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Switched on Pop

Switched on Pop

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

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31 min
1 Aug 23

Your cursive singing is tearing this family apart!

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 More Ashaala Shanae https://www.themahi.com/founder Jumi Akinfenwa https://www.vice.com/en/contributor/jumi-akinfenwa Learn more about your ad choices. Visit podcastchoices.com/adchoices

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34 min
7 Jun 22

So your song went viral on TikTok. What’s next?

On TikTok, pop stars — Halsey, FKA Twigs, and Florence Welch among them — have been complaining a lot lately about their labels forcing them to make TikToks. As people spent the early part of the pandemic staring at their phones instead of flocking to concerts, the short-form-video social-media platform upended music discovery. In many cases, it gave unknown musicians a pathway to enormous audiences and allowed them to burst into the mainstream on the backs of their TikTok hits. It’s a story as old as the music industry itself: No-name musician gets big overnight and lands a record deal. But until recently, it’s been hard to say just how big and how overnight, so Estelle Caswell from Vox and Matt Daniels from The Pudding spent seven months manually compiling and interrogating the data of who went viral, who got signed, and whose careers dropped off. Their resulting short documentary, We Tracked What Happens After TikTok Songs Go Viral, is a definitive dive into the 2020 class of viral TikTok stars. Although the platform is clearly a dominant force in new-music discovery, they found that streaming music is still overwhelmingly dominated by legacy artists. And since these established acts are now competing for the same eyeballs as their lesser-known colleagues on TikTok, it’s getting harder and harder for the latter to break out. So what happens after you go viral on TikTok? Listen to Switched On Pop to find out. Learn more about your ad choices. Visit podcastchoices.com/adchoices

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35 min
16 Jun 20

What it means to make music in 2020

The pandemic has upended the art and business of making music. Producing, performing and releasing — every aspect is new and uncharted. The need for social distancing means that it’s unsafe to collaborate in small studios or perform for large crowds — not to mention finding the right thing to sing about in such a charged moment. We’re telling three stories about how artists are working within these constraints: Ricky Reed and John-Robert have found a way to generate a creative spark remotely, Jacob Collier has defied the laws of physics to master live performance over the internet, and Dua Saleh has released a powerful new track that helps support the protests in Minneapolis. Everything is radically different than it was a few months ago, but these stories shine a light on why making music matters more than ever in 2020.  SONGS DISCUSSED Lizzo - Juice John-Robert, Ricky Reed, Zach Sekof - Favorite Boy Bill Withers - Lean On Me performed by Ty Dolla Sign & Jacob Collier Jacob Collier - All I Need D’Angelo - Feel Like Making Love Stevie Wonder - You And I performed by Tori Kelly and Jacob Collier Dua Saleh - Body Cast Dua Saleh - Sugar Mama Dua Saleh - Moth Dua Saleh - Smut Sister Rosetta Tharp - This Little Light Of Mine MORE Watch Nice Live on YouTube: https://www.youtube.com/channel/UC24tNtu1NuD9yZ9t2YUATIQ Dua Saleh's "Body Cast" BandCamp campaign: https://duasaleh.bandcamp.com/track/body-cast Listen to Dua Saleh's new album Rosetta: https://duasaleh.bandcamp.com/album/rosetta Learn more about your ad choices. Visit podcastchoices.com/adchoices

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1 hr
21 Sep 21

Deja Vu: Why Olivia Rodrigo keeps giving up songwriting credits

In the last few years music copyright claims have skyrocketed. More and more artists are giving songwriting credits away. Frequently, credits are given retroactively to avoid the cost of long jury trials like when Sam Smith credited Tom Petty. Smith’s melody for “Stay With Me” clearly drew from Petty’s “I Won’t Back Down.” On rare occasions these cases go to court, where music litigation is at an all time high. In the last ten years there have been 190 public cases, up over 350% from the prior decade, according to The George Washington University & Columbia Law School Music Copyright Infringement Resource. This story has come in and out of the news cycle in closely watched jury trials including artists like Marvin Gaye, Led Zeppelin, and Katie Perry. Historically, courts have extended copyright to only unique combinations of words and music, not rhythms, chords, instruments. But recent cases increasingly litigate the core building blocks of music. Many artists fear that a bad court outcome could let an artist copyright a “vibe” using commonly used musical language.   The question of whether someone can borrow a vibe resurfaced when Olivia Rodrigo shared songwriting credits on her hit 2021 album Sour with Taylor Swift, and comparisons have been made to the art of Courtney Love and music of Elvis Costello. Many listeners have commented on Rodrigo’s more obvious influences on social media. Viral TikTok videos compared Rodrigo’s “Good 4 U” to Paramore’s “Misery Business,” which share a common chord progression and vibe. This online campaign likely contributed to Rodrigo handing songwriting credits, also known as publishing, to Hayley Williams and Josh Farro of the band Paramore.  This week we are airing the conversation Switched On Pop’s Charlie Harding had on the podcast Decoder with host Nilay Patel who is also editor and chief of The Verge. Together we try to understand how the byzantine music copyright system works, and how its rules affect the sound of pop music today and in the future.  SONGS DISCUSSED - Spotify Playlist Sam Smith - Stay With Me Tom Petty - I Won’t Back Down  M.I.A. - Paper Planes The Clash - Straight To Hell Olivia Rodrigo - deja vu Taylor Swift - Cruel Summer Olivia Rodrigo - good 4 u Paramore - Misery Business Robin Thick, T.I., Pharrell Williams - Blurred Lines Marvin Gaye - Got To Give It Up Katy Perry, Juicy J - Dark Horse FLAME , Lecrae, John Reilly - Joyful Noise Led Zeppelin - Stairway to Heaven Spirit - Taurus Michael Bolton - Love Is a Wonderful Thing The Isley Brothers - Love Is A Wonderful Thing Taylor Swift - Look What You Made Me Do Right Said Fred - I’m Too Sexy Doja Cat, SZA - Kiss Me More Olivia Newton-John - Physical Anne-Marie - 2002 Learn more about your ad choices. Visit podcastchoices.com/adchoices

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