Switched on Pop

Willow Smith has a new Paramore-inspired emo-slash-pop punk track with a formidable drum groove powered by Travis Barker. Over churning guitars she sneers at fake friends: "smile in my face, then put your cig out on my back." As Nate and Charlie headbanged along to we found ourselves asking "why did we sleep on Willow Smith?" Maybe because we had not taken Willow seriously, knowing her only as the nine (!) year-old singer behind the precocious hit "Whip My Hair" back in 2010. In the ensuing decade, your hosts missed out on the rise of a talented musician. Her slow-burn, consciousness-expanding, galaxy-brain funk track "Wait A Minute!" from 2015 showcased the voice of a full-fledged artist. So why couldn't we hear her? Whether because we perceived nepotism or industry sleight-of-hand as the cause of her success, or maybe because we just didn't think a celebrity kid could also have anything to say worth hearing. Whoops. And it's not just Willow. Turns out the whole Pinkett-Smith clan have discographies worth taking a closer listen to. Who knew Jaden was sampling 1930s jazz wailer Cab Calloway? Or that Jada fronted a death metal band who got booed for being Black in a white genre? Or that the much-maligned "Getting' Jiggy Wit It" by Big Willie Style himself....actually bangs? Songs discussed: Willow Smith - Transparent Soul, Wait A Minute!, Whip My Hair Osamu - Koroneko No Tango Jordy - Dur dur d'être bébé! Wicked Wisdom - Bleed All Over Me Jaden Smith - Icon Cab Calloway - Hi De Ho Man Will Smith - Gettin' Jiggy Wit It Sister Sledge - He's the Greatest Dancer The Bar-Kays - Sang and Dance Learn more about your ad choices. Visit podcastchoices.com/adchoices

For nearly a decade, Julia Michaels has penned hit songs for the biggest acts in pop music. She is adept at turning people’s vulnerabilities into memorable hooks — think Justin Bieber’s “Sorry” or Selena Gomez’s “Lose You to Love Me.” There are countless others, but all of them share distinctive traits. Where many songwriters might turn to the simplest, almost nursery-rhyme-level lyrics to get the message across, Michaels does the opposite. She crams as many words as possible into each phrase. Her lyrics sound spoken. On her own hit song, her 2017 debut solo single “Issues,” she sings, “Bask in the glory, of all our problems / ’Cause we got the kind of love it takes to solve ’em”; it earned her a Song of the Year nomination at the 2018 Grammys, along with a Best New Artist nod. Her rhyming may sound accidental, but that’s the pop-song illusion. Michaels’s idiosyncratic phrasing has symmetry and her rhyming is indeed purposeful, all to illuminate her primary subject: the infinite recursions of human relationships. After releasing three EPs and countless singles of her own, Michaels has just released her first full-length album, Not in Chronological Order. On this week’s episode of Switched on Pop, Nate and Charlie try to identify Julias Michaels songwriting superpowers and then Charlie speaks with Michaels about how the vagaries of the heart inspire an endless stream of songs. Learn more about your ad choices. Visit podcastchoices.com/adchoices

The story of the hitmakers behind Lil Nas X’s “Montero” Sheck Wes’s “Mo Bamba” and many more Learn more about your ad choices. Visit podcastchoices.com/adchoices

Lil Nas X has a talent for creating productive controversy. First with “Old Town Road,” he challenged expectations about blackness in country music. Now with “Montero (Call Me By Your Name),” he takes aim at anti LGBTQ+ messages propagated by the religious dogma from his youth (he came out as gay during Pride 2019). The song describes a romantic encounter without innuendo. Sure it’s raunchy, but the song doesn’t especially stand out on Billboard where explicit sexual fantasy is commonplace. But his use of religious iconography in his video and merchandise created an immediate backlash. In the video to “Montero,” Lil Nas X rides a stripped pole into hades where he gives a lap dance to Satan (also played by Lil Nas X). Despite the obvious commentary on repressive orthodoxy, religious conservatives failed to see the subtext. The song became a lightning rod. But as pundits fought on social media about the song's meaning, most critics failed to look into the song’s musical references. Produced by Take A Daytrip, the duo behind Shek Wes’ “Mo Bamba” and Lil Nas X’s “Panini,” “Montero'' mashes up genres that take the listener on a global journey, sharing his message of acceptance across cultures. Music Lil Nas X — Montero, Old Town Road, Panini 24kGoldn, iann dior - Mood Dick Dale and his Del-Tones - Misirlou Tetos Demetriades - Misirlou Aris San Boom Pam Silsulim - Static & Ben El Shek Was — Mo Bamba Lehakat Tzliley Haud Bouzouki recording from xserra from FreeSound under the Creative Commons Attribution 3.0 License More Listen to Gal Kadan’s project: Awesome Orientalists From Europa on Bandcamp Learn more about your ad choices. Visit podcastchoices.com/adchoices

Earth Day 2021 gives us the chance to pause our usual programming and consider the role pop music plays in our deepening climate emergency. On Side A, we listen to artists who have confronted the climate crisis head-on. Side B considers the environmental cost of streaming music with Kyle Devine, author of Decomposed: The Political Ecology of Music. Songs Discussed: George Pope Morris - Woodman, Spare That Tree! Joni Mitchell - Big Yellow Taxi Marvin Gaye - Mercy Mercy Me (The Ecology) Tower of Power - Only So Much Oil in the Ground Various Artists - Love Song for the Earth Anohni - 4 Degrees The Weather Station - The Robber DJ Cavem - Sprout That Life Learn more about the environmental impact of NFTs Learn more about your ad choices. Visit podcastchoices.com/adchoices

