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Pop music (a term that originally derives from an abbreviation of "popular") is a genre of popular music which originated in its modern form in the 1950s, deriving from rock and roll.^[1] The terms popular music and pop music are often used interchangeably, even though the former is a description of music which is popular (and can include any style), whilst the latter is a specific genre containing qualities of mass appeal.^[1]

As a genre, pop music is very eclectic, often borrowing elements from other styles including urban, dance, rock, Latin and country;^[1] nonetheless, there are core elements which define pop. Such include generally short-to-medium length songs, written in a basic format (often the verse-chorus structure), as well as the common employment of repeated choruses, melodic tunes, and catchy hooks.^[1]

So-called "pure pop" music, such as power pop, features all these elements, utilising electric guitars, drums and bass for instrumentation;^[1] in the case of such music, the main goal is usually that of being pleasurable to listen to, rather than having much artistic depth.^[1] Pop music is generally thought of as a genre which is commercially recorded and desires to have a mass audience appeal.^[1]

Definitions[link]

David Hatch and Stephen Millward define pop music as "a body of music which is distinguishable from popular, jazz and folk musics".^[2] Although pop music is often seen as oriented towards the singles charts it is not the sum of all chart music, which has always contained songs from a variety of sources, including classical, jazz, rock, and novelty songs, while pop music as a genre is usually seen as existing and developing separately.^[3] Thus "pop music" may be used to describe a distinct genre, aimed at a youth market, often characterized as a softer alternative to rock and roll.^[4]

Origin of the term[link]

The term "pop song" is first recorded as being used in 1926, in the sense of a piece of music "having popular appeal".^[5] Hatch and Millward indicate that many events in the history of recording in the 1920s can be seen as the birth of the modern pop music industry, including in country, blues and hillbilly music.^[6]

According to Grove Music Online, the term "pop music" "originated in Britain in the mid-1950s as a description for rock and roll and the new youth music styles that it influenced ...".^[7] The Oxford Dictionary of Music states that while pop's "earlier meaning meant concerts appealing to a wide audience ...[;] since the late 1950s, however, pop has had the special meaning of non-classical mus[ic], usually in the form of songs, performed by such artists as the Beatles, the Rolling Stones, ABBA, etc."^[8] Grove Music Online also states that "... in the early 1960s [the term] ‘pop music’ competed terminologically with Beat music [in England], while in the USA its coverage overlapped (as it still does) with that of ‘rock and roll’."^[7] Chambers' Dictionary mentions the contemporary usage of the term "pop art";^[9] Grove Music Online states that the "term pop music ... seems to have been a spin-off from the terms pop art and pop culture, coined slightly earlier, and referring to a whole range of new, often American, media-culture products".^[7]

From about 1967 the term was increasingly used in opposition to the term rock music, a division that gave generic significance to both terms.^[10] Whereas rock aspired to authenticity and an expansion of the possibilities of popular music,^[10] pop was more commercial, ephemeral and accessible.^[11] According to Simon Frith pop music is produced "as a matter of enterprise not art", is "designed to appeal to everyone" and "doesn't come from any particular place or mark off any particular taste". It is "not driven by any significant ambition except profit and commercial reward ... and, in musical terms, it is essentially conservative". It is, "provided from on high (by record companies, radio programmers and concert promoters) rather than being made from below ... Pop is not a do-it-yourself music but is professionally produced and packaged".^[12]

Influences and development[link]

Throughout its development, pop music has absorbed influences from most other genres of popular music. Early pop music drew on the sentimental ballad for its form, gained its use of vocal harmonies from gospel and soul music, instrumentation from jazz, country, and rock music, orchestration from classical music, tempo from dance music, backing from electronic music, rhythmic elements from hip-hop music, and has recently appropriated spoken passages from rap.^[4]

It has also made use of technological innovation. In the 1940s improved microphone design allowed a more intimate singing style^[13] and ten or twenty years later inexpensive and more durable 45 r.p.m. records for singles "revolutionized the manner in which pop has been disseminated" and helped to move pop music to ‘a record/radio/film star system’.^[13] Another technological change was the widespread availability of television in the 1950s; with televised performances, "pop stars had to have a visual presence".^[13] In the 1960s, the introduction of inexpensive, portable transistor radios meant that teenagers could listen to music outside of the home.^[13] Multi-track recording (from the 1960s); and digital sampling (from the 1980s) have also been utilized as methods for the creation and elaboration of pop music.^[4] By the early 1980s, the promotion of pop music had been greatly affected by the rise of Music Television channels like MTV, which "favoured those artists such as Michael Jackson and Madonna who had a strong visual appeal".^[13]

