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<v Speaker 1>You're listening to Why we do what we do? Welcome

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<v Speaker 1>to Why we do what we do Mini. I'm your

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<v Speaker 1>host Abraham and I'm your host Shane. We are a

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<v Speaker 1>psychology podcast. We talk about the things that humans and

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<v Speaker 1>non human animals do, and we do it in a

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<v Speaker 1>mini form, which means it's short. We're gonna try and

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<v Speaker 1>get into our topic, get out of there in about

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<v Speaker 1>fifteen minutes or less. I'll let you get about your day.

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<v Speaker 1>And that's what we do. And sometimes in these minis

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<v Speaker 1>we talk about the popular things that humans celebrate about

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<v Speaker 1>each other in limited quantities. I guess is how I'm

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<v Speaker 1>gonna put that. Yes, And if you're joining us for

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<v Speaker 1>the first time, then welcome. I hope you enjoy what

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<v Speaker 1>you hear in this discussion, and if you're coming back,

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<v Speaker 1>then welcome back. And I'm glad that you continue to

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<v Speaker 1>find joy and the things that we make. And either way,

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<v Speaker 1>if you'd like to support us, so you can leave

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<v Speaker 1>us a rating and review, like subscribe, tell a friend,

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<v Speaker 1>or join us on Patreon, and I'll talk more about

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<v Speaker 1>those things that you can do to support us at

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<v Speaker 1>the end of this discussion. But you find yourselves here

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<v Speaker 1>and we appreciate that, and it's a mini which means

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<v Speaker 1>we should jump into it. Is there anything I'm missing

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<v Speaker 1>or you'd like to add before we begin today? Note

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<v Speaker 1>not today beautiful, So we begin. We are talking today

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<v Speaker 1>about music, specifically a type of music one called a

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<v Speaker 1>one hit wonder. This refers to an artist who has, Conceptually,

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<v Speaker 1>here we're talking about a single, huge mainstream success hit

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<v Speaker 1>in the form usually of a song. After this hit,

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<v Speaker 1>they fail to achieve similar success and often will kind

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<v Speaker 1>of disappear. So they some song of theirs gets very

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<v Speaker 1>very popular. It flares up very bright. They're very well

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<v Speaker 1>known for that song. That's the last anyone really hears

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<v Speaker 1>about them in the popular spaces they once occupied because

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<v Speaker 1>of that song.

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<v Speaker 2>Yeah, they quickly become someone you used to know. A snaps,

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<v Speaker 2>well done, STAPs snaps.

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<v Speaker 3>There you go. So, how does this happen?

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<v Speaker 2>Well, I was trying to research this, and it's a

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<v Speaker 2>huge complex system of taste makers and capitalism and all

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<v Speaker 2>those things, and artists integrity and all that, but it's

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<v Speaker 2>mostly general trends in what could be described as an

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<v Speaker 2>extremely competitive market. There are lots of metrics, including the

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<v Speaker 2>Billboard Hot one hundred. We did a whole episode on Billboard,

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<v Speaker 2>which I think is really valuable and important. But we

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<v Speaker 2>do need a little bit more history here to understand

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<v Speaker 2>the current music industry in order to understand how one

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<v Speaker 2>hit wonders actually develop.

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<v Speaker 1>Love history perfect. So, pre World War Two, just even

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<v Speaker 1>recording and putting out music was a lot more challenging

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<v Speaker 1>than it is today. By Miles and Miles, musicians would

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<v Speaker 1>often act as singles artists. Now why would they do this, Well,

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<v Speaker 1>it's a lot cheaper to record a single where you

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<v Speaker 1>only have one track or maybe two tracks because one

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<v Speaker 1>to two and release it that way than to record

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<v Speaker 1>an entire album. It takes less time in the studio,

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<v Speaker 1>it takes less space and a record. But in the

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<v Speaker 1>nineteen fifties, with the emergent of record charts such as

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<v Speaker 1>the Billboard, society began to quantify what a one hit