On Switched on Pop we talk to songwriters and artists about how they make great songs. Most songs are written with two or more people in the room. Something we've never done before is pair two of the best songwriters in the business to explain how they create a successful collaboration. Teddy Geiger is a Grammy nominated songwriter who's written countless number ones. You've likely heard her work with Sean Mendes, Leon Bridges, and Christina Aguilera, among many others. She’s also a critically acclaimed artist who's just released a single called “Love Somebody” written with Ricky Reed and Dan Wilson. Dan Wilson is the bandleader of Semisonic, famous for the song “Closing Time,” and the co-writer of Adele's “Someone Like You” and “Ready to Make Nice” by the Chicks. Wilson recently shared his top songwriting and collaboration tips published as a deck of cards called Words and Music in Six Seconds. He shared his ground rules for collaboration from the deck, through the case study of Teddy Geiger’s “Love Somebody” as part of On Air Fest 2021. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Anderson Paak and Bruno Mars have joined forces as the duo Silk Sonic, and their first release “Leave the Door Open” suggests that their collab is as natural as peanut butter and jelly. The song exudes throwback vibes through its lush harmonies and sensuous lyrics. But this isn’t any run-of-the-mill exercise in empty nostalgia. Silk Sonic have a very specific sound in mind that they’re reviving for 21st century audiences: Philly Soul, the sophisticated 70s sound that “put a bow tie on funk.” Charlie and Nate aren’t the only ones trying to blow the dust out of the grooves of “Leave the Door Open.” Songwriter Tayla Parx, who’s worked with everyone from Ariana Grande to Panic! At the Disco to Anderson Paak himself, joins the hosts to help explain how Silk Sonic created such a catchy track, and why modern listeners might be ready for a blast from the past. Songs Discussed Silk Sonic - Leave the Door Open Aretha Franklin - I Say a Little Prayer The Temptations - My Girl Marvin Gaye and Tammi Terrell - Ain’t No Mountain High Enough Martha and the Vandellas - Dancing in the Street Otis Redding - Try a Little Tenderness Sam and Dave - Soul Man Commodores - Who’s Making Love MFSB - TSOP O’Jays - Love Train Billy Paul - Me and Mrs. Jones The Stylistics - You Are Everything Harold Melvin and the Blue Notes - If You Don’t Know Me By Now The Delfonics - Didn’t I Blow Your Mind Seals and Croft - Summer Breeze Smokey Robinson - Quiet Storm Teddy Pendergrass - Close the Door Learn more about your ad choices. Visit podcastchoices.com/adchoices

Adam, Jack and Ryan Met, better known as AJR, started playing gigs on the streets of New York City. The sidewalk hustle taught them how to grab the attention of the least forgiving audience. Now on their fourth studio album, OK Orchestra, they’ve honed an ear-stopping sound that combines modern pop with broadway bombast. Their platinum-certified single “Bang” pairs a carnival-like horns section with skittering trap style hi-hats. This strange pairing worked. Peaking at No. 8 on the Hot 100, the song is their strongest commercial release so far, despite sounding like nothing else on Billboard. It is a coming of age celebration (“I’m way too old to try so whatever, come hang / Let’s go out with a bang”) with lyrics that lament the pedestrian parts of adulthood: eating healthy, paying taxes, and remembering your passwords. Like its broadway influences, “Bang” takes little moments and makes them sound larger than life. Switched On Pop’s Charlie Harding spoke with Jack and Ryan Met about the making of “Bang,” their latest single “Way Less Sad” and the showtune influences on OK Orchestra. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Cory Wong is a Minneapolis native and Vulfpeck collaborator known for pushing rhythm guitar from a background instrument to the star of the show. Wong’s a walking encyclopedia of funk guitar, and he takes us through the riffs and styles—from Nile Rodgers to Quincy Jones—that power modern bops such as Dua Lipa’s “Levitating” and Jessie Ware’s “Step Into My Life.” For Cory, rhythm guitar isn’t just a source of propulsive joy, but a sound that’s intimately connected to different regional scenes: change one note in a riff and you’ve moved from Philadelphia to Cincinatti. Every bubble and chuck speaks to a history of musical innovation - a history Cory mines on his new album-slash-variety show, Cory and the Wongnotes. Mixing comedy sketches, massively funky performances, and interviews, Cory’s project imagines what happens when the bandleader takes over as late night host. Songs Discussed (it’s a long one) VULFPECK - Cory Wong Doja Cat - Say So Mark Ronson - Uptown Funk (Audio) ft. Bruno Mars Dua Lipa - Levitating Chic - Good Times Earth, Wind & Fire - Shining Star Ohio Players - Love Rollercoaster Prince - I Wanna Be Your Lover Maroon 5 - Moves Like Jagger feat. Christina Aguilera Morris Day & The Time - The Bird Bootsy Collins - Stretchin' Out (In a Rubber Band) Gap Band - I Don't Believe You Want To Get Up And Dance (Oops Up Side Your Head) James Payback - The Payback Sly & The Family Stone - Thank You (Falettinme Be Mice Elf Agin) Jessie Ware - Step Into My Life Chic - Le Freak David Bowie “Modern Love” Duran Duran “Notorious” Diana Ross - I’m Coming Out The B52’s “Love Shack” Avicii “Lay Me Down” Diana Ross - Upside Down Sister Sledge - We Are Family Sister Sledge - Thinking Of You Sister Sledge - He’s The Greatest Dancer Steve Winwood “Higher Love” chorus Stevie wonder - Higher Ground Michael Jackson - Billie Jean Michael Jackson - Thriller Daft Punk - Get Lucky (Feat. Pharrell Williams) David Bowie - Let's Dance Madonna - Like a Virgin Eminem - Lose Yourself Miley Cyrus - Party In The U.S.A Stevie wonder - Higher Ground Michael Jackson - Billie Jean Michael Jackson - Thriller Daft Punk - Get Lucky (Feat. Pharrell Williams) David Bowie - Let's Dance Madonna - Like a Virgin Eminem - Lose Yourself Miley Cyrus - Party In The U.S.A Cory Wong - Tiki Hut Strut Cory and The Wongnotes - Episode 4, “Genre (ft Grace Kelly)” Learn more about your ad choices. Visit podcastchoices.com/adchoices

