The Weeknd the biggest and perhaps most misunderstood hit of his career. Songs DiscussedThe Weeknd - Blinding LightsMichael Sembello - Maniaca-ha - Take on MeBruce Springsteen - Blinded By The LightManfred Mann's Earth Band - Blinded By The LightThe Weeknd - Can't Feel My FaceThe Weeknd - FaithThe Weeknd - In Your EyesThe Weeknd - Save Your TearsThe Weeknd - Until I Bleed Out MoreRead Chris Molanphy's "<a href="https://slate.com/culture/2020/04/weeknd-blinding-lights-billboard-number-1-coronavirus-tiktoks.html" rel="nofollow" target="_blank">Why the Weeknd’s “Blinding Lights” Is the First Chart Topper of the Coronavirus Era</a>"Thanks to <a href="http://www.arcirismusic.com/" rel="nofollow" target="_blank">Arc Iris</a> for the theme song reharmonization Learn more about your ad choices. Visit <a href="https://podcastchoices.com/adchoices" rel="nofollow" target="_blank">podcastchoices.com/adchoices</a>

How The Weeknd’s “Blinding Lights” used retro sounds and modern bass to break every record

Howard and Guy Lawrence, the brothers behind Disclosure, found global acclaim in 2012 with their song “Latch” ft. Sam Smith which blended house and dubstep in a doo-wop time signature. Since, they have collaborated with many of pop’s most sought after vocalists (The Weeknd, Lore and Khalid to name a few) in an ever evolving vision of dance music. On their latest album release, “Energy,” Disclosure channels sounds and samples from the global south. Listen to find out how they make the energy flow. SurveyWe are conducting an audience survey to better serve you. It takes no more than five minutes, and it really helps out the show. Please take our survey here: voxmedia.com/podsurvey.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Howard and Guy Lawrence, the brothers behind Disclosure, found global acclaim in 2012 with their song “Latch” ft. Sam Smith which blended house and dubstep in a doo-wop time signature. Since, they have collaborated with many of pop’s most sought after vocalists (The Weeknd, Lore and Khalid to name a few) in an ever evolving vision of dance music. On their latest album release, “Energy,” Disclosure channels sounds and samples from the global south. Listen to find out how they make the energy flow. SurveyWe are conducting an audience survey to better serve you. It takes no more than five minutes, and it really helps out the show. Please take our survey here: <a href="http://voxmedia.com/podsurvey" rel="nofollow" target="_blank">voxmedia.com/podsurvey</a>.  Learn more about your ad choices. Visit <a href="https://podcastchoices.com/adchoices" rel="nofollow" target="_blank">podcastchoices.com/adchoices</a>

Disclosure: Where Energy Flows

Giles Martin

Rocketman is a spectacle the size of Elton John, four films in one. It contains a biopic, jukebox musical, addiction recovery story and a romance between friends. The soundtrack ties the story together by taking historical liberties to tell a fantastical story about one of the best living songwriters. Charlie is joined by Vox’s film critic, Alissa Wilkinson to breakdown the film and deconstruct how its melodic themes create an emotional arc. He also speaks with Giles Martin (son of 5th Beatle George Martin) who music directed the film and soundtrack about how he assembled an entire life’s work into a singular narrative.Songs DiscussedTaron Egerton - RocketmanQueen - Bohemian RhapsodyTaron Egerton, Jamie Bell - Goodbye Yellow Brick RoadKit Connor &amp; Gemma Jones &amp; Bryce Dallas Howard &amp; Steven Mackintosh - I Want LoveTaron Egerton - Crocodile RockTaron Egerton - Your SongTaron Egerton - Sorry Seems To Be The Hardest WordMozart - Requiem Learn more about your ad choices. Visit podcastchoices.com/adchoices

Rocketman is a spectacle the size of Elton John, four films in one. It contains a biopic, jukebox musical, addiction recovery story and a romance between friends. The soundtrack ties the story together by taking historical liberties to tell a fantastical story about one of the best living songwriters. Charlie is joined by Vox’s film critic, Alissa Wilkinson to breakdown the film and deconstruct how its melodic themes create an emotional arc. He also speaks with Giles Martin (son of 5th Beatle George Martin) who music directed the film and soundtrack about how he assembled an entire life’s work into a singular narrative.Songs DiscussedTaron Egerton - RocketmanQueen - Bohemian RhapsodyTaron Egerton, Jamie Bell - Goodbye Yellow Brick RoadKit Connor &amp; Gemma Jones &amp; Bryce Dallas Howard &amp; Steven Mackintosh - I Want LoveTaron Egerton - Crocodile RockTaron Egerton - Your SongTaron Egerton - Sorry Seems To Be The Hardest WordMozart - Requiem Learn more about your ad choices. Visit <a href="https://podcastchoices.com/adchoices" rel="nofollow" target="_blank">podcastchoices.com/adchoices</a>