Pop music has been dominated by the American and (from the mid-1960s) British music industries, whose influence has made pop music something of an international monoculture, but most regions and countries have their own form of pop music, sometimes producing local versions of wider trends, and lending them local characteristics.^[14] Some of these trends (for example Europop) have had a significant impact of the development of the genre.^[4]

According to Grove Music Online, "Western-derived pop styles, whether coexisting with or marginalizing distinctively local genres, have spread throughout the world and have come to constitute stylistic common denominators in global commercial music cultures".^[15] Some non-Western countries, such as Japan, have developed a thriving pop music industry, most of which is devoted to Western-style pop, has for several years has produced a greater quantity of music of everywhere except the USA.^[15] The spread of Western-style pop music has been interpreted variously as representing processes of Americanization, homogenization, modernization, creative appropriation, cultural imperialism, and/or a more general process of globalization.^[15]

Characteristics[link]

Musicologists often identify the following characteristics as typical of the pop music genre^{[citation needed]}:

• an aim of appealing to a general audience, rather than to a particular sub-culture or ideology^[4]
• an emphasis on craftsmanship rather than formal "artistic" qualities^[4]
• an emphasis on recording, production, and technology, over live performance^[11]
• a tendency to reflect existing trends rather than progressive developments^[11]
• much pop music is intended to encourage dancing, or it uses dance-oriented beats or rhythms^[11]

The main medium of pop music is the song, often between two and a half and three and a half minutes in length, generally marked by a consistent and noticeable rhythmic element, a mainstream style and a simple traditional structure.^[16] Common variants include the verse-chorus form and the thirty-two-bar form, with a focus on melodies and catchy hooks, and a chorus that contrasts melodically, rhythmically and harmonically with the verse.^[17] The beat and the melodies tend to be simple, with limited harmonic accompaniment.^[18] The lyrics of modern pop songs typically focus on simple themes – often love and romantic relationships – although there are notable exceptions.^[4]

Harmony in pop music is often "that of classical European tonality, only more simple-minded."^[19] Clichés include the barbershop harmony (i.e. moving from a secondary dominant harmony to a dominant harmony, and then to the tonic) and blues scale-influenced harmony.^[20] "The influence of the circle-of-fifths paradigm has declined since the mid-1950s. The harmonic languages of rock and soul have moved away from the all-encompassing influence of the dominant function. ...There are other tendencies (perhaps also traceable to the use of a guitar as a composing instrument) – pedal-point harmonies, root motion by diatonic step, modal harmonic and melodic organization – that point away from functional tonality and toward a tonal sense that is less directional, more free-floating."^[21]

See also[link]

Music portal

• Origins of rock and roll
• Popular music pedagogy

Notes[link]

Bibliography[link]