The 63rd Grammys was as unprecedented and unusual as last year. Backdropped by the pandemic, the show was delayed and had to be taped in multiple locations in front of a bare bones audience. Echoing the public cries against injustice, standout performances by Mickey Guyton, DaBaby, and Lil Baby decried racism to the nation and to the Grammys—the academy made multiple public statements throughout the night promising to do better. The more light hearted performers played best against highly produced backdrops (Silk Sonic, Megan Thee Stallion, Cardi B, and Taylor Swift), but others fell flat, lacking an audience reaction. Not unexpectedly, the Grammy awards ranged from predictable to jaw dropping. Notably, Beyoncé broke records: she now holds more Grammys than any other singer in history. And the major four categories —Best New Artist, Song of the Year, Album of the Year and Song of the Year — were all awarded to women. While the Grammy ceremony horse race can be as much a commentary on commercial worth as musical strengths, the ceremony has much to teach us about what pop music means in 2021. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Ten years ago the Australian artist Gotye asked New Zealand musician Kimbra to feature on his song “Somebody I Used To Know.” At the time Kimbra had no idea it was going to be a hit. No wonder—the song lacks the trappings of a conventional pop song. The chorus shows up late and it only repeats once in a track composed of an obscure Brazilian guitar sample and nursery rhyme xylophones. But this slow burner about opposing sides in a relationship's bitter end found a global audience, ascending to No. 1 in more than 25 countries, and accumulating billions of plays across streaming platforms. In 2013, Prince anointed Gotye and Kimbra the Grammy for record of the year (it won best pop duo/group performance as well). The song created many opportunities for both Gotye and Kimbra, but both chose unconventional paths, resisting the industry’s desire to generate the next hit for hits sake. Reflecting on the song a decade later, Kimbra spoke with Charlie Harding from the podcast Switched On Pop about how this unlikely song inspired her to pursue her singular musical vision, and how it feels to be yet again co-nominated for a 2021 Grammy for her collaboration with Jacob Collier and Tank and The Bangas on “In My Bones.” SONGS DISCUSSED Gotye - Somebody I Used to Know (feat. Kimbra) Luiz Bonfá - Seville Kimbra - Miracle Kimbra - 90s Music Kimbra - Top of the World Jacob Collier - In My Bones Kimbra - Right Direction Son Lux - Lost It To Trying MORE Check out Kimbra’s course on Vocal Creativity, Arranging, and Production over at Soundfly Listen to our conversation with Jacob Collier Learn more about your ad choices. Visit podcastchoices.com/adchoices

Kaytranada has what every producer strives for: an in-demand signature sound. His records glide fluidly between four-to-the-floor house beats, hip-hop sample-flipping, and P-Funk style 808 bass lines. He honed the technique as a teenager, and it has since grabbed the attention of some all-star collaborators: Pharrell Williams, Mary J. Blige, Alicia Keys, Anderson .Paak, and Kendrick Lamar. This year, he’s nominated for three Grammys, including Best Dance/Electronica Album for his 2019 sophomore release, Bubba, and Best New Artist. But Kaytranada is hardly new to music; at 28, he has been building a career in the industry for more than a decade. Although the recognition may be overdue, the thrill of it hasn’t worn off. “I’m Kaytranada, all the way from Montreal, Canada — been making beats since I was young. And now here I am, [one of the] Best New Artists for the Grammys. It’s really crazy and exciting,” he says. On this week’s episode of Switched on Pop, co-host Charlie Harding spoke with Kaytranada about how his DIY approach to production led him to music’s biggest stage. SONGS DISCUSSED Kaytranada — Got it Good (feat Craig David), Lite Spots, TOGETHER (feat Aluna George & GoldLink), GLOWED UP (feat Anderson Paak), You're the One (feat SYD), Kulture, 10% (f Kali Uchis), Rush (Kali Uchis), Love Thang (First Choice) Pontos De Luz (Gal Costa) Janet Jackson - If (Kaytranada Remix), Teedra Moses - Be Your Girl (Kaytranada Edition) Learn more about your ad choices. Visit podcastchoices.com/adchoices

JP Saxe wrote the song “If the World was Ending” with acclaimed songwriter Julia Michaels in 2019 about a fictional cataclysm. The record was released in the before times in a way that seemed to presage lockdown. In the early months of the actual pandemic the song resonated so widely that it catapulted up the charts. It’s now been nominated for a Grammy for song of the year — an award JP Saxe could share with his grandfather János Starker who was awarded a Grammy in 1997 for a recording of Bach’s cello suites. We wanted to speak with JP not just because of the song's success, but also because he has a way of thinking about the practical implications and even morality of songwriting in this track as well as his song "Line By Line" with Maren Morris. Songs Discussed JP Saxe with Julia Michaels - If The World Was Ending JP Saxe - 25 In Barcelona, A Little Bit Yours, The Few Things, Same Room Lennon Stella - Golf on TV (with JP Saxe) JP Saxe, Maren Morris - Line By Line Learn more about your ad choices. Visit podcastchoices.com/adchoices

Adrian Younge is a producer for entertainment greats ranging from Jay Z and Kendrick Lamar to the Wu Tang clan, a composer for television shows such as Marvel's Luke Cage (with A Tribe Called Quest’s Ali Shaheed Mohammad), and owner of the Linear Labs record label and analog studio. Younge has a new mixed media project that breaks down the evolution of racism in America that he calls his “most important creative accomplishment.” A short film, T.A.N., and podcast, Invisible Blackness, accompany the album The American Negro (available Feb 26). Younge tells Switched on Pop how his experience as a law professor and his all-analog approach to recording resulted in a sound he describes as “James Baldwin hooked up with Marvin Gaye.” Music Discussed Adrian Younge - Revolutionize, The American Negro, Revisionist History, Black Lives Matter, Margaret Garner Gil Scott Heron - The Revolution Will Not Be Televised More Additional production by Megan Lubin 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 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 Blood Kris Bowers - When You Are Alone, Flawless My Dear, Strange Maurice Ravel - Tombeau de Couperin, Prelude Clara Schumann - Der Mond Kommt Still Gegangen Johannes Brahms - Symphony No 3 in F Major Op 90, Mvt 3 (for Four Hand Piano) More Read Maria Popova on the letters of Johannes Brahms and Clara Schumann and Adrian Daub on Four Handed Monsters Learn more about your ad choices. Visit podcastchoices.com/adchoices