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<v Speaker 1>wonder actually was, began to create a context by which

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<v Speaker 1>it's like, well, there's something important in here about the

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<v Speaker 1>fact that we attached the value of something to the

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<v Speaker 1>artists who created it, and then therefore what they create,

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<v Speaker 1>that thing that's created is known as being important and

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<v Speaker 1>relevant to that artist, And so if they make more things,

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<v Speaker 1>then we can attribute those again to that artist, and

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<v Speaker 1>if they don't make things that achieve that level of

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<v Speaker 1>acclaim and fame, then we sort of write them off

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<v Speaker 1>as they got the one thing in the sauce and

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<v Speaker 1>then that was kind of their one trick.

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<v Speaker 3>Yeah.

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<v Speaker 2>Yeah, So the general consensus is that when somebody has

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<v Speaker 2>only one Billboard Top forty hit, and that's kind that's

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<v Speaker 2>the main criteria that I've seen a bunch of times.

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<v Speaker 2>Is it a Billboard Top forty hit god When they've

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<v Speaker 2>had only one and failed to have another, Even if

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<v Speaker 2>they have popular songs and it doesn't reach that level,

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<v Speaker 2>they get this status of one hit wonder. It's arbitrary,

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<v Speaker 2>and I think it's really important to stay it up front.

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<v Speaker 2>It's completely arbitrary. But that being said, the timeline for

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<v Speaker 2>when their next hit is not agreed upon. So technically

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<v Speaker 2>someone could have a hit on the charts forty years

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<v Speaker 2>later and negate that definition. They could have a huge

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<v Speaker 2>hit in you know, let's say the eighties, and then

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<v Speaker 2>they come all the way back into the twenty twenties

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<v Speaker 2>and they have a hit then, and technically they're not

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<v Speaker 2>a one hit wonder. But you know, at this point

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<v Speaker 2>in time, it's an arbitrary title.

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<v Speaker 1>Yeah, they would have spent so long as a one

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<v Speaker 1>hit wonder, they'd kind of been known that way, even

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<v Speaker 1>if they were no longer a one hit wonder.

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<v Speaker 3>I think exactly exactly, Okay.

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<v Speaker 1>The main culprit for trying to understand, like how this happens,

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<v Speaker 1>what's going on here, because presumably you want to invest

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<v Speaker 1>in someone who's going to turn out hit after hit

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<v Speaker 1>after hit, and therefore you can have like a reliable

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<v Speaker 1>money making machine in the form of someone who just

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<v Speaker 1>records these these hits that go out into the world

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<v Speaker 1>and people buy up that thing. But the main culprit

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<v Speaker 1>for making one hit wonders is simply that the recording

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<v Speaker 1>industry is highly competitive between current trends, artist personalities, record

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<v Speaker 1>label support, public behavior. An artists may become rapidly popular

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<v Speaker 1>and then just fizzle out soon afterward. And I do think,

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<v Speaker 1>as you mentioned the beginning, like there is a huge,

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<v Speaker 1>huge amount I think people don't recognize of Like if

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<v Speaker 1>you like music that plays on the radio, you like

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<v Speaker 1>stuff that's popular, there's like a really really good chance

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<v Speaker 1>that some producer was like I chose this, that people

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<v Speaker 1>are going to like this because I chose it. I

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<v Speaker 1>control this market. I control what you get to hear.

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<v Speaker 1>I control what you like. You like it because I

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<v Speaker 1>told you you like it, deal with it, and then

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<v Speaker 1>you give me money, and I keep doing this to you.

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<v Speaker 1>And so some of them they give up on that

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<v Speaker 1>artist and they are just no longer willing to push

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<v Speaker 1>them anymore, or sometimes they for whatever reason. You know

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<v Speaker 1>that artists just can't connect with another's version of the hit.

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<v Speaker 1>But that's essentially the I think. A thing to remember

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<v Speaker 1>and consider when we're talking about these is like, how

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<v Speaker 1>much of the time, if you're like popular music, someone's

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<v Speaker 1>pulling the strings for you to like that popular music.