• Adorno, Theodor W., (1942) "On Popular Music", Institute of Social Research.
• Bell, John L., (2000) The Singing Thing: A Case for Congregational Song, GIA Publications, ISBN 1-57999-100-9
• Bindas, Kenneth J., (1992) America's Musical Pulse: Popular Music in Twentieth-Century Society, Praeger.
• Clarke, Donald, (1995) The Rise and Fall of Popular Music, St Martin's Press. http://www.musicweb.uk.net/RiseandFall/index.htm
• Dolfsma, Wilfred, (1999) Valuing Pop Music: Institutions, Values and Economics, Eburon.
• Dolfsma, Wilfred, (2004) Institutional Economics and the Formation of Preferences: The Advent of Pop Music, Edward Elgar Publishing.
• Frith, Simon, Straw, Will, Street, John, eds, (2001), The Cambridge Companion to Pop and Rock, Cambridge University Press, ISBN 0-521-55660-0.
• Frith, Simon (2004) Popular Music: Critical Concepts in Media and Cultural Studies, Routledge.
• Gillet, Charlie, (1970) The Sound of the City. The Rise of Rock and Roll, Outerbridge & Dienstfrey.
• Hatch, David and Stephen Millward, (1987), From Blues to Rock: an Analytical History of Pop Music, Manchester University Press, ISBN 0-7190-1489-1
• Johnson, Julian, (2002) Who Needs Classical Music?: Cultural Choice and Musical Value, Oxford University Press, ISBN 0-19-514681-6.
• Lonergan, David F., (2004) Hit Records, 1950-1975, Scarecrow Press, ISBN 0-8108-5129-6.
• Maultsby, Portia K., (1996) Intra- and International Identities in American Popular Music, Trading Culture.
• Middleton, Richard, (1990) Studying Popular Music, Open University Press.
• Negus, Keith, (1999) Music Genres and Corporate Cultures, Routledge, ISBN 0-415-17399-X.
• Pleasants, Henry (1969) Serious Music and All That Jazz, Simon & Schuster.
• Roxon, Lillian, (1969) Rock Encyclopedia, Grosset & Dunlap.
• Shuker, Roy, (2002) Popular Music: The Key Concepts, Routledge, (2nd edn.) ISBN 0-415-28425-2.
• Starr, Larry & Waterman, Christopher, (2002) American Popular Music: From Minstrelsy to MTV, Oxford University Press.
• Watkins, S. Craig, (2005) Hip Hop Matters: Politics, Pop Culture, and the Struggle for the Soul of a Movement, Beacon Press, ISBN 0-8070-0982-2.

External links[link]

• The pop genre on Allmusic
• The Consumption of Music and the Expression of Values: A Social Economic Explanation for the Advent of Pop Music, Wilfred Dolfsma, American Journal of Economics and Sociology, October 1999

Wikimedia Commons has media related to: Pop music

Look up pop in Wiktionary, the free dictionary.

Pop may refer to:

Music and dance[link]

• Pop music, a musical genre
• Pop!, a UK pop group
• Pop! featuring Angie Hart, an Australian band
• PoP!, the fictional band in Music and Lyrics
• Pop (U2 album)
• Pop (Mao Abe album)
• Pop (Gas album)
• Pop (Same Difference album)
• Pop (Joachim Witt album)
• "Pop" (song), by 'N Sync
• Popping, a style of dance

People[link]

• Iggy Pop, musician
• Iulian Pop, Romanian mayor of Cluj
• Gregg Popovich, National Basketball Association head coach
• Pop Chalee, also known as Merina Lujan (1906–1993), American painter, muralist, performer and singer
• Pop Corkhill (1858-1921), American Major League Baseball (MLB) player
• Pop Dillon (1873-1931), American MLB player
• Pop Foster (1878-1944), American MLB player
• Pop Gates (1917-1999), American basketball player and Harlem Globetrotters coach
• Pop Ivy (1916-2003), American football player and coach
• Pop Levi, English singer, musician, record producer and filmmaker
• Pop Robson (born 1945), English footballer
• Pop Schriver (1865-1932), American MLB catcher
• Pop Smith (1856-1927), Canadian MLB player
• Pop Snyder (1854-1924), American MLB player, manager and umpire
• Pop Tate (baseball) (1860-1932), American MLB player
• Glenn Scobey Warner (1871-1954), American football player and coach better known as Pop Warner
• Pop Williams (1874-1959), American MLB pitcher

Sports and games[link]

• Pop (professional wrestling)
• Pop (video game)
• Pokémon Organized Play, a trading card and figure organization
• Prince of Persia

Computing and technology[link]

• Package on package, a circuit packaging technique
• Parallel Ocean Program, an ocean circulation model
• Partial-order planning, an algorithm
• Point of Presence, a demarcation point between communications entities
• Post Office Protocol, an Internet e-mail protocol
• An operation of a stack data structure

Media and publications[link]

• Pop (UK TV channel), a UK channel
• Pop (fashion magazine), a British fashion magazine
• Pop Magazine (Australia), a sports magazine
• Pop (Swedish magazine)
• POP TV, a Slovenian television network
• Physical & Occupational Therapy in Pediatrics, a medical journal

Places[link]

• Pop River (Jijia), Romania
• Pop River (Sadu), Romania
• Puerto Plata Airport, IATA code POP
• Poppleton railway station, station code POP
• Pacific Ocean Park, an amusement park

Other uses[link]