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&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 Discussed The Weeknd - Blinding Lights Michael Sembello - Maniac a-ha - Take on Me Bruce Springsteen - Blinded By The Light Manfred Mann's Earth Band - Blinded By The Light The Weeknd - Can't Feel My Face The Weeknd - Faith The Weeknd - In Your Eyes The Weeknd - Save Your Tears The Weeknd - Until I Bleed Out More Read 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

Epik High are elemental to Korean hip hop. DJ Tukutz, Mithra Jin and Tablo’s underground style boom bap beats with dexterous rapping helped bring this music from its underground roots to a global scale. On their latest release, Epik High Is Here Part I, the textures are subdued but paired with heavy drums and aggressive vocals, a contrast that matches our collective anxiety arising from the pandemic. Charlie speaks with Tablo about the creation of the album, but first first ethnomusicologist Youngdae Kim shares a short history on the development of Korean hip hop. SONGS DISCUSSED Epik High - Rosario, Go, Fly, Map the Soul, Harajuku Days, Born Hater, Lesson Zero, Based On A True Story, Leica, Wish You Were Seo Taiji and Boys - I Know Verbal Jint - Overclass MORE Read Youngdae Kim and T.K. Park’s “A Brief History of Korean Hip-hop” Learn more about your ad choices. Visit podcastchoices.com/adchoices

Power ballads used to top the charts regularly, from 80s rock to 90s R&B. But then in the 2000s, the formula of constant escalation gradually fell off the Billboard. Now, seemingly out of nowhere, Olivia Rodrigo’s single “Drivers License” is breaking streaming records as listeners yearn for the emotional catharsis from this contemporary power ballad. With the help of David Metzer, professor of music history at the University of British Columbia, we break down how “Drivers License” sticks to an age-old formula, and how it deviates from a well worn musical path. SONGS DISCUSSED Olivia Rodrigo - Drivers License Barry Manilow - Mandy Roy Orbison - It’s Over Clyde McPhatter - Without Love There Is Nothing Etta James - I’d Rather Go Blind Journey - Open Arms Mariah Carey & Boyz II Men - One Sweet Day Seal - Kiss From A Rose Hootie & The Blowfish - Only Wanna Be with You Led Zeppelin - Stairway To Heaven MORE Professor David Metzer’s The Ballad in American Popular Music: From Elvis to Beyoncé Aiyana Ishmael for Teen Vogue “Olivia Rodrigo Song "Drivers License" Sparks Fan-Made TikTok POV Covers” Olivia Rodrigo’s Instagram demo Richard S. He Twitter thread Learn more about your ad choices. Visit podcastchoices.com/adchoices

Listen to Top 40 pop over the last decade and you’ll notice something weird is happening. The chorus—the emotional apotheosis of a pop song, its dizzying high, its cathartic sing-along center—is disappearing. In its place, artists from Bad Bunny to Taylor Swift are toying with new, chorus-lite song forms that introduce a new musical grammar to the sound of contemporary pop. We may not think much about pop structure when listening to our favorite songs, but this is a big deal—the last time pop experienced such a seismic shift was when the chorus first came into fashion, back in the 1960s. What does this mean for modern musicians and listeners? Emily Warren, songwriter for new-guard stars like Dua Lipa and Khalid, joins to break down why the sea change in pop form represents a new horizon of creative possibility. Songs Discussed Bad Bunny - Si Veo a Tu Mamá Future & Drake - Life Is Good Billie Holiday - Blue Moon Beyonce - Formation Travis Scott - Sicko Mode Queen - Bohemian Rhapsody Aretha Franklin - (You Make Me Feel Like) A Natural Woman Drake - Laugh Now Cry Later (ft. Lil Durk) Learn more about your ad choices. Visit podcastchoices.com/adchoices

Is it true that all pop music sounds the same today? For the past year the “pop-drop” has dominated the airwaves. This new form of EDM infused pop came out of DJ culture and has infused its sound with every mainstream act like Lady Gaga and Coldplay. Tiring of this sound, some artists are finding creative ways to parody this pop trope. The rock outfit Fall Out Boy’s “Young And Menace” demonstrates equal parts mastery and mockery of the pop-drop. And PC Music, a rising art-music label out of London, skewers the whole of pop cliché on their mixtape collaboration with Charli XCX. After this episode, we promise you’ll be ready to move on to new sounds. Luckily, listeners have collaborated to create a new favorites playlist to help you cleanse your palette. This episode was originally published May 2017. SONGS DISCUSSED The Chainsmokers – Closer Kygo & Selena Gomez – It Ain’t Me Lady Gaga – The Cure Fall Out Boy – Sugar We’re Going Down Fall Out Boy – Young And Menace Jay Z – D.O.A. (Death Of Auto-Tune) Ariana Grande – Into You Katy Perry feat. Skip Marley – Chained To The Rhythm Drake – Passionfruit Postmodern Jukebox – Sugar We’re Going Down Swinging Britney Spears – Oops! I Did It Again Skrillex – Bangarang DJ Snake – Middle Beyoncé – Love On Top Icona Pop – I Love It (feat. Charlie XCX) Iggy Azalea – Fancy ft. Charli XCX Selena Gomez – Same Old Love Charli XCX – 3AM (Pull Up) (feat. MØ) Hannah Diamond – Every Night Bronze – Thy Slaughter Danny L Harle – Super Natural (ft. Carly Rae Jepsen) SOPHIE – JUST LIKE WE NEVER SAID GOODBYE A.G. Cook – Superstar Ariana Grande – Side To Side Coon Sanders Original Nighthawk Orchestra – I’m Gonna Charleston Back To Charleston Spotify Playlist Learn more about your ad choices. Visit podcastchoices.com/adchoices