The Man Behind the Rocketman with Giles Martin

Drake and Adele are two megastars who may not seem to share much in common on the surface, but their recent hits exhibit some surprising parallels. Both revisit past relationships over the phone and both conceal inner anguish beneath subtle musical shifts. Featuring special appearances by the game Snake, Lord Byron and Drake and Adele themselves*, you don’t want to miss this episode. Plus, we check in with Justin Bieber as he completes his epic existential pop suite. For more songs about love on hold, check out our Spotify playlist. And check out Sean Rameswaram’s final episode of Sideshow on Studio 360. Featuring Drake – Hotline Bling Adele – Hello Timmy Thomas – Why Can’t We Live Together Justin Bieber – Sorry Jack Ü – Where Are Ü Now? Justin Bieber – What Do You Mean? Breakmaster Cylinder &amp; Charlie Harding – Why Am I Here? *not really  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Drake and Adele are two megastars who may not seem to share much in common on the surface, but their recent hits exhibit some surprising parallels. Both revisit past relationships over the phone and both conceal inner anguish beneath subtle musical shifts. Featuring special appearances by the game Snake, Lord Byron and Drake and Adele themselves*, you don’t want to miss this episode. Plus, we check in with Justin Bieber as he completes his epic existential pop suite. For more songs about love on hold, check out our Spotify playlist. And check out Sean Rameswaram’s final episode of Sideshow on Studio 360. Featuring Drake – Hotline Bling Adele – Hello Timmy Thomas – Why Can’t We Live Together Justin Bieber – Sorry Jack Ü – Where Are Ü Now? Justin Bieber – What Do You Mean? Breakmaster Cylinder &amp; Charlie Harding – Why Am I Here? *not really  Learn more about your ad choices. Visit <a href="https://podcastchoices.com/adchoices" rel="nofollow" target="_blank">podcastchoices.com/adchoices</a>

Hotline Hello: Drake and Adele

This week, Charlie talks to Lauv, the singer, songwriter and producer behind unfailingly catchy tracks such as “Mean It” and “I Like Me Better.” Lauv’s a master at making the sad feel fun—masking themes of anxiety and betrayal with upbeat, percussive production. He even does a bit of the opposite, too, by infusing his joyful songs with vulnerability and emotional complexity. You’ll soon be able to hear all of that and more on his debut studio album, ~how I’m feeling~, out later this week. Our conversation explores Lauv’s song-making process and touches on everything from T Swift (Lauv counts himself a fan), “mind” rhymes, and the particular nuances of loneliness in the internet age. Today’s episode also features the voices of some of our wonderful listeners--special thanks to Katy, Sadie, Robert, Genevieve, Keen and everyone else who wrote in with questions for Lauv.Songs Discussed: Lauv with Anne-Marie - fuck, i'm lonely Lauv &amp; LANY - Mean It Lauv - I Like Me Better Lauv &amp; Troye Sivan - i’m so tired... Lauv - Changes Lauv - Modern Loneliness  Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week, Charlie talks to Lauv, the singer, songwriter and producer behind unfailingly catchy tracks such as “Mean It” and “I Like Me Better.” Lauv’s a master at making the sad feel fun—masking themes of anxiety and betrayal with upbeat, percussive production. He even does a bit of the opposite, too, by infusing his joyful songs with vulnerability and emotional complexity. You’ll soon be able to hear all of that and more on his debut studio album, ~how I’m feeling~, out later this week. Our conversation explores Lauv’s song-making process and touches on everything from T Swift (Lauv counts himself a fan), “mind” rhymes, and the particular nuances of loneliness in the internet age. Today’s episode also features the voices of some of our wonderful listeners--special thanks to Katy, Sadie, Robert, Genevieve, Keen and everyone else who wrote in with questions for Lauv.Songs Discussed:<ul> <li>Lauv with Anne-Marie - fuck, i'm lonely</li> <li>Lauv &amp; LANY - Mean It</li> <li>Lauv - I Like Me Better</li> <li>Lauv &amp; Troye Sivan - i’m so tired...</li> <li>Lauv - Changes</li> <li>Lauv - Modern Loneliness</li> </ul> Learn more about your ad choices. Visit <a href="https://podcastchoices.com/adchoices" rel="nofollow" target="_blank">podcastchoices.com/adchoices</a>

Can't Help Falling in Lauv (the interview)

