Welcome to the New York Times Popcast, your Dunkin' Scrunchy of music news and criticism.

I'm your host, John Caramacca.

You obsessed with Popcast?

Me too.

You know we're coming with the rare Addison Rae single.

It's called Obsessed, a lot of people talking about Addison this week, although perhaps

not for the reasons that she would have wanted.

That is her new song.

She was on The Tonight Show, which we found to promote that song among various other

ventures.

A caught a little bit of heat for doing a skit that involved some listless dances that

were TikTok dances and the skit did not credit the choreographers, which if you spend any

time on TikTok, you know that that is a verboten, and it's not how you do it.

He caused certainly one or two rounds of negative news cycles about Addison, but it really

to me spoke to a larger thing about how TikTok handles dance credits and originality and

the way that white influencers often get famous by using dances that were choreographed

by young black choreographers or just dancers, kids who are dancers.

And it got me thinking we need to have a big picture conversation about how dance and

choreography functions on TikTok.

And so you know if we are having that conversation, you know that there's only one person we're

talking to, Taylor Lorenz, Taylor, you are here.

Hello.

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