Auto-Tune may be the most divisive effect in music. Artists have protested it publicly at the Grammys, and critics have derided the effects for its inauthentic reproduction of the voice. And yet, nearly a decade since Jay-Z prophesied the death of Auto-Tune, the sound is alive and thriving in contemporary pop and hip-hop. Journalist Simon Reynolds has written a definitive history of Auto-Tune for Pitchfork that fundamentally changed how we hear this sound. This deep dive criss crosses geology, technology, and the evolution of pop as we know it. Songs Discussed: Cher - Believe Katy Perry - Firework Rihanna - Diamonds Future - F*ck Up Some Commas Emma Robinson - Stay (Cover) Imogen Heap - Hide And Seek Zapp & Roger - Doo Wa Ditty (Blow That Thing) T. Pain - Chopped N Screwed ft. Ludacris Lil Wayne - “How To Love” Kanye - “Heartless” The Black Eyed Peas “Boom Boom Pow” Jay-Z - Death Of Auto-Tune Elvis - Mystery Train The Beatles - Tomorrow Never Knows Whispering Jack Smith - Baby Face Kesha - Tik Tok Bon Iver - Woods Future & Juice WRLD - Jet Lag ft. Young Scooter Shek Wes - Mo Bamba The Carters - Apeshit Further Reading: Simon Reynolds - “How Auto-Tune Revolutionized the Sound of Popular Music" Simon Reynolds -Energy Flash: A Journey Through Rave Music and Dance Culture Learn more about your ad choices. Visit podcastchoices.com/adchoices

Wham’s 1984 contribution to the holiday cannon, “Last Christmas,” has surprising staying power. When Grammy-winning pianist Chilly Gonzales set out to record a holiday album, “A Very Chilly Christmas,” most of the selections were over a half century old. That’s because most of our favorite seasonal songs come from the 1960s and earlier. But in addition to Mariah Carey’s “All I Want For Christmas,” Wham’s “Last Christmas” reliably returns each winter. Despite the cheesy 80s synths and drum machines, the song’s harmonies are remarkable resilient, a testament to George Michael’s auteur songwriting method. Celebrated artist known for his solo piano works, collaborations with Feist and Daft Punk, and his musical masterclasses series, Chilly Gonzales—musical genius—AKA “Gonzo,” sits down at the piano to share in the beauty of this nu-classical Christmas love song, as well as a few selections from his new album “A Very Chilly Christmas.” MORE Get tickets for A Very Chilly Christmas Special airing Dec 23rd at www.chillygonzales.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

Just five months after releasing her Grammy-nominated album “folklore,” Taylor Swift surprised fans with a continuation of sorts — her ninth studio album “evermore.” Working with many of her “folklore” collaborators, Swift says that the team “couldn’t stop writing songs.” Like its sister album, “evermore” shies away from over-the-top pop production, and leans into Swift’s craft. Stripped of the highly produced synth layers from her “Lover” and “Reputation” era, Swift’s lyrics and vocal performance shine in their unvarnished restraint. On this hour-long album, Swift shows her ingenuity with the building blocks of songwriting, giving us more of her signature Swiftian strengths: Lyrics, melody and story. More Read "Figure It Out: The Linguistic Turn in Country Music" by Jimmie N. Rogers and Miller Williams in Country Music Annual 2000 Listen to Jenny Owen Youngs album Night Shift for more rubber bridge guitar and great songs Learn more about your ad choices. Visit podcastchoices.com/adchoices

Producer Bridget Armstrong shares her top tracks from women who are running hip-hop in 2020: Megan Thee Stallion, Tierra Whack, Rico Nasty, Flo Milli, and CHIKA More Listen to the Drake episode on In My Feelings: https://switchedonpop.com/episodes/93-drake-vs-drake Learn more about your ad choices. Visit podcastchoices.com/adchoices

In 1990 John Carlin and Leigh Blake pioneered a new kind of charity album. Together they co-founded Red Hot, a non-profit music label that uses music to raise money and awareness to for the fight against AIDS. This year is the 30th anniversary of their record: Red Hot + Blue, a platinum tribute album to Cole Porter, featuring artists like U2, Jody Watley, David Byrne, k.d. lang and Annie Lennox. Having released 20 projects and raised over $15M for AIDS charities, Carlin reflects back on Red Hot's idiosyncratic approach to reaching music audiences with a public health mission. And ten time Grammy nominee Red Hot collaborator Meshell Ndegeocello discusses how her contributions informed her own prolific music activism. More Listen to Red Hot's records at redhot.org Listen to Meshell's Chapter & Verse by calling 1-833-4-BALDWIN or visiting www.meshell.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

Every song Cyndi Lauper writes is pop perfection according to Sam Sanders, host of NPR’s “It’s Been A Minute.” Many fall for “Girls Just Want To Have Fun,” but Sanders's favorite song is the slow burner “All Through The Night,” save for one moment: the synthesizer solo. For Sanders, this solo never fit in. Charlie investigates the source of his musical malady and uncovers how the 80s got its groove. Songs Discussed Cyndi Lauper - Girls Just Want To Have Fun Cyndi Lauper - Time After Time Cyndi Lauper - She Bop Cyndi Lauper - All Through the Night Janet Jackson - When I Think Of You Janet Jackson - The Pleasure Principle Janet Jackson - Nasty Kenny Loggins - Danger Zone Whitney Houston - Greatest Love Of All Queen - Who Wants To Live Forever Tina Turner - What's Love Got To Do With It Cyndi Lauper - Change Of Heart Phil Collins - In The Air Tonight Kim Carnes - Bette Davis Eyes Tom Petty - You Got Lucky Cars - Lets Go Talking Heads - Burning Down The House Parliament Funkadelic - Atomic Dog The Weeknd - Blinding Lights Dua Lipa - Physical Little Mix - Break Up Song Miley Cyrus - Heart of Glass (Blondie Cover) More Read Dr. Megan L. Lavengood's research on the DX7: https://meganlavengood.com/research/ Listen to Dave Smith's (recently re-released) Sequential Prophet 5 synthesizer: https://www.sequential.com/product/prophet-5/ Learn about William Wittman's production credits on Discogs: https://www.discogs.com/artist/170639-William-Wittman Learn more about your ad choices. Visit podcastchoices.com/adchoices