Every year, critics and media outlets the world over put out definitive song-of-summer guides based on... well, we’re not always entirely sure. Certainly popularity, as measured by streams and radio play; not to mention that bewildering feeling that creeps up some time mid-July, prompting whispered exclamations of: “man, this song is everywhere.” But the most ubiquitous track isn’t necessarily the one you’ll have on repeat on those steamy summer commutes to work, nor is it the song you’ll want soundtracking this year’s vacations, graduations, summer flings and backyard cookouts.In this episode, we abandon the pursuit of a single song of summer, and ask the question we’re more interested in: What does summer sound like? To answer that question, we asked you, our listeners, and got some downright awesome suggestions in return. Your voicemails covered everything from Hot Girl Summer anthems and nostalgia-inducing dance jams, to globally infused collaborations and just-released future-feeling indie rock cuts. Today, we travel across the full spectrum of summer feels, and the music that comes through when we need it the most.Songs DiscussedMUNA - Number One FanAmber Mark - Put You OnJonas Brothers - Only HumanShawn Mendes, Camila Cabello - SeñoritaCharlie XCX, Christine and the Queens - GoneBTS, Zara Larsson - Brand New DayKaty Perry - Teenage DreamPost Malone - SunflowerLil Nas X, Billy Ray Cyrus - Old Town RoadPinkfong - Baby Shark Khalid - BetterMegan Thee Stallion - Big ol’ FreakMegan Thee Stallion, Juicy J - Simon SaysSaweetie - My TypePetey Pablo - Freak-A-LeakCity Girls - Act UpMegan Thee Stallion, DaBaby - Cash ShitClairo - Sofia HAIM - Summer GirlLou Reed - Walk on the Wild SideMother’s Daughter - Miley CyrusRosalía - Aute CutureAriana Grande - NASABANKS - GimmeGrimes, Hana - We appreciate powerLizzo - Truth HurtsPaul McCartney - JetDon Henley - The Boys of SummerSantana, Rob Thomas - SmoothBritney Spears - ToxicThe Slits - I Heard it Through the Grapevine Missy Elliott - SlideFreddie Gibbs, Madlib - CataractsVampire Weekend - 2021Misc extrasListen to all of these songs and more on the Switched on Pop Songs of Summer 2019 Playlist. NoteIn this episode we made light of PTSD by using the term irreverently - thanks to listener feedback we're better aware of how destructive such diminishing comments can be to people dealing with trauma. We apologize for the misuse and will strive to avoid it in the future.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Every year, critics and media outlets the world over put out definitive song-of-summer guides based on... well, we’re not always entirely sure. Certainly popularity, as measured by streams and radio play; not to mention that bewildering feeling that creeps up some time mid-July, prompting whispered exclamations of: “man, this song is everywhere.” But the most ubiquitous track isn’t necessarily the one you’ll have on repeat on those steamy summer commutes to work, nor is it the song you’ll want soundtracking this year’s vacations, graduations, summer flings and backyard cookouts.In this episode, we abandon the pursuit of a single song of summer, and ask the question we’re more interested in: What does summer sound like? To answer that question, we asked you, our listeners, and got some downright awesome suggestions in return. Your voicemails covered everything from Hot Girl Summer anthems and nostalgia-inducing dance jams, to globally infused collaborations and just-released future-feeling indie rock cuts. Today, we travel across the full spectrum of summer feels, and the music that comes through when we need it the most.Songs DiscussedMUNA - Number One FanAmber Mark - Put You OnJonas Brothers - Only HumanShawn Mendes, Camila Cabello - SeñoritaCharlie XCX, Christine and the Queens - GoneBTS, Zara Larsson - Brand New DayKaty Perry - Teenage DreamPost Malone - SunflowerLil Nas X, Billy Ray Cyrus - Old Town RoadPinkfong - Baby Shark Khalid - BetterMegan Thee Stallion - Big ol’ FreakMegan Thee Stallion, Juicy J - Simon SaysSaweetie - My TypePetey Pablo - Freak-A-LeakCity Girls - Act UpMegan Thee Stallion, DaBaby - Cash ShitClairo - Sofia HAIM - Summer GirlLou Reed - Walk on the Wild SideMother’s Daughter - Miley CyrusRosalía - Aute CutureAriana Grande - NASABANKS - GimmeGrimes, Hana - We appreciate powerLizzo - Truth HurtsPaul McCartney - JetDon Henley - The Boys of SummerSantana, Rob Thomas - SmoothBritney Spears - ToxicThe Slits - I Heard it Through the Grapevine Missy Elliott - SlideFreddie Gibbs, Madlib - CataractsVampire Weekend - 2021Misc extrasListen to all of these songs and more on the Switched on Pop Songs of Summer 2019 <a href="https://open.spotify.com/user/switchedonpop/playlist/0AsbA5cVshVLo69ZPSzQls?si=DVOElWwVQ_mU8qB-9GC9AQ" rel="nofollow" target="_blank">Playlist</a>. NoteIn this episode we made light of PTSD by using the term irreverently - thanks to listener feedback we're better aware of how destructive such diminishing comments can be to people dealing with trauma. We apologize for the misuse and will strive to avoid it in the future.  Learn more about your ad choices. Visit <a href="https://podcastchoices.com/adchoices" rel="nofollow" target="_blank">podcastchoices.com/adchoices</a>

Songs of Summer Call-in Special

Faith Pennick

In the year 2000, D'Angelo released Voodoo—with some help from Questlove, Angie Stone, Raphael Saadiq, and a band of jazz veterans—an album that has cast a long shadow with its unique sound of stripped-down soul, Faith Pennick, who literally wrote the book on the record, joins to break how D'Angelo broke the "shiny suit" regime of R&amp;B, explore how he conjured the spirits of J Dilla, Prince, and Roberta Flack, and consider how one video almost derailed his career.Check out D'Angelo's Voodoo by Faith Pennick, from Bloomsbury's 33 1/3 SeriesSongs discussed: D'Angelo - The Line, The Root, Spanish Joint, Chicken Grease, Untitled (How Does it Feel) Rev JC Burnett - Amazing Grace Prince - Kiss Justin Timberlake - Damn Girl Thundercat - Them Changes Slum Village - CB4 Charlie Hunter and Scott Amendola - There Used to be a Nightclub There Roy Hargrove - Strasbourg / St. Denis Solange - Cranes in the Sky  Learn more about your ad choices. Visit podcastchoices.com/adchoices

In the year 2000, D'Angelo released Voodoo—with some help from Questlove, Angie Stone, Raphael Saadiq, and a band of jazz veterans—an album that has cast a long shadow with its unique sound of stripped-down soul, Faith Pennick, who literally wrote the book on the record, joins to break how D'Angelo broke the "shiny suit" regime of R&amp;B, explore how he conjured the spirits of J Dilla, Prince, and Roberta Flack, and consider how one video almost derailed his career.Check out <a href="https://www.bloomsbury.com/us/dangelos-voodoo-9781501336508/" rel="nofollow" target="_blank">D'Angelo's Voodoo</a> by Faith Pennick, from Bloomsbury's 33 1/3 Series Songs discussed:<ul> <li>D'Angelo - The Line, The Root, Spanish Joint, Chicken Grease, Untitled (How Does it Feel)</li> <li>Rev JC Burnett - Amazing Grace</li> <li>Prince - Kiss</li> <li>Justin Timberlake - Damn Girl</li> <li>Thundercat - Them Changes</li> <li>Slum Village - CB4</li> <li>Charlie Hunter and Scott Amendola - There Used to be a Nightclub There</li> <li>Roy Hargrove - Strasbourg / St. Denis</li> <li>Solange - Cranes in the Sky</li> </ul> Learn more about your ad choices. Visit <a href="https://podcastchoices.com/adchoices" rel="nofollow" target="_blank">podcastchoices.com/adchoices</a>