• Eton Society, an organization at Eton College, nicknamed "Pop"
• Pay on production
• Plaster of Paris
• Persistent organic pollutant, an organic compound resistant to degradation
• Pop art, a visual art movement
• Pop culture, the mainstream phenomena of a society
• Pop, another term for soft drinks
• Population, the collection of humans or organisms in a given area
• Probability of precipitation, a weather forecasting measure
• Problem-oriented policing, a policing strategy
• Process Oriented Psychology
• Progestogen only pill, a contraceptive
• Point of Purchase used often in retail
• Proof-of-payment, a fare collection approach

See also[link]

• Pops (disambiguation)
• PoP (disambiguation)
• Popping (disambiguation)

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Three singers-a trio-singing a song while accompanied on a lute played by one of the singers. Das Konzert [The Concert] (c. 1490, Lorenzo Costa).

In music, a song is a composition for voice or voices, performed by singing. A song may be accompanied by musical instruments, or it may be unaccompanied, as in the case of a cappella songs. The lyrics (words) of songs are typically of a poetic, rhyming nature, though they may be religious verses or free prose.

A song may be for a solo singer, a duet, trio, or larger ensemble involving more voices. Songs with more than one voice to a part are considered choral works. Songs can be broadly divided into many different forms, depending on the criteria used. One division is between "art songs", "pop songs", and "folk songs". Other common methods of classification are by purpose (sacred vs secular), by style (dance, ballad, Lied, etc.), or by time of origin (Renaissance, Contemporary, etc.).

A song is a piece of music for accompanied or unaccompanied voice or voices or, "the act or art of singing," but the term is generally not used for large vocal forms including opera and oratorio.^[1] However, the term is, "often found in various figurative and transferred sense (e.g. for the lyrical second subject of a sonata...)."^[1] The noun "song" has the same etymological root as the verb "to sing" and the Oxford English Dictionary (OED) defines the word to mean "that which is sung" or "a musical composition suggestive of song." The OED also defines the word to mean "a poem" or "the musical phrases uttered by some birds, whales, and insects, typically forming a recognizable and repeated sequence and used chiefly for territorial defence or for attracting mates." ^[2]

Cultural types[link]

Art songs[link]

Art songs are songs created for performance in their own right, usually with piano accompaniment, although they can also have other types of accompaniment such as an orchestra or string quartet, and are always notated. Generally they have an identified author and composer and require voice training for acceptable performance. German-speaking communities use the term art song ("Kunstlied") to distinguish so-called "serious" compositions from folk song ("Volkslied"). The lyrics are often written by a poet or lyricist and the music separately by a composer. Art songs may be more formally complicated than popular or folk songs, though many early Lieder by the likes of Franz Schubert are in simple strophic form. They are often important to national identity.

Art songs feature in many European cultures, including but not limited to: Russian (romancy), German (Lieder), Italian (canzoni), French (mélodies), Scandinavian (sånger), Portuguese (canções), Spanish (canciones). There are also highly regarded British and American art songs in the English language. Cultures outside of Europe that have a classical music tradition, such as India, may or may not feature art songs. The accompaniment of European art songs is considered as an important part of the composition.

The art song of the period in which they originally flowered is often a duet in which the vocalist and accompanist share in interpretive importance. The pieces were most often written to be performed in a home or salon setting, although today the works enjoy popularity as concert pieces. The emergence of poetry during this era was much of what inspired the creation of these pieces by Brahms, Schumann, Schubert and other composers. These composers set poems in their native language. Many works were inspired by Johann Wolfgang von Goethe and Heinrich Heine. Another method would be to write new music for each stanza to create a unique form; this was through-composed form known in German as durchkomponiert. A combination of both of these techniques in a single setting was called a modified strophic form. Often romantic art songs sharing similar elements were grouped as a song cycle.^[3]

Folk songs[link]

Folk songs are songs of often anonymous origin (or are public domain) that are transmitted orally. They are frequently a major aspect of national or cultural identity. Art songs often approach the status of folk songs when people forget who the author was. Folk songs are also frequently transmitted non-orally (that is, as sheet music), especially in the modern era. Folk songs exist in almost every culture.

