Aaron DessnerEvery podcast appearance, updated as new ones drop

Noah Kahan electrified a massive Citi Field crowd in Queens with a surprise onstage appearance by Aaron Dessner, who joined him to shred an unforgettable electric guitar solo on “End of August” — the fan-favorite opener from Kahan’s acclaimed album The Great Divide. The moment bridged studio magic and live energy, showcasing their creative bond forged at Dessner’s Hudson Valley studio, Long Pond. Kahan also apologized for last night’s rain-cancelled show, assuring fans refunds were issued. With his “The Great Divide World Tour” hitting Washington, D.C. next, and a European leg on the horizon, Kahan’s momentum is unstoppable — don’t miss the next stop. Listen in comfort: Get a discount on a Soli Pillow: http://solipillow.com/discount/dnn. Advertise on DNN: advertise@thednn.ai This is an automated, high-level news summary based on public reporting. Report issues to feedback@thednn.ai. View sources & latest updates: https://sources.thednn.ai/8faf745be899c3aa

Research says you judge a song in under half a second. So why write an intro at all? On this episode of Switched on Pop, Charlie and Nate kick off their Netflix launch and probe what an intro means in today's musical landscape, alongside special guests like Aaron Dessner (Taylor Swift, The National, Gracie Adams), who helps build the case for intros and reveals the surprising sources that form the opening sounds of Taylor Swift's “cardigan.” CREDITS Reanna Cruz: Producer Iris Gottlieb: Illustrator Charlie Harding: Host, Executive Producer Dion Lee: Art Director Brandon McFarland: Audio Engineer Nick Ripps: Video Editor Nate Sloan: Host Lissa Soep: Editor Zach Tenorio & Jocie Adams: Theme Composers Switched On Pop is a co-production of Vox Media Podcast Network, Vulture, and Rock Ridge Productions. Links: ⁠Newsletter⁠ Black Eyed Peas, "Let's Get It Started" Shawn Colvin, “Sonny Came Home” Smashing Pumpkins, “Tonight Tonight” The Cranberries, "Zombie" The Cranberries, "Linger" Carly Rae Jepsen, "Call Me Maybe" Marvin Gaye, "Let's Get It On" Britney Spears, "Toxic" Miles Davis, "Freddie Freeloader" Robyn, "Call Your Girlfriend" The Beatles, "All You Need Is Love" Led Zeppelin, "Over the Hills and Far Away" Beyoncé, "Irreplaceable" Deee-Lite, "Groove Is in the Heart" Missy Elliott, "Get Ur Freak On" Missy Elliott, "Work It" Luis Fonsi feat. Daddy Yankee, "Despacito" Kendrick Lamar & SZA, "Luther" Mariah Carey, "Fantasy" The Who, "Won't Get Fooled Again" Stevie Wonder, "Superstition" The Temptations, "Papa Was a Rollin' Stone" Rick Astley, "Never Gonna Give You Up" Amy Winehouse, "Back to Black" The Supremes, "Baby Love" The Kinks, "Sweet Lady Genevieve" The Beach Boys, "God Only Knows" Erik Satie, "Je te veux" D'Angelo and the Vanguard, "Back to the Future (Part I)" The Chainsmokers feat. Halsey, "Closer" Sabrina Carpenter, "Taste" Benson Boone, "Sorry I'm Here for Someone Else" Stella Lefty, "Boston" Taylor Swift, "Cardigan" The National, "The System Only Dreams in Total Darkness" Taylor Swift, "So Long, London" Gracie Abrams, "Hit the Wall" Noah Kahan, "End of August" Learn more about your ad choices. Visit podcastchoices.com/adchoices