Cultural critic Ivie Ani breaks down how Missy Elliott broke into the pantheon of anthems, and how she changed the scope of who could belong. Songs Discussed Missy Elliott - Work It Blondie - Heart of Glass RUN-DMC - Peter Piper Rock Master Scott & the Dynamic Three - Request Line Snoop Dogg - Y'All Gone Miss Me Vanilla Ice - Ice Ice Baby Justin Timberlake - Sexy Back Trace Adkins - Honky Tonk Badonkadonk Missy Elliott - The Rain (Supa Dupa Fly) Lil Kim - Not Tonight (Remix) Missy Elliott - Lose Control (feat. Ciara & Fat Man Scoop) Missy Elliott - Sock It 2 Me Learn more about your ad choices. Visit podcastchoices.com/adchoices

When Smash Mouth wrote "All Star,” they knew that it was going to change their lives. But they never expected it would become an anthem played in sports arenas, soundtracked by Hollywood, and embedded into seemingly every internet meme. Darryn King joins the show to break down "The Never-ending Life of Smash Mouth's 'All Star.'" 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. MORE Read 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

Freddie Mercury and team made one of the most unusual anthems of all time. “We Are The Champions” has a somber beginning, an uncertain ending and a sprinkling of operatic allusions. Yet more than 40 years after this slow burners debut, it continues to be a staple at sporting events. In the first episode in a four part series, ANTHEMS, Nate and Charlie break down the song’s fundamental elements that place this song in the anthemic pantheon. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Cory Henry is a remarkably gifted multi-instrumentalist. Growing up in the church, he started playing the Hammond B3 organ at age 2 and played his first gig at Apollo theater in NYC at age 6. As a professional musician he’s played along side Bruce Springsteen, Boyz II Men, The Roots, Kirk Franklin and many others including the acclaimed group Snarky Puppy which earned 3 Grammys during his tenure playing keys. Now he leads his band Cory Henry & The Funk Apostles who are releasing an album on Oct 30th called Something To Say, which features all of Henry’s gifts, but especially his voice in an album that makes you want to get up and dance as much as it makes you want to take action. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Shawn Mendes, BTS, Alicia Keys, 24kGoldn, Dua Lipa, Justin Bieber & Chance The Rapper are all in the Hot 100 with songs that attempt to cope with the state of the world. What do they tell us about the sound of popular music and our collective psyche? Charlie is joined by writer, critic and friend of the podcast, Lauren Michele Jackson to offer a meteorological reading of music in late 2020. MORE Read Aja Romano's article "With 'Dynamite,' BTS beat the US music industry at its own cheap game" on Vox.com SONGS DISCUSSED Shawn Mendes - Wonder Alicia Keys - Underdog Hamilton - My Shot Dua Lipa - Break My Heart INXS - Need You Tonight BTS - Dynamite Justin Bieber - Holy ft. Chance The Rapper 24kgolden - Mood ft. iann dior Learn more about your ad choices. Visit podcastchoices.com/adchoices

There is a type of country song that loves flawed characters lost on a winding journey ... likely down a dit road. One of the best songwriters in this style is acclaimed artist Brandy Clark. Her credits include a whose-who of country music—Kacey Musgraves, Reba McEntire, Darius Rucker, Lean Rimes—and her albums have received overwhelming critical acclaim. And her debut record, 12 Stories, earned her a 2015 Grammy nomination for Best New Artist. We spoke with Brandy about her new album Your Life Is A Record, which asks what if your life’s journey fit on one LP. The songs are honest, and buck the all too familiar pop-country clichés. Clark writes songs about anti-heroes who make imperfect choices (“Who You Thought I Was,” “The Past Is The Past.”) All together her songs portray one whole life. 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 podcastchoices.com/adchoices

Mickey Guyton spent a decade of fits and starts trying to make a career in country music. But now in recent months she’s having a country music moment releasing vulnerable songs that use her experiences of rejection, exclusion and racism as inspiration. Charlie speaks with Guyton about her breakout songs “What Are You Gonna Tell Her?” and “Black Like Me,” as well as what it took for her to make it onto one of country musics most beloved stages, the American Country Music Awards. Songs Discussed Mickey Guyton - What Are You Gonna Tell Her Dolly Parton, Kenny Rogers - Islands In the Stream Dolly Parton - Coat of Many Colors Mickey Guyton - Safe (Acoustic) Mickey Guyton - Heartbreak Song Mickey Guyton - Why Baby Why Mickey Guyton - Better Than You Left Me Mickey Guyton - Black Like Me 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. Survey We 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

When we listen closely to the Fifth, we hear a testament to self-expression and determination. Which means that we get to decide how to honor this symphony today, whether that means taking a break from Beethoven to commission new works from underrepresented composers, bringing new audiences into the fold by staging concerts in communities outside of the concert hall, or re-writing Beethoven’s works to make them reflect our present moment. Featuring: Anthony McGill, Clarinet Andrea Moore, Musicologist Deborah Borda, CEO and President David Lang, Composer Jaap van Sweden, Conductor Leelanee Sterett, Horn Sherry Sylar, Oboe Music Featured: Carlos Simon, Loop Tania Léon, Stride David Lang, Prisoner of the State Recoding of Beethoven Symphony 5 by the New York Philharmonic conducted by Jaap van Sweden used by permission from Decca Gold. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Before Beethoven’s time, classical music culture looked and sounded quite different. When Mozart premiered his Symphony 31 in the late 1700s, it was standard for audiences to clap, cheer, and yell “da capo!” (Italian for “from the beginning!”) in the middle of a performance. After Beethoven’s Fifth Symphony debuted in the early 1800s, these norms changed — both because the rising industrial merchant class took ownership of concert halls and because of shifts in the music itself. As we explored in episodes I and II of the Switched On Pop podcast series The 5th, the musical complexity of Beethoven’s symphony required a different kind of listening. The Fifth’s four-note opening theme occurs and recurs in variations throughout the symphony, slowly shifting from minor to major keys and mirroring Beethoven’s experience with deafness. The Fifth’s creative rule-breaking — subverting the classical sonata form in the first movement, for example — requires close listening to fully grasp. Over time, these norms crystallized into a set of etiquette rules (e.g., “don’t clap mid-piece”) to enhance the new listening experience. In the third episode of The 5th, we explore how Beethoven’s symphony was used to generate the strict culture of classical music — and the politics that undergird those norms of behavior. Music Discussed Recording of The New York Philharmonic performing Beethoven’s Symphony No. 5 conducted by Jaap van Zweden used by permission from Decca Gold. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In the first movement of his famous symphony, Beethoven sets up a battle between hope and despair. The dark side of that spectrum is represented by the anguished opening notes of the first movement: DUN DUN DUNNN. Over the course of the next three movements, Beethoven keeps trying to overcome his dark fate with bright major melodies, and keeps getting defeated. With each high and low, we begin to understand that this battle isn't just about major and minor keys, it's about the will to live in the face of adversity. How do you perform such an emotional rollercoaster? We talk to the members of the New York Philharmonic about what it's like to sound a symphony whose stakes are life and death. Jaap van Zweden, Conductor Leelanee Sterrett, Horn Kyle Zerna, Percussion Frank Huang, Violin Anthony McGill, Clarinet Sherry Sylar, Oboe Recording of The New York Philharmonic performing Beethoven’s Symphony No. 5 conducted by Jaap van Zweden used by permission from Decca Gold. Hear new episodes of our four-part miniseries The 5th every Tuesday and Friday starting September 8th. Learn more about your ad choices. Visit podcastchoices.com/adchoices