D’Angelo and the Legacy of Voodoo (with Faith Pennick)

"7 Rings" is Ariana Grande's latest smash, a glittering banger that owes much to Rodgers and Hammerstein's 1959 classic "My Favorite Things." 60 years later, Grande updates the track for a modern audience, making her the latest artist to repurpose this anthem from the "Sound of Music." When it comes to Ari's flow, however, questions of appropriation arise. Author Lauren Michele Jackson joins to break down who has the right to repurpose sonic history.Featuring:• Ariana Grande - 7 Rings• Julie Andrews - My Favorite Things• John Coltrane - My Favorite Things• The Doors - Light My Fire• Lauryn Hill - Black Rage• Migos - Bad and Boujee• Princess Nokia - Mine• Two Chainz - Spend It• Soulja Boy - Pretty Boy SwagCheck out Lauren Michele Jackson's article, "To Whom Does '7 Rings' Owe its Sound?," hear more connections between Coltrane and the Doors in this NPR story, and discover the triplet Migos flow on Vox's Earworm. Learn more about your ad choices. Visit podcastchoices.com/adchoices

"7 Rings" is Ariana Grande's latest smash, a glittering banger that owes much to Rodgers and Hammerstein's 1959 classic "My Favorite Things." 60 years later, Grande updates the track for a modern audience, making her the latest artist to repurpose this anthem from the "Sound of Music." When it comes to Ari's flow, however, questions of appropriation arise. Author Lauren Michele Jackson joins to break down who has the right to repurpose sonic history.Featuring:• Ariana Grande - 7 Rings• Julie Andrews - My Favorite Things• John Coltrane - My Favorite Things• The Doors - Light My Fire• Lauryn Hill - Black Rage• Migos - Bad and Boujee• Princess Nokia - Mine• Two Chainz - Spend It• Soulja Boy - Pretty Boy SwagCheck out Lauren Michele Jackson's article, <a href="https://www.vulture.com/2019/01/a-deep-dive-into-ariana-grandes-7-rings.html#_ga=2.115009863.15813670.1548626746-1982422834.1525262833" rel="nofollow" target="_blank">"To Whom Does '7 Rings' Owe its Sound?,"</a> hear more connections between Coltrane and the Doors in this <a href="https://www.npr.org/2000/08/28/1081248/light-my-fire" rel="nofollow" target="_blank">NPR</a> story, and discover the triplet Migos flow on <a href="https://www.youtube.com/watch?v=3la8bsi4P-c" rel="nofollow" target="_blank">Vox's Earworm</a>. Learn more about your ad choices. Visit <a href="https://podcastchoices.com/adchoices" rel="nofollow" target="_blank">podcastchoices.com/adchoices</a>

The Deep History of '7 Rings'

The Switched on Pop Summer Throwback Series continues! This time, with a deep dive into the musical detritus of the 1990s.In true 90s fashion, our episode is inspired by a pair of classic VH1 shows; "Behind the Music" and "Where Are They Now?"Our subjects are two songs representing the lunatic fringe of 90s culture, "Cotton Eyed Joe" and "How Bizarre."In the course of our musicological investigation, we uncover dark truths about these seemingly anodyne hits that will make you question everything you know about pop music.And in the end, we reach a definitive answer to a perennially vexing question: "WTF was 90s music so weird?"Songs DiscussedRednex:Cotton Eye JoePop in an OakThe Way I MateCotton Eyed Joe:Fiddlin John CarsonBob Wills and his Texas PlayboysKaren DaltonChieftainsNina Simone OMC:How BizarreRight ONStart making your summer hit track on Splice and check out our chord pack at splice.com/onpop-chords Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Switched on Pop Summer Throwback Series continues! This time, with a deep dive into the musical detritus of the 1990s.In true 90s fashion, our episode is inspired by a pair of classic VH1 shows; "Behind the Music" and "Where Are They Now?"Our subjects are two songs representing the lunatic fringe of 90s culture, "Cotton Eyed Joe" and "How Bizarre."In the course of our musicological investigation, we uncover dark truths about these seemingly anodyne hits that will make you question everything you know about pop music.And in the end, we reach a definitive answer to a perennially vexing question: "WTF was 90s music so weird?"Songs DiscussedRednex:Cotton Eye JoePop in an OakThe Way I MateCotton Eyed Joe:Fiddlin John CarsonBob Wills and his Texas PlayboysKaren DaltonChieftainsNina Simone OMC:How BizarreRight ONStart making your summer hit track on Splice and check out our chord pack at <a href="http://splice.com/onpop-chords" rel="nofollow" target="_blank">splice.com/onpop-chords</a> Learn more about your ad choices. Visit <a href="https://podcastchoices.com/adchoices" rel="nofollow" target="_blank">podcastchoices.com/adchoices</a>

Why is 90s Pop so Bizarre?