This is a free preview of a paid episode. To hear more, visit nealkatyal.substack.com Campbell v. Acuff-Rose Music Inc. is an important 1994 Supreme Court decision that profoundly impacted copyright law. In a unanimous decision, the Court found that parody is, by and large, protected under the fair use exception, meaning that it doesn’t violate copyright. In the case, 2 Live Crew, a rap group, parodied Roy Orbison and William Dees’ song “Oh, Pretty Woman.” The Court said that was OK. In the long run, the decision has eliminated barriers that previously prevented artists from incorporating unoriginal works into their own, thereby promoting creative growth and the expansion of the arts. We have the ideal guest to discuss the case, Aaron Dessner. Aaron is part of what I think is the best band in America, the National. He's also the most sought after music writer today, having co written several records with Taylor Swift, including the hauntingly beautiful Folklore and Evermore. He just did the same with Ed Sheeran’s new record Subtract. The idea for this episode arose one night after one of Aaron’s concerts, where he and I got talking about music and copyright and how AI, Artificial Intelligence, was going to upend things. So here’s what happened. In 1964, the singer-songwriters Roy Orbison and William Dees wrote a song entitled “Oh, Pretty Woman.” After completion, they assigned the rights of the song to a music company called Acuff-Rose Music, which soon had it registered for copyright protection. 25 years later, popular rap music group 2 Live Crew wrote a parody of the song, which they called “Pretty Woman.” The parody began with the original lyrics and harmonies, but it quickly changed gears, replacing the wishful and melancholy words and chords with startlingly brash ones. 2 Live Crew wrote to Acuff-Rose and asked for permission to release their parody. Acuff-Rose denied the request, but the group went ahead and released the song anyway. About one year later, Acuff-Rose sued 2 Live Crew for copyright infringement. The District Court ruled in favor of 2 Live Crew, but the Court of Appeals reversed. 2 Live Crew appealed, and the Supreme Court agreed to hear the case. At issue was a simple question, but one that had the potential to radically transform copyright law: Did 2 Live Crew’s parody qualify as fair use under the Copyright Act of 1976? The Court unanimously said it did. Campbell v. Acuff-Rose Music was a very consequential ruling. Aside from allowing 2 Live Crew to continue selling their parody of “Oh, Pretty Woman,” the decision also promoted artistic growth, pushing the boundaries of what could acceptably be imitated from preexisting works. Indeed, by recognizing that parody meets the threshold for fair use, the Court opened countless doors for aspiring artists, ensuring that they can draw upon, alter, and otherwise criticize previous works. But that is not to say that the decision gives artists a blank check. As Justice Kennedy remarked in a brief concurrence, “The parody must target the original, and not just its general style, the genre of art to which it belongs, or society as a whole.” In other words, parody qualifies under the fair use exception so long as it criticizes the original work (and not some broader societal phenomenon). The decision thus respects the key tenets of copyright law and protects the works of parodists, striking a delicate yet thoughtful balance between two competing interests. Aaron and I get into a discussion of modern copyright problems, including the Ed Sheeran case and the ways in which Artificial Intelligence might upend things. Paid subscribers have access to all sorts of information about the case, including a short summary of it, an abr

“Collaboration—that's the easiest way to grow” says Aaron Dessner, member of the National and Big Red Machine, and a prolific collaborator with artists from Taylor Swift to Kanye West. In our final episode of Season two, we’re talking to Aaron about what it’s like to learn and experiment alongside other musicians, and how valuable that can be for breaking through into new creative frontiers. To close out this season, Hanif leaves us with an expression of gratitude, and a final thought on music as a communal experience. For the playlist of songs curated for this episode head over to https://bit.ly/oos-aaron-dessner. Music In This Week's Episode: Big Red Machine, Magnolia Aaron Dessner and Lauren Mayberry, Who’d You Kill Now? Taylor Swift and Bon Iver, exile (feat. Bon Iver) Aaron Dessner, Big Red Machine Richard Reed Perry, In A Moment Hiss Golden Messenger, Terms of Surrender Hannah Georgas, Easy Big Red Machine and Sharon Van Etten, A Crime Show Notes: Big Red Machine’s latest album, How Long Do You Think It's Gonna Last? is out now. You can watch Julien Baker’s performance of “Claws In Your Back” at Eaux Claires IV, featuring Hanif’s poetry performance, here . The Eaux Claires Festival is expected to return, reimagined, in 2022. Credits: This show is produced by work by work : Scott Newman, Jemma Rose Brown, Mayari Sherina Ong, Kathleen Ottinger and by Hanif Abdurraqib. The show is mixed by Sam Bair.

Eaux Claires co-creator Aaron Dessner joined Oake and Riley on the air to talk about the spirit of the fest.

Men in Blazers 01/23/14: With Aaron Dessner by Men in Blazers Archive