Everything but the Music UCLA Music Studies

In this episode, we discuss the art of playlist and mixtape-making as a form of musical dialogue, allowing listeners to establish connections between songs in meaningful ways.



Go to everything-but-the-music.com to find our show notes for this episode!

In this episode, we discuss how the “misandrist” female singer-songwriters of the nineties were progressively feminist for their time, and how people's perceptions of them would be similar and/or different in today’s day and age. The three main artists we discuss are Tori Amos, Fiona Apple, and PJ Harvey.

CW: This episode contains mentions of sexual assault. Listener discretion is advised.

In this episode, we discuss a variety of songs that illustrate just how many different ways there are to interpret the feeling known as “love”.

Go to everything-but-the-music.com to find show notes and the transcript for this episode!

We recorded this episode three days before SOPHIE’s untimely death on Saturday, January 30th, 2021. As one of the pioneers of hyperpop, SOPHIE was a true visionary and we’re thankful for the work she shared with us. Although her life was short, her legacy lives on. We dedicate this episode to SOPHIE.

In 2013, British music producer A.G. Cook founded the record label PC Music. The label’s known for exaggerating elements of 1990s and early 2000s pop and electronic music, such as the use of vocal effects and synthesizers. In this episode, we discuss PC Music, the advent of hyperpop, and the existence of genres in music today.

In this episode, we discuss a number of topics concerning the relationships between non-human animals and the thing we call music, such as music-making capacities in species other than our own, human musical representations of other species in our own musical practices, and the use of “the animal” in performance and other art forms.

We treat “opera” as a grossly overgeneralized umbrella term when it is far from that! In this episode, we highlight a variety of opera pieces while discussing the operatic canon’s place in today’s society.