On a trajectory to be one of the biggest pop stars for this generation, seventeen year old Billie Eilish is not, however, your typical pop star. Her music speaks to the real anxieties of young people without any veneer. She sings from the perspective of monsters and villains. Her hushed voice, baggy style, and direct demeanor subvert the norms of the pop princess. And her music is dark, but still catchy. Billie co-writes and produces her sound with her older brother Finneas O’Connell. Together this family duo have crafted the second biggest selling album of 2019, “When We All Fall Asleep, Where Do We Go?”  On this episode, we examine how Billie and Finneas crafted a cultural phenomenon, why their message speaks to this generation, and we speak with Finneas about the creation of their hit song “Bad Guy.”Songs Featured: Billie Eilish - Ocean EyesBillie Eilish - BoredBillie Eilish - You Should See Me In A CrownBillie Eilish - Bad GuyBillie Eilish - Bury A FriendMarilyn Manson - The Beautiful PeopleThe Doors - People Are StrangeNine Inch Nails - CloserBillie Eilish - ilomiloBillie Eilish - All Good Girls Go To HellBillie Eilish - XannyFrank Sinatra - Dream A DreamBillie Eilish - I love youJohn Carpenter - Halloween ThemeBillie Eilish - Bellyache Watch Billie Eilish and Finneas break down “Bury A Friend” on The New York Times Learn more about your ad choices. Visit podcastchoices.com/adchoices

On a trajectory to be one of the biggest pop stars for this generation, seventeen year old Billie Eilish is not, however, your typical pop star. Her music speaks to the real anxieties of young people without any veneer. She sings from the perspective of monsters and villains. Her hushed voice, baggy style, and direct demeanor subvert the norms of the pop princess. And her music is dark, but still catchy. Billie co-writes and produces her sound with her older brother Finneas O’Connell. Together this family duo have crafted the second biggest selling album of 2019, “When We All Fall Asleep, Where Do We Go?”  On this episode, we examine how Billie and Finneas crafted a cultural phenomenon, why their message speaks to this generation, and we speak with Finneas about the creation of their hit song “Bad Guy.”Songs Featured: Billie Eilish - Ocean EyesBillie Eilish - BoredBillie Eilish - You Should See Me In A CrownBillie Eilish - Bad GuyBillie Eilish - Bury A FriendMarilyn Manson - The Beautiful PeopleThe Doors - People Are StrangeNine Inch Nails - CloserBillie Eilish - ilomiloBillie Eilish - All Good Girls Go To HellBillie Eilish - XannyFrank Sinatra - Dream A DreamBillie Eilish - I love youJohn Carpenter - Halloween ThemeBillie Eilish - Bellyache Watch Billie Eilish and Finneas break down “Bury A Friend” on <a href="How%20Billie%20Eilish%20Is%20Redefining%20Teen-Pop%20Stardom" rel="nofollow" target="_blank">The New York Times</a> Learn more about your ad choices. Visit <a href="https://podcastchoices.com/adchoices" rel="nofollow" target="_blank">podcastchoices.com/adchoices</a>

Billie Eilish is a Different Kind of Pop Star (ft. FINNEAS)

In 1995, ESPN launched Jock Jams Volume 1, a compilation record that would define the sound of sports for the next quarter century. We listen to the album's biggest songs to define what makes a "Jock Jam," and tell the story of how this record came to define the sound of the stadium.MORERead Emily VanDerWerff's article: “The Jock Jam” megamix inadvertently plays out ESPN’s inner tensions Learn more about your ad choices. Visit podcastchoices.com/adchoices

In 1995, ESPN launched Jock Jams Volume 1, a compilation record that would define the sound of sports for the next quarter century. We listen to the album's biggest songs to define what makes a "Jock Jam," and tell the story of how this record came to define the sound of the stadium. MORERead Emily VanDerWerff's article: <a href="https://music.avclub.com/the-jock-jam-megamix-inadvertently-plays-out-espn-s-i-1798238781" rel="nofollow" target="_blank">“The Jock Jam” megamix inadvertently plays out ESPN’s inner tensions</a> Learn more about your ad choices. Visit <a href="https://podcastchoices.com/adchoices" rel="nofollow" target="_blank">podcastchoices.com/adchoices</a>

ANTHEMS: Jock Jams — Get Ready For This

Matt Daniels, editor of the publication The Pudding, wanted to find out what songs from his youth would last into the future. So he designed a study that would test if Gen-Z had a grip on 90s culture. Hundreds of thousands of participants provided over 3 million data points. Daniels parsed through the data for insights. Sadly, the majority of his most beloved songs have not survived even one generation. Though most had been forgotten, he found that just a few songs had staying power across generations — what he defined as the emerging 90s music canon. Find out what songs make it and which have fallen to the wayside. MOREThe Pudding’s study on Defining the 90s CanonTake The Pudding’s quiz yourselfSONGS DISCUSSEDSpice Girls - Wannabe Mariah Carey - Fantasy!Lou Bega - Mambo #5Los Del Rio - MacarenaBoys II Men - Motown PhillyWhitney Houston - I Will Always Love YouSavage Garden - I Want YouThe Barenaked Ladies - One WeekJewel - You Were Meant For MeJennifer Lopez - If You Had My LoveCeline Dion - My Heart Will Go OnBritney Spears - Baby One More TimeSmash Mouth - All StarNirvana - Smells Like Teen Spirit Learn more about your ad choices. Visit podcastchoices.com/adchoices