You know Beethoven’s Fifth Symphony. You’ve heard it in films, advertisements, parodied in Saturday morning cartoons and disco-ized in Saturday Night Fever. The Fifth Symphony is a given, so much so that it blends into the background. You know this piece, but how well? Of all the symphonies of the bewigged classical "greats," why is this one still stuck in our heads over two centuries later? To answer these questions, we’re giving Beethoven’s famous symphony the same treatment we give to pop songs. And we’re doing so with the help of an orchestra that’s been performing this piece since 1842, the New York Philharmonic. In Movement I, we hear how the famous opening notes of the symphony aren't just melody: they’re the main character in a drama that will unfold over four movements. Featuring: Frank Huang, Violin Anthony McGill, Clarinet Sherry Sylar, Oboe Recording of The New York Philharmonic performing Beethoven’s Symphony No. 5 conducted by Jaap van Zweden used by permission from Decca Gold. New episodes of our four-part miniseries The 5th drop every Tuesday and Friday starting September 8th. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Our Switched on Summer Throwback Series continues with “Dancing in the Street,” the 1964 Motown hit by Martha and the Vandellas that was co-written by none other than Marvin Gaye. Over 50 years and countless covers later, we explore how this song still manages to get people off their feet and onto the streets—not just to dance, but also to raise their voices in joy, catharsis, and protest. SPONSOR We use Reason Studios to make music on Switched On Pop. You can use Reason too free for 30 days: http://reasonstudios.com/onpop SONGS DISCUSSED Martha and the Vandellas – Dancing in the Street Marvin Gaye – Stubborn Kind of Fellow The Mamas and the Papas – Dancing in the Street The Grateful Dead – Dancing in the Street Van Halen – Dancing in the Street Mick Jagger and David Bowie – Dancing in the Street Kendrick Lamar – Alright Pharrell Williams – Happy Learn more about your ad choices. Visit podcastchoices.com/adchoices

How does it feel to become a global pop star under lockdown? Benee’s “Supalonely” had been out for over 5 months when in March of 2020, it quickly became the second most popular song on TikTok. The song’s hook “I’ve been lonely… Supalonely” clearly reflected a global collective malaise about the pandemic—and people wanted to dance to it. She wrote this “sad banger” to help get over a breakup. And now the song changed her life. Not along before she’d dropped out of college to make music while working at a pizza place. Her first EP had found an audience in her home country, New Zealand. Now, with her TikTok success Benee has ascended the top 100 in 30 countries. All of this happened from the solitude of her childhood bedroom, where like so many people, she’s taking zoom calls all day. She tells Switched On Pop about using levity to overcome personal difficulty and what’s like to achieve global recognition from home. 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. MORE The Pudding’s study on Defining the 90s Canon Take The Pudding’s quiz yourself SONGS DISCUSSED Spice Girls - Wannabe Mariah Carey - Fantasy! Lou Bega - Mambo #5 Los Del Rio - Macarena Boys II Men - Motown Philly Whitney Houston - I Will Always Love You Savage Garden - I Want You The Barenaked Ladies - One Week Jewel - You Were Meant For Me Jennifer Lopez - If You Had My Love Celine Dion - My Heart Will Go On Britney Spears - Baby One More Time Smash Mouth - All Star Nirvana - Smells Like Teen Spirit Learn more about your ad choices. Visit podcastchoices.com/adchoices

Bruno Major blends old song structures from The Great American Songbook with contemporary production on his new album “To Let A Good Thing Die.” The result is a nostalgic, yet contemporary collection of love songs for the Netflix and chill generation. We speak with Bruno Major about how he draws inspiration from the past to craft something new. He breaks down his songs "Nothing," "To Let A Good Thing Die," and "The Most Beautiful Thing," which he wrote with Finneas. And we unpack how Bruno Major found success only after being dropped from his record label. SONGS DISCUSSED Bruno Major - Nothing Autumn Leaves - Nat King Cole Fly Me to The Moon - Frank Sinatra Stella By Starlight - Tony Bennett There Will Never Be Another You - Nat King Cole Like Someone in Love - Chet Baker Deep in a Dream - Frank Sinatra All The things you are - Ella Fitzgerald Paul Simon - Still Crazy After All These Years Wes Montgomery - In Your Own Sweet Way Bruno Major - Wouldn't Mean A Thing Bruno Major - Bad Religion (Live) Bruno Major - I'll Sleep When I'm Older J Cole - KOD J Dilla - La La La Bruno Major - The Most Beautiful Thing Bruno Major - To Let A Good Thing Die Learn more about your ad choices. Visit podcastchoices.com/adchoices

