Switched on Pop Vox Media Podcast Network

Bootsy Collins is, perhaps, the funkiest man of all time. Over the course of his nearly six decade career, Collins has given up the funk in the iconic Parliament Funkadelic, helmed Bootsy’s Rubber Band, and lended his slaparific talents to songs from everybody from James Brown to Dee-Lite to Fatboy Slim. His new album, aptly titled Album of the Year #1 Funkateer, is on the way, so in celebration of his illustrious career, we invited Bootsy Collins – aka Casper the Funky Ghost – onto Switched on Pop to reminisce on some of his greatest hits.
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There is no contemporary pop music without Nile Rodgers. Born in 1952, Rodgers grew up playing classical music on flute and clarinet before picking up jazz guitar. And at age 20, alongside bass player Bernard Edwards, Rodgers formed the band Chic. They wrote the biggest disco hits of the 70s, like: “Dance Dance Dance,” “Everybody Dance,” “Le Freak," and "Good TImes," which formed the core of Sugarhill Gang’s “Rapper's Delight”.
In his music career spanning six decades, Rodgers has produced and played on some of the biggest pop songs in history, for artists like Sister Sledge, Diana Ross, David Bowie, Madonna, Daft Punk, and Beyoncé. He is also the chair of the Songwriters Hall of Fame, so with the Songwriters Hall of Fame ceremony taking place this June, we invited him onto Switched on Pop to talk about the making of a great song.
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There's no music writer like the essayist and poet Hanif Abdurraqib: whether he's narrating the beautiful awkwardness of a Carly Rae Jepsen concert or talking jazz and eastern spirituality with Andre 3000, he manages to coax stories and insights out of songs in a way that never fails to surprise. His latest book, There's Always This Year, is a free flowing meditation on basketball, childhood, his home state of Ohio, and of course, music – so on the precipice of the NBA finals, Hanif returns to Switched On Pop to discuss classic soul, sports, and sound with musicologist Nate Sloan.
You can buy Hanif's work through his website here.

Songs discussed:

Boyz II Men, "On Bended Knee"

Otis Redding, "My Girl"

The Temptations, "My Girl"

Joy Oladokun, "My Girl"

Stevie Wonder, "My Girl"

Stevie Wonder, "Knocks Me Off My Feet"

Trent Reznor, Atticus Ross, "Challengers: Match Point"


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On her latest album, Taylor Swift “declared Charlie Puth should be a bigger artist.” No one was more surprised by this than Charlie Puth himself: the singer, pianist, and songwriter whose career has always straddled pop stardom and behind the scenes anonymity. After three albums, billions of streams, and numerous songwriting credits – including one on the award-winning number one track “Stay” from the Kid Laroi – Puth has been busier than ever. His new song “Hero” comes on the heels of the Swift mention, and takes him in a new direction, with acoustic guitars and hushed, contemplative vocals.
On the heels of this song’s release, Nate sat down with Charlie Puth himself at Conway Studios in Hollywood to discuss the new track, aided by a piano and all of “Hero”’s isolated stems.
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On Billie Eilish’s third album, Hit Me Hard and Soft, Eilish finally graduates from her signature anti-pop persona into full blown pop stardom. This record finds Eilish experimenting on the themes from her earlier records, while crafting an economic ten tracks that position themselves for mainstream radio consumption. There’s “L’amour de ma vie,” her five-and-a-half minute beat-switching eulogy for a failed relationship, or “Birds Of A Feather,” where she contrasts the soft, dreamy melodies we’ve come to know Eilish for with hauntingly dark lyrical content. This duality is a recurring motif throughout Hit Me Hard and Soft, with each song offering a unique blend of vulnerability and strength. These tracks, along with the rest of the album, develop a satisfying and diverse creative arc that speaks to the album’s title: they hit both hard and soft. This week’s episode of Switched On Pop explores Eilish’s new record track by track, unpacking the sonic duality of her new sound.
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When you go out for a meal, it’s not just what's on your plate that matters, it's what's in your eardrums, too. From dining rooms so loud you have to shout to be heard, to playlists that sound like a generic Millennial Spotify account, it's not surprising that sound is the single most complained about aspect of restaurants.
A few years ago, Charlie and Nate explored this in an episode on restaurant playlists. This week, they joined Cynthia and Nicky on their show Gastropod to help them explore the science behind the sonic experience of eating.
Are restaurants really getting louder, and, if so, why? What does it take to create the perfect acoustic environment for dining? Can restaurateurs design their playlists to make customers order more or eat faster? Listen in now for the secrets to culinary acoustic bliss – and check out Cynthia and Nicky's guest spot on our episode of Switched On Pop.
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