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* And what Armstrong didn't do in terms of adapting pop music to new technology, Music/BingCrosby did. Specifically, he was a pioneer in tailoring his music for being heard over the radio, a phonograph, or a microphone, in the process bringing Hollywood production techniques into the music industry, most notably by popularizing pre-recorded radio and later television shows (which allowed him to edit them later) rather than doing every episode live. In doing so, he popularized crooning as a singing style, recognizing that, in an age of audio amplifiers both at home and at concerts, he didn't have to project his voice out to the cheap seats but could instead sing in a softer, more intimate way, knowing that listeners would still be able to hear him.
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* Music/{{Drake}}, starting with his breakthrough 2009 mixtape ''So Far Gone'', exerted a towering influence on HipHop in TheNewTens. For starters, as the biggest rap star to come out of Canada (specifically UsefulNotes/{{Toronto}}) and one who emerged at the start of the streaming era of music, he served as a bridge between the American and international rap scenes, incorporating influence from British grime in particular and bringing it to North America, while also reducing the importance of albums in hip-hop and restoring mixtapes and singles to the genre's forefront. Furthermore, while he was hardly the first hip-hop artist to combine rapping and singing on the same songs, he made them go hand-in-hand in a way that many of his predecessors didn't, elevating melody as a core component of the genre. More traditional rappers often found themselves in conflict with Drake and exchanging ruthless [[TheDissTrack diss tracks]] with him, but by the end of the decade, his new-school sound had decisively won the debate over hip-hop's future. Jon Caramanica, [[https://archive.is/xZlAI writing]] for ''The New York Times'', described his impact thusly:
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* Music/{{Drake}}, starting with his breakthrough 2009 mixtape ''So Far Gone'', exerted a towering influence on HipHop in TheNewTens. For starters, as the biggest rap star to come out of Canada (specifically UsefulNotes/{{Toronto}}) and one who emerged at the start of the streaming era of music, he served as a bridge between the American and international rap scenes, incorporating influence from British grime in particular and bringing it to North America, while also reducing the importance of albums in hip-hop and restoring mixtapes and singles to the genre's forefront. Furthermore, while he was hardly the first hip-hop artist to combine rapping and singing on the same songs, he made them go hand-in-hand in a way that many of his predecessors didn't, elevating melody as a core component of the genre. More traditional rappers often found themselves in conflict with Drake and exchanging ruthless [[TheDissTrack diss tracks]] with him, but by the end of the decade, 2010s, his new-school sound had decisively won the debate over hip-hop's future. Jon Caramanica, [[https://archive.is/xZlAI writing]] for ''The New York Times'', described his impact thusly:
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* Music/FloridaGeorgiaLine changed the direction of CountryMusic with their 2012 single "Cruise", especially the remix with Music/{{Nelly}} that turned it into a smash hit. Wile CountryRap had been a trend in the genre for a while by that point, Florida Georgia Line gave it [[MrFanservice sex appeal]] and a LighterAndSofter touch inspired more by PopRap and HairMetal, kicking off the "bro-country" boom of the early-mid-2010s that was characterized by party anthems aiming for crossover pop success. Even though bro-country itself proved incredibly controversial within the country fandom and faced a backlash late in the decade, the idea of combining country and HipHop, once seen as [[FandomHeresy heretical]] by fans of both genres, was there to stay.
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* Music/FloridaGeorgiaLine changed the direction of CountryMusic with their 2012 single "Cruise", especially the remix with Music/{{Nelly}} that turned it into a smash hit. Wile While CountryRap had been a trend in the genre for a while by that point, Florida Georgia Line gave it [[MrFanservice sex appeal]] and a LighterAndSofter touch inspired more by PopRap and HairMetal, kicking off the "bro-country" boom of the early-mid-2010s that was characterized by party anthems aiming for crossover pop success. Even though bro-country itself proved incredibly controversial within the country fandom and faced a backlash late in the decade, the idea of combining country and HipHop, once seen as [[FandomHeresy heretical]] by fans of both genres, was there to stay.