Beyoncé' has released "Black Is King," a visual album based off of music that she released last year. We're rerunning that piece so that you can place the visual component of "Black Is King" in context to the music. For the live action remake of the Lion King, Beyoncé, (who voices Nala in the film), recorded and curated a companion soundtrack called The Gift. She worked with leading Afropop stars to expose the music of the continent to a global audience. In her piece, “Diversity Is in the Details: What Beyoncé’s ‘The Lion King: The Gift’ Gets Right and Wrong,” Okayplayer music editor Ivie Ani argues that the album highlights music while unintentionally treating the continent as a monolith. Ani joins Switched On Pop to break down this album and what it means for Afropop. SONGS DISCUSSED Beyoncé, Jay-Z, Childish Gambino, Oumou Sangaré – MOOD 4 EVA Oumou Sangaré – Diaraby Nen Burna Boy – JA ARA Fela Kuti – Water No Get Enemy Fena, MDQ, Mayonde, Kagwe, Blinky Bill – PARTY NATION BONUS Listen to Blinky and Ivie’s East African playlist recommendations Learn more about your ad choices. Visit podcastchoices.com/adchoices

Taylor Swift has released folklore, her unexpected eighth studio album. It is an understated work that firmly puts celebrity gossip behind her (there are no who's-dating-who easter eggs to be found). Instead we're gifted Swift's greatest strength: songwriting. The lyrics blur "fantasy and reality." There are imagined teenage love trysts, recreated dynasties and intimate reflections on modern love. We break down the sounds and lyrics that make up Swift's strongest album yet. SONGS DISCUSSED Taylor Swift - the 1, illicit affairs, my tears ricochet, august, epiphany, cruel summer, this is my trying, hoax, peace, you belong with me, mirrorball, epiphany, our song, cardigan, the last great american dynasty, betty The National - Light Years Bon Iver - 666 BONUS The correct term for the piano line is a "turn" Learn more about your ad choices. Visit podcastchoices.com/adchoices

Nu-Metal, the mid 90s creation that blended metal, rap and pop, is one of the most critically derided pop genres. So it is strange that this genre is having a comeback. But whereas its first incarnation was dominated by men, now women are leading the way. Artists like Poppy, Grimes and Rina Sawayama have recast the heavy guitars, sung-rap lyrics and gaudy aesthetic to fight back the patriarchy. CORRECTION: Charlie does not play pinch harmonics, but rather natural harmonics SONGS DISCUSSED Korn - Freak On A Leash Rina Sawayama - STFU! Limp Bizkit - Break Stuff Poppy - I Disagree Nine Inch Nails - Head Like A Hole Grimes, Hana - We Appreciate Power Rina Sawayama - XS Britney Spears - Gimme More Britney Spears - Toxic MORE Check out Finn McKenty's YouTube channel The Punk Rock MBA starting with his video on what killed Nu-Metal https://www.youtube.com/watch?v=ATllyNXF3Kg&t Learn more about your ad choices. Visit podcastchoices.com/adchoices

Listen closely to the start of the 2015 hit "Hey Mama" by David Guetta, Nicki Minaj, Afrojack, and Bebe Rexha and you'll hear voices intoning a chant: "Be my woman, girl, I'll be your man." It's sample from a 1948 recording called "Rosie," and it's the propulsive hook of "Hey Mama," driving the song to over a billion views on YouTube. The voices in the sample belong to CB Cook and ten other unidentified prisoners at the Mississippi State Penitentiary, aka Parchman Farm. These men never got credit for their work, even though it's been reused by everyone from Guetta to the Animals to Nina Simone. We investigate the story of "Rosie" to understand an inequity that lies at the heart of the music business and our national consciousness. Songs Discussed David Guetta ft Nicki Minaj, Bebe Rexha, and Afrojack - Hey Mama CB Cook and Axe Gang - Rosie The Animals - Inside Looking Out Grand Funk Railroad - Inside Looking OUt KRS-One - Sound of Da Police Jay Z - Takeover Nina Simone - Be My Husband Check out Kembrew McLeod's and Peter DiCola's book Creative License to learn more about the law and culture of digital sampling. Learn more about your ad choices. Visit podcastchoices.com/adchoices

The 2020 song of summer competition is underway. We asked you for your favorite songs and put them in a head-to-head tournament. Find out which is the song for this very unusual summer. ROUND 1 - TikTok Jams SAINt JHN - "Roses" Imanbek Remix Megan Thee Stallion - Savage Remix (Feat. Beyoncé) The Weeknd - Blinding Lights ROUND 2 - Protest Anthems Beyoncé - Black Parade Anderson .Paak - Lockdown YG - FTP ROUND 3 - Breezy Bops Dua Lipa - Physical Chloe x Halle - Do It Harry Styles - Watermelon Sugar ROUND 4 - Bummer Bangers Taylor Swift - Cruel Summer Lana Del Rey - Summertime Sadness HAIM - Up From A Dream Learn more about your ad choices. Visit podcastchoices.com/adchoices

Lady Gaga’s 6th album is a conceptual release about a future that is neither utopian nor dystopian. Despite its sci-fi visuals, the album looks more to the past and present than the future. Chromatica gives us a world that sounds like 90s house music made for this summer’s cancelled Pride parties. It is lyrically somber, but musically upbeat, a productive tension that inspires hope. Gaga shared that she made this album to help her and her ‘little monsters’ dance through the pain. So we called on our listeners to dig up the most meaningful moments on the album and help us tour the world of Chromatica. SONGS DISCUSSED Lady Gaga - Chromatica I, 1000 Doves, Alice, Bad Romance, Stupid Love, Fun Tonight, Paparazzi, The Fame, Rain On Me, Since From Above, Babylon Gwen McCray - All This Love Cassius - Feeling For You Avicci & Sebastien Drums - My Feelings For You MORE "Welcome To Chromatica" playlist: https://open.spotify.com/playlist/6nIb85jPqtjhjuOB3DUI49?si=Vy9LLNWcSAeih_V2Amq6Aw Learn more about your ad choices. Visit podcastchoices.com/adchoices