Popular songs[link]

Modern popular songs are typically distributed as recordings and are played on the radio, though all other mass media that have audio capabilities are involved. Their relative popularity is inferred from commercially significant sales of recordings, ratings of stations and networks that play them, and ticket sales for concerts by the recording artists. A popular song can become a modern folk song when members of the public who learn to sing it from the recorded version teach their version to others. Popular songs may be called pop songs for short, although pop songs or pop music may instead be considered a more commercially popular genre of popular music as a whole.

See also[link]

Wikiquote has a collection of quotations related to: Song

• Air (music)
• Animal song: bird song, whale song, zoomusicology
• Aria
• Ballad
• Canticle
• Category:Musical forms
• Hymn
• Instrumental
• Lied
• Madrigal (music)
• Song structure (popular music)
• Vocal music
• Theme song
• Poem and song
• Singing

References[link]

Further reading[link]

• Marcello Sorce Keller (1984), "The Problem of Classification in Folksong Research: a Short History", Folklore, XCV, no. 1, 100- 104.

Jonathan "Jon" Lajoie (born August 21, 1980) is a Canadian comedian, actor, rapper, singer, musician and Internet celebrity from Montreal, Quebec.^[1]

Background[link]

Lajoie was born in Saint-Hubert, Quebec, Canada and raised in Montreal, Quebec. His father is French-Canadian and his mother is English-Canadian. He graduated from Dawson College's theatre program in 2001.^[2] Since 2003, he has acted as an English-Canadian musician named Thomas Edison in Radio-Canada's French-Canadian sitcom L'auberge du chien noir.^[3]

Career[link]

Jon Lajoie began his career as a comedian in 2007. Lajoie's performance included music, skits, and some stand-up comedy. Jon Lajoie has also released 2 studio albums.

[edit] The League

Lajoie currently has a role in the FX Network TV show called The League as Taco MacArthur, a perpetually stoned and unemployed musician.^[4] Lajoie performs his song "The Birthday Song" and "Vaginal Hubris" in two episodes of the first season. Throughout the series, Lajoie performs songs written specifically for the show.

[edit] Comedy Central Presents

Jon Lajoie filmed an episode of Comedy Central Presents on November 7, 2009.^[5] It premiered on March 5, 2010.^[6] The same special aired uncensored as part of Comedy Central's Secret Stash on June 6 at 1:30 AM (EST). The special featured the world premiere of the video for his song "Pop Song".

Discography[link]

Studio albums[link]

Singles[link]

• "Very Super Famous" (2011)
• "The Best Song" (2011)
• "F**k Everything" (2011)

Music videos[link]

References[link]

External links[link]

• Official website
• Jon Lajoie's channel on YouTube
• Jon Lajoie on Myspace
• Lajoie on Funny or Die
• Jon Lajoie at the Internet Movie Database
• The Lance – Jon Lajoie's transition from online to stage, Dec. 3, 2008
• Jon Lajoie Conquers web with Coarse Songs – AOL Music

Carly Rae Jepsen
Jepsen performing on Canada Day in 2010
Background information
Born	(1985-11-21) November 21, 1985 (age 26) Mission, British Columbia, Canada
Genres	Pop, pop rock
Occupations	Singer-songwriter
Years active	2007–present
Labels	604 (2008–present) Schoolboy/Interscope (2012–present)
Website	carlyraemusic.com

Carly Rae Jepsen (born November 21, 1985) is a Canadian recording artist and singer-songwriter from Mission, British Columbia. In 2007, she placed third in the fifth season of Canadian Idol, and was a part of the Canadian Idol Top 3 concert tour.^[1]

Shortly after competing on Idol, she signed to Fontana and MapleMusic, and released her debut album, Tug of War, on September 30, 2008. Three years later, she released a new single, entitled "Call Me Maybe", which was released by 604 Records, and was followed by the release of her debut extended play, Curiosity, on February 14, 2012. "Call Me Maybe" was met with much success, reaching the Top 5 on the Billboard Hot 100 and reaching the number 1 spot on the Canadian Hot 100. The single also went to number 1 in Australia, Ireland and the United Kingdom. Jepsen signed with Interscope Records in 2012.