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* Music/MilliVanilli's fall from grace on November 14, 1990, when it was revealed that the band's two "singers" not only [[ThatSyncingFeeling lip-synced at concerts]] but never actually sang on their records to begin with, not only [[CreatorKiller destroyed the duo's popularity]], but marked a turning point in American pop music away from the dance-pop of TheEighties and towards adult alternative singer-songwriters who sang live and played their own instruments. The similar downfall of Music/MichaelBolton for UsefulNotes/{{plagiari|sm}}zing lyrics in 1994, which dealt a similar blow to the crooners of adult contemporary, only completed the process.
* According to WebVideo/ToddInTheShadows in his [[WMG/ToddInTheShadowsOHW "One Hit Wonderland"]] video on "Crazy for This Girl" by Evan and Jaron, MUsic/{{REM}}'s 1991 album ''Music/OutOfTime'', particularly its lead single "Losing My Religion", was a massive catalyst in shifting the focus of adult pop away from the [[SynthPop synth]]/drum-machine-heavy, easy listening SoftRock that was dominant in the previous decade. Artists such as Music/MichaelBolton, Music/{{Chicago|Band}}, Music/AmyGrant, Wilson Phillips, Peter Cetera, and Music/RichardMarx were soon displaced by more authentic, thoughtful, and poetic artists such as Music/SherylCrow, the Music/GooGooDolls, Music/HootieAndTheBlowfish, and Music/AlanisMorissette.[[note]]For further [[https://twitter.com/shadowtodd/status/1459667625017892865 context,]] Michael Bolton had six top ten hits before "Losing My Religion" and only one more afterwards.[[/note]] R.E.M. represented a new generation of rock acts who traced their lineage through [[PunkRock punk]] and [[The80s '80s]] CollegeRadio reaching maturity, and together with HeartlandRock and other [[ClassicRock roots]]-oriented acts, they formed the basis of the [[AlternativeRock adult alternative]] radio format that all but wiped out the [[UsefulNotes/TheBabyBoom boomer]]-era soft rock that was aligned with [[{{Jazz}} smooth jazz]]. Even among the veteran artists, who were holdovers from The70s like Music/{{Aerosmith}}, Music/TomPetty, Music/BruceSpringsteen, and Music/NeilYoung, there was a shift away from late-'80s glossiness and watered-down [[ProgressiveRock prog rock]] mixed with JazzFusion. This was likely also triggered in no small part by Music/TheTravelingWilburys and Music/EricClapton's ''[[UnpluggedVersion Unplugged]]''.
* According to WebVideo/ToddInTheShadows in his [[WMG/ToddInTheShadowsOHW "One Hit Wonderland"]] video on "Crazy for This Girl" by Evan and Jaron, MUsic/{{REM}}'s 1991 album ''Music/OutOfTime'', particularly its lead single "Losing My Religion", was a massive catalyst in shifting the focus of adult pop away from the [[SynthPop synth]]/drum-machine-heavy, easy listening SoftRock that was dominant in the previous decade. Artists such as Music/MichaelBolton, Music/{{Chicago|Band}}, Music/AmyGrant, Wilson Phillips, Peter Cetera, and Music/RichardMarx were soon displaced by more authentic, thoughtful, and poetic artists such as Music/SherylCrow, the Music/GooGooDolls, Music/HootieAndTheBlowfish, and Music/AlanisMorissette.[[note]]For further [[https://twitter.com/shadowtodd/status/1459667625017892865 context,]] Michael Bolton had six top ten hits before "Losing My Religion" and only one more afterwards.[[/note]] R.E.M. represented a new generation of rock acts who traced their lineage through [[PunkRock punk]] and [[The80s '80s]] CollegeRadio reaching maturity, and together with HeartlandRock and other [[ClassicRock roots]]-oriented acts, they formed the basis of the [[AlternativeRock adult alternative]] radio format that all but wiped out the [[UsefulNotes/TheBabyBoom boomer]]-era soft rock that was aligned with [[{{Jazz}} smooth jazz]]. Even among the veteran artists, who were holdovers from The70s like Music/{{Aerosmith}}, Music/TomPetty, Music/BruceSpringsteen, and Music/NeilYoung, there was a shift away from late-'80s glossiness and watered-down [[ProgressiveRock prog rock]] mixed with JazzFusion. This was likely also triggered in no small part by Music/TheTravelingWilburys and Music/EricClapton's ''[[UnpluggedVersion Unplugged]]''.