Matt Daniels, editor of the publication The Pudding, wanted to find out what songs from his youth would last into the future. So he designed a study that would test if Gen-Z had a grip on 90s culture. Hundreds of thousands of participants provided over 3 million data points. Daniels parsed through the data for insights. Sadly, the majority of his most beloved songs have not survived even one generation. Though most had been forgotten, he found that just a few songs had staying power across generations — what he defined as the emerging 90s music canon. Find out what songs make it and which have fallen to the wayside. MOREThe Pudding’s study on <a href="https://pudding.cool/2020/07/song-decay/" rel="nofollow" target="_blank">Defining the 90s Canon</a>Take The Pudding’s <a href="https://pudding.cool/2020/04/music-challenge/" rel="nofollow" target="_blank">quiz</a> yourselfSONGS DISCUSSEDSpice Girls - Wannabe Mariah Carey - Fantasy!Lou Bega - Mambo #5Los Del Rio - MacarenaBoys II Men - Motown PhillyWhitney Houston - I Will Always Love YouSavage Garden - I Want YouThe Barenaked Ladies - One WeekJewel - You Were Meant For MeJennifer Lopez - If You Had My LoveCeline Dion - My Heart Will Go OnBritney Spears - Baby One More TimeSmash Mouth - All StarNirvana - Smells Like Teen Spirit Learn more about your ad choices. Visit <a href="https://podcastchoices.com/adchoices" rel="nofollow" target="_blank">podcastchoices.com/adchoices</a>

90s Music Canon

Streaming hasn't just changed the way we listen to music, it's changed the way that pop music sounds. After years of losses due to the death of the CD and the rise of file sharing, the music industry has finally found a profitable business in streaming services. Streaming has overtaken all other music sales. Digital music platforms are the new Virgin megastore. But these services are more than just a distribution mechanism, they have created a whole new music economy. Album sales have been replaced by "album equivalent units," a business fiction that equates 1,500 streams to one physical sale. Artists are now effectively paid by the song. With ad-supported and subscription based business models, these platforms have upended incentives so significantly that it can be heard in the songwriting. Songs are getting shorter, albums are getting longer, and there is an entirely new section of the song that draws from the classical past: the "pop overture." In this episode, Nate and Charlie are joined by Aisha Hassan and Dan Kopf to unpack the sound of pop in the streaming era. Be sure to check out their article on Quartz: "The Reason Why Your Favorite Pop Songs Are Getting Shorter."Songs FeaturedLil Pump - I Love ItBenny Blanco - Eastside ft. Khalid &amp; HalseyKodak Black - Calling My SpiritPost Malone - Better NowLeonard Bernstein - West Side Story OvertureDua Lipa - One KissDrake - God’s PlanPost Malone - I Fall ApartAriana Grande - NasaTommy Dorsey - All The Things You Are Learn more about your ad choices. Visit podcastchoices.com/adchoices

Streaming hasn't just changed the way we listen to music, it's changed the way that pop music sounds. After years of losses due to the death of the CD and the rise of file sharing, the music industry has finally found a profitable business in streaming services. Streaming has overtaken all other music sales. Digital music platforms are the new Virgin megastore. But these services are more than just a distribution mechanism, they have created a whole new music economy. Album sales have been replaced by "album equivalent units," a business fiction that equates 1,500 streams to one physical sale. Artists are now effectively paid by the song. With ad-supported and subscription based business models, these platforms have upended incentives so significantly that it can be heard in the songwriting. Songs are getting shorter, albums are getting longer, and there is an entirely new section of the song that draws from the classical past: the "pop overture." In this episode, Nate and Charlie are joined by Aisha Hassan and Dan Kopf to unpack the sound of pop in the streaming era. Be sure to check out their article on Quartz: "<a href="https://qz.com/quartzy/1438412/the-reason-why-your-favorite-pop-songs-are-getting-shorter/" rel="nofollow" target="_blank">The Reason Why Your Favorite Pop Songs Are Getting Shorter</a>."Songs FeaturedLil Pump - I Love ItBenny Blanco - Eastside ft. Khalid &amp; HalseyKodak Black - Calling My SpiritPost Malone - Better NowLeonard Bernstein - West Side Story OvertureDua Lipa - One KissDrake - God’s PlanPost Malone - I Fall ApartAriana Grande - NasaTommy Dorsey - All The Things You Are Learn more about your ad choices. Visit <a href="https://podcastchoices.com/adchoices" rel="nofollow" target="_blank">podcastchoices.com/adchoices</a>

How Streaming Changed the Sound of Pop

Keith Urban is a legend of country. He’s been releasing hit records for two decades now. Each album he describes as a portrait of his life in that moment. On his latest work, The Speed Of Now Part 1, has Urban disregarding country convention (as he’s known to do), and collaborating with a diverse roster of musicians who contribute an eclectic array of sounds funk guitar, breakbeat drums and even EDM style programming. The result is less straight ahead country and more the unique sound of Keith Urban. In this conversation, we discuss his music, how he stays creative, and why he believes music can still be a uniting force. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Keith Urban is a legend of country. He’s been releasing hit records for two decades now. Each album he describes as a portrait of his life in that moment. On his latest work, The Speed Of Now Part 1, has Urban disregarding country convention (as he’s known to do), and collaborating with a diverse roster of musicians who contribute an eclectic array of sounds funk guitar, breakbeat drums and even EDM style programming. The result is less straight ahead country and more the unique sound of Keith Urban. In this conversation, we discuss his music, how he stays creative, and why he believes music can still be a uniting force. Learn more about your ad choices. Visit <a href="https://podcastchoices.com/adchoices" rel="nofollow" target="_blank">podcastchoices.com/adchoices</a>

