![]() ![]() 1 on the Billboard charts and broke countless records around the world. Īnd yet, that's precisely what happened when the High School Musical: The Musical: The Series star unleashed SOUR in the spring of 2021, just months after her debut single, "drivers license," rocketed to No. After all, it's not every day that a 17-year-old high school senior stuck at home during the pandemic delivers a debut album that promptly takes over the entire world. The pressures on Olivia Rodrigo going into her sophomore album were unlike anything she'd experienced before. Thanks to the immortalization of their music, we can relive the shift from poetic disclosures of hurt, which King exemplifies on "It's Too Late," to more unrepentant, straightforward jabs (like Kate Nash says on "Foundations," "Don't want to look at your face 'cause it's making me sick") and harrowing battle cries (as Miley Cyrus roars, "I came in like a wrecking ball").īelow, revisit 15 songs by empowered women, from 1971 all the way to 2021, who reclaimed the breakup narrative with their fervent sentences of damnation - because, as the age-old saying goes, hell hath no fury like a woman scorned. As Rodrigo wails on the chorus, "You made me look so naïve/ The way you sold me for parts/ As you suck your teeth into me/ Bloodsucker, famef-er/ Bleeding me dry like a g-n vampire."īut before there was Rodrigo, there was Avril Lavigne, Taylor Swift, and Alanis Morissette - none of which would be where they were without pioneers of diaristic songwriting, Carole King and Carly Simon. Her latest single, "vampire," is no different.ĭespite trading in her "drivers license" teenage loverboy for an older man, the perfectly executed expression of agony remains. Hit songs like Sam Smith’s “Stay With Me” and Mark Ronson and Bruno Mars’ “Uptown Funk” saw songwriters retroactively added to their credits - the latter song twice.Since the 2021 release of SOUR, critics and listeners alike have touted Olivia Rodrigo for her knack to eloquently pen the relatable woes of adolescence and the pitfalls of falling in love too hard. Retroactively-added songwriting credits have become increasingly common in recent years, as intellectual property lawsuits involving music have become more forensic and yet less predictable, particularly when argued before a jury of ordinary people who are not music experts, as evidenced by the back-and-forth with recent lawsuits involving Katy Perry’s “Dark Horse,” Robin Thicke and Pharrell’s “Blurred Lines” and even Led Zeppelin’s “Stairway to Heaven.” While Perry and Led Zeppelin have largely beaten back copyright-infringement suits involving those songs, they can drag on for years and rack up thousands of dollars in legal bills, which is why the path of least resistance is often to settle out of court. Now, the song is taking on a second life due to its popularity on TikTok and the Rodrigo interpolation. “We feel like it’s time to move away from it for a little while.” She had said previously that she no longer felt a connection to the song’s lyrics, which she had written as a teenager. Somewhat ironically, Paramore announced in 2018 that they were retiring “Misery Business” from their live sets, at least “for a really long time,” Williams said during a concert in the group’s hometown of Nashville. While their names were not listed in the song’s credits on Spotify at the time of this article’s publication, they do in the ASCAP Repertory database. ![]() While reps for Rodrigo declined requests for comment, a source close to the situation tells Variety the credit is actually an interpolation - which is essentially an element of a previously recorded song re-recorded and incorporated into a new song - and that the two parties were in touch before “Good 4 U” was released.
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