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<v Speaker 1>They're controlling that for you. You're making no choices in

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<v Speaker 1>this arena.

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<v Speaker 2>Right, And it's it's even worse with like algorithms and

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<v Speaker 2>stuff too, Like now that's now that's turning into a

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<v Speaker 2>whole different thing. That's like making it so that certain

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<v Speaker 2>songs reach certain levels and other ones get suppressed and

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<v Speaker 2>all that stuff. But you know you're a real one hit.

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<v Speaker 2>Wonder if your song is used like thirty forty fifty

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<v Speaker 2>years later in a commercial or an ad.

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<v Speaker 3>All Right, So we're talking about the.

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<v Speaker 2>Incredibly complex contingencies by which somebody becomes a one hit wonder.

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<v Speaker 2>It requires the artist to make a song, It requires

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<v Speaker 2>a record label to usually get on with the song.

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<v Speaker 2>It requires a pr team, It requires radio, it requires advertising,

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<v Speaker 2>It requires all these things. But there are other situations

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<v Speaker 2>where this does happen. So in some instances, a hit

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<v Speaker 2>may emerge following the death of an artist, like big boppers,

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<v Speaker 2>Chantilly Lace or Shantilly Lace, and other instances, the breakup

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<v Speaker 2>of a band quickly following some slight success can boost

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<v Speaker 2>a song into the stratosphere. And that's like if you've

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<v Speaker 2>ever heard You Get What You Give by New Radicals,

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<v Speaker 2>that is an example. They broke up before that song

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<v Speaker 2>became super popular and that is like their hit.

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<v Speaker 3>So there's lots of other things that can boost up songs. Yeah. Yeah.

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<v Speaker 1>One reason we saw on our research is that an

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<v Speaker 1>artist with a big hit may not have been the

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<v Speaker 1>original writer. And this is actually again fairly common that

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<v Speaker 1>artists will essentially buy music and then they perform it

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<v Speaker 1>and they get to claim it as their own because

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<v Speaker 1>they bought it, but it wasn't actually something that they wrote.

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<v Speaker 1>And who cares, because the point is that they get

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<v Speaker 1>to make money, And that's what this is. This is

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<v Speaker 1>the industry. It's about that the Hitcharden may have been

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<v Speaker 1>a cover song and may have been written credited to

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<v Speaker 1>another artist or a writer or a producer. They'll have

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<v Speaker 1>people kind of ghostwrite some of these. Sometimes they'll buy

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<v Speaker 1>them off writers, and subsequent songs written by the actual

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<v Speaker 1>artists might not have the same catchiness or novelty or

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<v Speaker 1>the things that made that first hit a success. They're

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<v Speaker 1>not bringing to the table because they got it from elsewhere.

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<v Speaker 3>Right exactly.

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<v Speaker 2>So they leverage something that is like the talent of

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<v Speaker 2>somebody else, and then they can't just they just can't

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<v Speaker 2>do the same thing. They can't replicate it. Artists have

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<v Speaker 2>also come to hate the original hit song that they've recorded,

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<v Speaker 2>like that's been their popular hit, like I don't know Canson,

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<v Speaker 2>and so they do everything they can to rewrite their

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<v Speaker 2>band and their preferred image.

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<v Speaker 3>So Chumbawamba is a really great example of this.

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<v Speaker 2>You might know the song tub Thumping because it was

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<v Speaker 2>all over the place in ninety nine seven. Do you

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<v Speaker 2>remember that, Like you just couldn't go anywhere without hearing that,

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<v Speaker 2>and like spice Girls, Oh my god. But what you

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<v Speaker 2>might not know is that the band wrote the song

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<v Speaker 2>as a joke. It was not meant to be a hit.

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<v Speaker 2>It was not meant to be anything other than a joke.