Keith Urban on The Speed of Now Part 1

Lil Nas X currently holds the #1 spot on the Billboard Hot 100 chart with his surprise hit “Old Town Road.” But though the song is dripping with country twang, you won’t find it anywhere on the country charts. That’s because Billboard removed it, on the grounds of not having enough “musical elements” of country—a move that in turn left many wondering if the vanishing had something to do with Lil Nas X, a black artist, venturing into a field dominated by white musicians. We dig deep into the history and musical matter of “Old Town Road,” then pit it against other country hits to test its deep fried bonafides.Songs DiscussedLil Nas X - Old Town RoadNine Inch Nails - 34 Ghosts IVBeba Rexa - Mean to Be (feat. Florida Georgia Line)Kelsea Ballerini - Miss You MoreSam Hunt - Speakers / Ghetto Cowboy - Bone Thugz N' HarmonyFilmore - Love That About You Lil Nas X - Old Town Road (feat. Billy Ray Cyrus) Mason Ramsey - Walmart Yodeling KidHank Williams - Love Sick BluesEmmett Miller &amp; His Georgia Crackers - Lock Sick Blues Other LinksTanya Texas Tucker's list of Black artists and their collaborations with country starsJezebel interview with Bri Malandro, originator of the "Yee Haw Agenda" Learn more about your ad choices. Visit podcastchoices.com/adchoices

Lil Nas X currently holds the #1 spot on the Billboard Hot 100 chart with his surprise hit “Old Town Road.” But though the song is dripping with country twang, you won’t find it anywhere on the country charts. That’s because Billboard removed it, on the grounds of not having enough “musical elements” of country—a move that in turn left many wondering if the vanishing had something to do with Lil Nas X, a black artist, venturing into a field dominated by white musicians. We dig deep into the history and musical matter of “Old Town Road,” then pit it against other country hits to test its deep fried bonafides.Songs DiscussedLil Nas X - Old Town RoadNine Inch Nails - 34 Ghosts IVBeba Rexa - Mean to Be (feat. Florida Georgia Line)Kelsea Ballerini - Miss You MoreSam Hunt - Speakers / Ghetto Cowboy - Bone Thugz N' HarmonyFilmore - Love That About You Lil Nas X - Old Town Road (feat. Billy Ray Cyrus) Mason Ramsey - <a href="https://www.youtube.com/watch?v=bOZT-UpRA2Y" rel="nofollow" target="_blank">Walmart Yodeling Kid</a>Hank Williams - Love Sick BluesEmmett Miller &amp; His Georgia Crackers - Lock Sick Blues Other LinksTanya Texas Tucker's <a href="https://twitter.com/BOONAPALISTA/status/1114744304910647297" rel="nofollow" target="_blank">list</a> of Black artists and their collaborations with country starsJezebel <a href="https://jezebel.com/what-everyone-is-getting-wrong-about-the-yee-haw-agenda-1833558033" rel="nofollow" target="_blank">interview</a> with Bri Malandro, originator of the "Yee Haw Agenda" Learn more about your ad choices. Visit <a href="https://podcastchoices.com/adchoices" rel="nofollow" target="_blank">podcastchoices.com/adchoices</a>

Lil Nas X: Country at the Crossroads

Back in the fall of 2017, our producer Megan Lubin went for a stroll near her house, popped in earbuds, and heard a song that’s stuck with her ever since: “Si Tú Supieras Compañero” (“If you only knew, my friend”), by the Spanish pop star Rosalía. Since then, Rosalía’s star has continued, especially after the 2018 release of “El Mal Querer,” Rosalía’s genre-blending album of R&amp;B and flamenco. On this episode, we dig into Rosalía’s sound to try and figure out what stopped Megan in her tracks back then, and what keeps us coming back. With the help of New York Times Magazine writer Marcela Valdes, we break down key elements of the flamenco tradition, like the hard-to-define magic of duende, and count out some of the diabolical rhythms that keep us dancing. Songs Discussed Rosalía - Si Tú Supieras Compañero Rosalía - BAGDAD (Cap.7: Liturgia)  Rosalía - PIENSO EN TU MIRÁ (Cap.3: Celos) Episode Spotify Playlist:https://open.spotify.com/playlist/4zRce31m3RhCjVwmSSMz2QRead “Rosalía’s Incredible Journey from Flamenco to Megastardom” by Marcela Valdes: https://www.nytimes.com/interactive/2019/10/08/magazine/rosalia-flamenco.htmlWatch Rosalía performing “Me quedo contigo”: https://www.youtube.com/watch?v=32d1bq-kG5cMore coverage of Rosalía from The FADER magazine: https://www.thefader.com/artist/rosalia**A previous version of this episode claimed that Alicia Key's "Fallin'", Aretha Franklin's "I Never Loved a Man", "Marvin Gaye's "Here, My Dear" and Kelly Clarkson's "Breakaway" were all written in 3/4 time. That was in error, and we've edited the episode to reflect that.CORRECTIONAfter airing this episode, listeners informed us that many Romani people consider the term “gypsy” to be antiquated, discriminatory and derogatory. We apologize for airing this this word in the episode, and will avoid its usage in all forgoing work. See the NOW foundation’s explanation for further detail: The “G” Word Isn’t for You: How “Gypsy” Erases Romani Women Learn more about your ad choices. Visit podcastchoices.com/adchoices

