Naming a song after something already famous (“Post Malone,” “Hot Girl Bummer”) is leading to extra clicks — and in some cases, extra controversy
Creative titling also seems to be at a premium. “A lot of listeners’ first inclination is to browse the titles and play the ones that stick out the most,” says Warren “Oak” Felder, a songwriter-producer behind hits for Usher and Alessia Cara. “Back in the day on records, we would try to figure out the shortest way to title a song and summarize the whole idea in one or two words. Now [titles] are longer, they’re capitalizing all the letters.
This is not an entirely new development in the music business, of course. When “The Twist” became a dance craze in the early 1960s, a series of artists hurried to cash in by recording their own “Twist” singles — including Joey Dee & the Starliters, Gary U.S. Bonds, and Sam Cooke — many of which charted in their own right.
It’s natural that this facet of the modern music landscape would end up impacting the creative process. “The thought of, ‘how am I gonna get someone to click on my song’ factors into the creation of that song,” Felder asserts. “While some artists were sitting there writing their records, they said to themselves, ‘we need what’s almost like title-clickbait.'” In an email, Feldt says titling his song “Post Malone” was a matter of convenience — the star’s name happened to make the chorus rhyme.
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