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<v Speaker 2>Because they were an anarcho punk band that started in

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<v Speaker 2>nineteen eighty two and were widely considered influential in the

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<v Speaker 2>anarcho punk band scene, like in that space, and they

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<v Speaker 2>were very loud animal rights activists. Just for a reference,

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<v Speaker 2>so you all know. Their last release was an EP

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<v Speaker 2>called Immemorium Margaret Thatcher that they'd recorded and set for

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<v Speaker 2>pre orders in two thousand and five. They recorded in

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<v Speaker 2>two thousand and five because they were like, when she dies,

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<v Speaker 2>we're gonna release this, and they didn't release it until

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<v Speaker 2>the day she died, and they quoted it as saying

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<v Speaker 2>it was a part of a quote segment of celebrations.

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<v Speaker 2>Wow Chumbawama, I get knocked down, but I get up again. Yeah,

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<v Speaker 2>is an anarcho punk band and tub Thumping was a

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<v Speaker 2>weird one hit wonder song that they just didn't really

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<v Speaker 2>they didn't really care about.

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<v Speaker 3>They're like, we could I bet we could do this.

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<v Speaker 1>Eh, that is wild that's in wildness mm hmm.

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<v Speaker 3>Yeah.

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<v Speaker 1>A point of note here, artists generally do not like

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<v Speaker 1>being called one hit Wonders, right. Why Well, because this

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<v Speaker 1>would suggest that they were defined by a single piece

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<v Speaker 1>of work, not their entire body of work. As you said,

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<v Speaker 1>a lot of times, I actually have a lot of

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<v Speaker 1>successful tracks, I get very popular, they just don't quite

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<v Speaker 1>make it into that top forty slot. And so even

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<v Speaker 1>if all of their tracks have really successful singles off

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<v Speaker 1>of them, if they don't get quite to the same

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<v Speaker 1>point they're like, dude, we're like, we've been a touring

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<v Speaker 1>band for twenty years. We sell out shows, we sell merch,

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<v Speaker 1>we sell albums, like we're doing great. Calling is the

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<v Speaker 1>one that Wonders seems a little unfair, you know, uh huh, Yeah,

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<v Speaker 1>that definitely happens to a few of them. Actually, it's

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<v Speaker 1>been Doctors an EXAs this where they're pretty much known

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<v Speaker 1>for their one track, but they actually had a bunch

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<v Speaker 1>of songs that you actually probably recognized many of them, yeah,

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<v Speaker 1>because they actually were they were a group for a

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<v Speaker 1>long time doing their thing.

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<v Speaker 3>Yeah.

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<v Speaker 2>I mean Third Eye Blind is an example too, Like,

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<v Speaker 2>I mean, I wouldn't say they were one hit wonder

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<v Speaker 2>because they've had a couple other hits, but like most

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<v Speaker 2>of their hits come from their first album, and they've

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<v Speaker 2>had multiple albums since then that are really good. Ever

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<v Speaker 2>Clear is another one too that had like a couple

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<v Speaker 2>really good hits, but they've got great albums beyond those records. Yeah,

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<v Speaker 2>so I think it's really important to I mean, maybe

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<v Speaker 2>that's just like relevant to us.

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<v Speaker 3>But so also this term.

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<v Speaker 2>Is an exclusive to music. This happens with movies and

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<v Speaker 2>books too, and there are some notable examples, like the

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<v Speaker 2>director of Donni Darko, Richard Kelly hasn't really had a

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<v Speaker 2>successful movie since Donnie Darko. He has directed some things,

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<v Speaker 2>but that was big, his big thing, and that was

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<v Speaker 2>his debut movie.

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<v Speaker 1>Duncan Jones, director of moon Man. That movie was good. Yeah, Wow,

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<v Speaker 1>moon was so good.

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<v Speaker 3>Yeah.

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<v Speaker 1>Interesting. So apparently got that one out there and then

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<v Speaker 1>hasn't been able to land anything quite a successful since.

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<v Speaker 3>Yeah.

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<v Speaker 2>Hanks the actor is considered a directorial one hit wonder

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<v Speaker 2>because he really only directed that Thing You Do to success.