Back in the fall of 2017, our producer Megan Lubin went for a stroll near her house, popped in earbuds, and heard a song that’s stuck with her ever since: “Si Tú Supieras Compañero” (“If you only knew, my friend”), by the Spanish pop star Rosalía. Since then, Rosalía’s star has continued, especially after the 2018 release of “El Mal Querer,” Rosalía’s genre-blending album of R&amp;B and flamenco. On this episode, we dig into Rosalía’s sound to try and figure out what stopped Megan in her tracks back then, and what keeps us coming back. With the help of New York Times Magazine writer Marcela Valdes, we break down key elements of the flamenco tradition, like the hard-to-define magic of duende, and count out some of the diabolical rhythms that keep us dancing. Songs Discussed<ul> <li>Rosalía - Si Tú Supieras Compañero</li> <li>Rosalía - BAGDAD (Cap.7: Liturgia) </li> <li>Rosalía - PIENSO EN TU MIRÁ (Cap.3: Celos)</li> </ul> Episode Spotify Playlist:<a href="https://open.spotify.com/playlist/4zRce31m3RhCjVwmSSMz2Q" rel="nofollow" target="_blank">https://open.spotify.com/playlist/4zRce31m3RhCjVwmSSMz2Q</a>Read “Rosalía’s Incredible Journey from Flamenco to Megastardom” by Marcela Valdes: <a href="https://www.nytimes.com/interactive/2019/10/08/magazine/rosalia-flamenco.html" rel="nofollow" target="_blank">https://www.nytimes.com/interactive/2019/10/08/magazine/rosalia-flamenco.html</a>Watch Rosalía performing “Me quedo contigo”: <a href="https://www.youtube.com/watch?v=32d1bq-kG5c" rel="nofollow" target="_blank">https://www.youtube.com/watch?v=32d1bq-kG5c</a>More coverage of Rosalía from The FADER magazine: <a href="https://www.thefader.com/artist/rosalia" rel="nofollow" target="_blank">https://www.thefader.com/artist/rosalia</a> **A previous version of this episode claimed that Alicia Key's "Fallin'", Aretha Franklin's "I Never Loved a Man", "Marvin Gaye's "Here, My Dear" and Kelly Clarkson's "Breakaway" were all written in 3/4 time. That was in error, and we've edited the episode to reflect that. CORRECTIONAfter airing this episode, listeners informed us that many Romani people consider the term “gypsy” to be antiquated, discriminatory and derogatory. We apologize for airing this this word in the episode, and will avoid its usage in all forgoing work. See the NOW foundation’s explanation for further detail: <a href="https://now.org/blog/the-g-word-isnt-for-you-how-gypsy-erases-romani-women/" rel="nofollow" target="_blank">The “G” Word Isn’t for You: How “Gypsy” Erases Romani Women</a> Learn more about your ad choices. Visit <a href="https://podcastchoices.com/adchoices" rel="nofollow" target="_blank">podcastchoices.com/adchoices</a>

Unlocking the Rhythms of Rosalía

Taylor Swift’s Blank Space is about emptiness of the heart. This motif of Blank Space is contained through the entire piece: from the drums, to the melody, to the lyrics. We pull away the sonic structures to show how Taylor recreates that empty feeling and explores the predictable devolution of fiery romance.FEATURINGTaylor Swift – Blank SpaceNY Magazine – Why You Keep Mishearing That Taylor Swift LyricThis episode first broadcast on the Very Loose Women podcast on Resonance 104.4FM Learn more about your ad choices. Visit podcastchoices.com/adchoices

Taylor Swift’s Blank Space is about emptiness of the heart. This motif of Blank Space is contained through the entire piece: from the drums, to the melody, to the lyrics. We pull away the sonic structures to show how Taylor recreates that empty feeling and explores the predictable devolution of fiery romance.FEATURINGTaylor Swift – Blank SpaceNY Magazine – Why You Keep Mishearing That Taylor Swift LyricThis episode first broadcast on the Very Loose Women podcast on Resonance 104.4FM Learn more about your ad choices. Visit <a href="https://podcastchoices.com/adchoices" rel="nofollow" target="_blank">podcastchoices.com/adchoices</a>

Taylor Swift’s Beethovian Blank Space

Certain pop songs have that moment, when everything seems to change but still remain the same, when the drama gets ratcheted up, when the tension increases and our emotions take an elevator ride to the heavens. From Beyoncé to Johnny Cash, savvy pop songwriters know a well-placed harmonic modulation can leave listeners reeling. But what is this mysterious musical trick, and how does it work? Tune in and let us take you higher, and higher, and higher, as we explore the wild world of modulation.FeaturingOne Direction - Night ChangesTaylor Swift - Love StoryBackstreet Boys - I Want it That WayStevie Wonder - Knocks Me Off my FeetBeyonce - Love On TopWhitney Houston - I Will Always Love YouMozart - Queen of the Night AriaMichael Jackson - Man in the MirrorThe Beatles - Penny LaneJohnny Cash - Walk the LineHear more of Dru Cutler's work at www.drucutler.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

Certain pop songs have that moment, when everything seems to change but still remain the same, when the drama gets ratcheted up, when the tension increases and our emotions take an elevator ride to the heavens. From Beyoncé to Johnny Cash, savvy pop songwriters know a well-placed harmonic modulation can leave listeners reeling. But what is this mysterious musical trick, and how does it work? Tune in and let us take you higher, and higher, and higher, as we explore the wild world of modulation.FeaturingOne Direction - Night ChangesTaylor Swift - Love StoryBackstreet Boys - I Want it That WayStevie Wonder - Knocks Me Off my FeetBeyonce - Love On TopWhitney Houston - I Will Always Love YouMozart - Queen of the Night AriaMichael Jackson - Man in the MirrorThe Beatles - Penny LaneJohnny Cash - Walk the LineHear more of Dru Cutler's work at <a href="http://www.drucutler.com/" rel="nofollow" target="_blank">www.drucutler.com</a> Learn more about your ad choices. Visit <a href="https://podcastchoices.com/adchoices" rel="nofollow" target="_blank">podcastchoices.com/adchoices</a>

How Beyoncé to The Beatles Modulate Your Emotions

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The best podcast episodes on non-current politics. Covering topics such as universal basic income, democracy, poverty & justice and more. For anyone interested in learning more about politics that affect that world, not just now, but in the longer term. Add episodes you're interested into your queue below!