Switched on 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.

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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

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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. 

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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.

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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.

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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.

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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.

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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

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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.

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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

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