The latest installment of the James Bond franchise, No Time To Die, closes the book on the Daniel Craig era of the international superspy. The film’s theme song, “No Time to Die,” by Billie Eilish, Finneas, and Hans Zimmer, also marks the conclusion of one of the great musical sagas in recent cinema. Monty Norman’s and John Barry’s now-iconic “James Bond Theme,” written for 1962’s Dr. No, has remained a constant across six decades of espionage and one-liners. But every new Bond theme has also developed subtle variations on the original that reflect the character’s changes over time. On this episode of Switched On Pop, we uncover what inspired the theme, how it’s changed, and why it almost never happened.


FURTHER JAMES BOND THEME READING
The James Bond Songs: Pop Anthems of Late Capitalism by Adrian Daub and Charles Kronengold
The Music of James Bond - Jon Burlingame
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James Bond's Spycraft Sound

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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The Tortured Poets Department, Taylor Swift's 11th studio album, finds the songwriter in the world of literature. She interweaves personal romance with mythical creation and quotations from high and low culture: Genesis, Peter Pan and even Playstation. Despite calling herself a "modern idiot," less-than-subtle nods to Sylvia Plath, Samuel Taylor Coleridge, Dylan Thomas, and Patti Smith reveal the artist’s literary aspirations and “legendary” status. The full length Anthology version contains a bookshelf of many genres: pulp fiction, diary entries, period pieces, epic poems, and her very own genre, Taylor Swift.
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Taylor Swift's Literary Era

Lost Notes by KCRW explores how Fela Kuti’s time in LA in 1969 was instrumental in the creation of his legendary Afrobeat sound. Hosted by Michael Barnes and Novena Carmel. Find a full transcript of Lost Notes at KCRW. And subscribe to the show.
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Lost Notes: How Fela Kuti Found Afrobeat in LA

There are few artists pushing the boundaries of their respective genres like Maryland rapper Rico Nasty and German-Iraqi electronic producer Boys Noize. The two have run in the same circles for over half a decade, but their joint collaboration has reached an apex with their three song EP, HARDC0RE DR3AMZ, a dance-floor ready project that owes as much to Berlin techno as it does to Dutch gabber music. Rico and Boys Noize – a.k.a. Alexander Ridha – are also incredible friends with a lot of love for one another, and for producer Reanna Cruz, all of these reasons make the duo’s EP one of the best projects of the year.

On the heels of Berlin techno being added to the UNESCO list of intangible cultural heritage for Germany, Reanna sat down with Rico and Alex for this episode of Switched on Pop.
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Berlin's Hottest Club is Rico Nasty & Boys Noize

Joe Keery is best known for his acting roles, such as the reformed jock Steve Harrington in "Stranger Things" and his chilling performance in season 5 of "Fargo." But he's also a spectacular musician. Rising through the Chicago music scene in college, he has self-released two albums under the moniker 'Djo.' His latest work, "Decide" from 2022, serves as a coming-of-age story and a meditation on navigating modern life. Despite strong initial reviews, the album only gained widespread attention two years later when its breakout hit "End of Beginning" became a soundtrack for youthful nostalgia on TikTok, casting Keery as an accidental pop star. Joe Keery joined "Switched On Pop" to discuss the creation and significance of "Decide."

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Chasing old sounds: Djo's "End of Beginning" with Joe Keery

Beyoncé's Cowboy Carter is her foray into country music, but this isn't just dirt roads, blue jeans and whiskey. Her country music distills all of American pop: blues, gospel, R&B, soul, house, hip-hop and yes, country. If this ain't country, what is?
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James Bond's Spycraft Sound

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