Life and career[link]

Jepsen attended Heritage Park Secondary School in Mission, British Columbia and has since performed there post-graduation. She later attended the Canadian College of Performing Arts in Victoria, BC before auditioning for Canadian Idol. After completing the Canadian Idol tour, Jepsen retreated to B.C. to focus on writing, recording and completing her band. Her demos attracted attention and she was eventually signed a joint management deal with Simkin Artist Management and Dexter Entertainment. A deal with Fontana/Maple Music quickly followed, leading Jepsen into the studio with producer/writer Ryan Stewart.^[2]

[edit] 2008–11: Tug of War

On June 16, 2008, Jepsen released her debut single and another single, a cover of John Denver's song "Sunshine On My Shoulders". It is the only cover song on her debut album.^[3] On July 21, 2008, Jepsen added two new songs from the album to her MySpace page: "Bucket" and "Heavy Lifting". In August 2008, Jepsen's MySpace page announced that the album's title would be Tug of War, and it was released on September 30, 2008. The page also mentioned two more songs that were included on the album: "Tug of War" and "Sweet Talker". The former was released as a single on iTunes on September 16, 2008, and has been receiving radio airplay on various stations across Canada. She performed the latter as her Canadian Idol audition.^[4]
A music video for "Tug of War" was released in January 2009. "Bucket", her second single, was released in May 2009, and the video for "Sour Candy", a duet with Josh Ramsay of Marianas Trench who has also help produce some of her songs including Call Me Maybe, has also been released. All of Jepsen's music videos have been directed by Ben Knechtel. In spring 2009, she toured western Canada with Marianas Trench and Shiloh.^[5] She then went on a cross-Canada tour with Marianas Trench, The New Cities and Mission District.

[edit] 2012–present: Curiosity

Jepsen's second album Curiosity was released on February 14, 2012. It was produced by Ryan Stewart and Kevin James Maher produced the track "Dear Julien". On the same day as the release, Justin Bieber made the announcement on the MuchMusic program New Music Live that Jepsen has been signed to Schoolboy Records, the label run by Justin Bieber's manager, Scooter Braun.^[6] The lead single, "Call Me Maybe" (which gained notoriety after "Primetime" Sam Roberts played the track during "After Opie and Anthony Live" on SiriusXM Satellite Radio) is from her second studio album Curiosity was released on September 21, 2011 and was produced by Josh Ramsay of Marianas Trench and co-written by Jepsen, Ramsay and Tavish Crowe. "Call Me Maybe" is the first song by a Canadian artist to reach the top of the digital chart since Justin Bieber's “Baby” in January 2010. It is also only the 11th song by a Canadian artist to reach No. 1 on the Digital Songs chart since Nielsen SoundScan began tracking digital download sales in 2005. The song has also peaked at #1 on Billboard's Canadian Hot 100, being the 4th Canadian artist to do so, after Avril Lavigne's "Girlfriend", Nikki Yanofsky's "I Believe", and the Young Artists for Haiti version of "Wavin' Flag", originally by Canadian rapper K'naan.^[7] Jepsen is currently touring on the Shout it Out World Tour. She is the opening act for the pop-rock trio Hanson. In February 2012, Jepsen visited Justin Bieber and Scooter Braun in Los Angeles, California, where she subsequently signed to Schoolboy Records and Interscope. Her music will still be distributed by 604 Records in Canada. On March 23, 2012, Jepsen made her first American television debut on The Ellen DeGeneres Show, performing "Call Me Maybe" (with Jared Manierka on keys), later joined by Justin Bieber. Carly was also the first Canadian Idol contestant to enter the UK charts, when Call Me Maybe debuted at #1. Carly played at Citywalk at Universal Studios on April 14 2012. 400 people who paid $5 were allowed to meet with the singer and get CDs autographed by her.

Jepsen, 26, has been criticized in the press for dressing "too young" for her age in an effort to appeal to the pre-teen demographic.^[8][9]

On May 20th, 2012 Jepsen performed "Call Me Maybe" at the 2012 Billboard Music Awards. On May 22th, 2012 she performed "Tug of War", "Curiosity", and "Call Me Maybe" at the first Q102 Springle Ball concert.

[edit] Canadian Idol performances

Discography[link]

Studio albums[link]

• Tug of War (2008)

Extended plays[link]

• Curiosity (2012)

Tours[link]

Opening act

• Justin Bieber – Believe Tour (North American dates) (2012)

Filmography[link]

Awards and nominations[link]

References[link]

External links[link]

• Official website
• Carly Rae Jepsen on Twitter
• Carly Rae Jepsen on Myspace
• "Primetime" Sam Roberts