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<v Speaker 2>Everything else that he's done has not really reached that level.

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<v Speaker 2>And that Thing You Do is great.

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<v Speaker 1>Actually never seen that.

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<v Speaker 3>I need to Oh Space, it's so good, it's so good.

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<v Speaker 3>Paul W.

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<v Speaker 1>S Anderson not to be confused with Paul Thomas Anderson.

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<v Speaker 1>Very different different, yes, very different act.

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<v Speaker 3>Yes it is.

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<v Speaker 1>He directed Event Horizon and the Resident Evil series, so yeah,

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<v Speaker 1>also falls in that.

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<v Speaker 2>Yeah, his only good movie being Event Horizon is the

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<v Speaker 2>point of that one, right, yeah? Yeah, Resident Evil fun

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<v Speaker 2>not good. This happens with books too. So Margaret Mitchell,

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<v Speaker 2>the author of Gone with the Wind really only put

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<v Speaker 2>out one book. Mary Shelley, the author of Frankenstein, really

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<v Speaker 2>isn't known for any of her other works, if they exist.

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<v Speaker 2>Emily Bronte is another one, for Wuthering Heights. She Again,

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<v Speaker 2>these are folks that have a body of work, but

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<v Speaker 2>they're pretty they're not as well known as like these

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<v Speaker 2>particular works.

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<v Speaker 1>Oscar Wilde, author author of Picture of Dorian Gray. Anthony Burgess,

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<v Speaker 1>author of a Clockwork Orange good book too. Yeah, them

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<v Speaker 1>leaving out the final chapter of that book from the

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<v Speaker 1>movie I think was not the best choice.

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<v Speaker 3>Right.

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<v Speaker 1>And then finally Ken Kesey Kessey Casey, author of One

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<v Speaker 1>Flew Over a Cuckoo's Nest also sort of again only

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<v Speaker 1>known for the one thing that they.

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<v Speaker 2>Did right, kind of wild I mean, But so I

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<v Speaker 2>think the point is is, like, there are lots of

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<v Speaker 2>contingencies that lead to this, but at the end of

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<v Speaker 2>the day, there's no true one like one true cause

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<v Speaker 2>it's just kind of like lightning in a bottle type

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<v Speaker 2>of situations. And it's unfortunate because these artists are doing

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<v Speaker 2>good work and really putting out incredible things beyond that

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<v Speaker 2>one particular piece, and many times they don't like it,

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<v Speaker 2>So be nice to them.

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<v Speaker 3>One Hit Wonders, it's that nice.

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<v Speaker 1>If you'd like to sell us your thoughts on One

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<v Speaker 1>Hit Wonders, you can email us directly info WWDWWD podcast

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<v Speaker 1>dot com and would you look forward to hearing from you. You

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<v Speaker 1>can also reach us on the social media platforms. If

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<v Speaker 1>you like to support us, give us all the stars,

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<v Speaker 1>friend and make them like and subscribe. You like and

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<v Speaker 1>full length discussions. And it really helps us be a podcast.

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<v Speaker 1>So we do appreciate everyone over there. Thank you so

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<v Speaker 1>much to my team of people. Thank you for recording

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<v Speaker 1>with me today, Shane and your awesome job putting together

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<v Speaker 1>these notes.

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<v Speaker 3>Hey, thanks for having me and let me do it.

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<v Speaker 1>Thank you all for listening. Is there anything you would

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<v Speaker 1>like to add or that I forgot before we wrap up?

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<v Speaker 3>Nothing for today? All right? Then, this is Abraham and

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<v Speaker 3>this is Shane.

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<v Speaker 1>Why We Do What We Do Mini is out.

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<v Speaker 3>Bye.

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<v Speaker 4>You've been listening to Why We Do What We Do.

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<v Speaker 4>You can learn more about this and other episodes by

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<v Speaker 4>going to WWD wwdpodcast dot com. Thanks for listening and

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<v Speaker 4>we hope you have an awesome day.

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<v Speaker 1>Mo