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* In the early '90s, two distinct moments worked in tandem to fuel the rise of [[AlternativeRock adult alternative]] as a more rootsy, organic response to the pop styles of The80s.
** The first was Music/MilliVanilli's fall from grace on November 14, 1990, when it was revealed that the band's two "singers" not only [[ThatSyncingFeeling lip-synced at concerts]] but never actually sang on their records to beginwith, with. This not only [[CreatorKiller destroyed the duo's popularity]], but marked a turning point in American pop music away from the dance-pop of TheEighties and towards adult alternative singer-songwriters [[SingerSongwriter singer-songwriters]] who sang live and played their own instruments. (ContemporaryRAndB, as noted above, was also a beneficiary of this shift.) The similar downfall of Music/MichaelBolton for UsefulNotes/{{plagiari|sm}}zing lyrics in 1994, which dealt a similar blow to the crooners of adult contemporary, only completed the process.
* According ** The second, according to WebVideo/ToddInTheShadows in his [[WMG/ToddInTheShadowsOHW "One ''[[WMG/ToddInTheShadowsOHW One Hit Wonderland"]] Wonderland]]'' video on "Crazy for This Girl" by Evan and Jaron, MUsic/{{REM}}'s was Music/{{REM}}'s 1991 album ''Music/OutOfTime'', particularly its lead single "Losing My Religion", was a massive catalyst in shifting the focus of adult pop away from the [[SynthPop synth]]/drum-machine-heavy, easy listening SoftRock that was dominant in the previous decade. Artists such as Music/MichaelBolton, Music/{{Chicago|Band}}, Music/AmyGrant, Wilson Phillips, Peter Cetera, and Music/RichardMarx were soon displaced by more authentic, thoughtful, and poetic artists such as Music/SherylCrow, the Music/GooGooDolls, Music/HootieAndTheBlowfish, and Music/AlanisMorissette.[[note]]For further [[https://twitter.com/shadowtodd/status/1459667625017892865 context,]] Michael Bolton had six top ten hits before "Losing My Religion" and only one more afterwards.[[/note]] R.E.M. represented a new generation of rock acts who traced their lineage through [[PunkRock punk]] '80s PunkRock and [[The80s '80s]] CollegeRadio reaching maturity, and together with HeartlandRock and other [[ClassicRock roots]]-oriented acts, they formed the basis of the [[AlternativeRock adult alternative]] alternative radio format that all but wiped out the [[UsefulNotes/TheBabyBoom boomer]]-era soft rock that was aligned with [[{{Jazz}} smooth jazz]]. Even among the veteran artists, who were holdovers from The70s like Music/{{Aerosmith}}, Music/TomPetty, Music/BruceSpringsteen, and Music/NeilYoung, there was a shift away from late-'80s glossiness and watered-down [[ProgressiveRock prog rock]] mixed with JazzFusion. This was likely also triggered in no small part by Music/TheTravelingWilburys and Music/EricClapton's ''[[UnpluggedVersion Unplugged]]''.
** The first was Music/MilliVanilli's fall from grace on November 14, 1990, when it was revealed that the band's two "singers" not only [[ThatSyncingFeeling lip-synced at concerts]] but never actually sang on their records to begin
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* According to WebVideo/ToddInTheShadows in his [[WMG/ToddInTheShadowsOHW "One Hit Wonderland"]] video on "Crazy for This Girl" by Evan and Jaron, MUsic/{{REM}}'s 1991 album ''Out of Time'', particularly its lead single "Losing My Religion", was a massive catalyst in shifting the focus of adult pop away from the [[SynthPop synth]]/drum-machine-heavy, easy listening SoftRock that was dominant in the previous decade. Artists such as Music/MichaelBolton, Music/{{Chicago|Band}}, Music/AmyGrant, Wilson Phillips, Peter Cetera, and Music/RichardMarx were soon displaced by more authentic, thoughtful, and poetic artists such as Music/SherylCrow, the Music/GooGooDolls, Music/HootieAndTheBlowfish, and Music/AlanisMorissette.[[note]]For further [[https://twitter.com/shadowtodd/status/1459667625017892865 context,]] Michael Bolton had six top ten hits before "Losing My Religion" and only one more afterwards.[[/note]] R.E.M. represented a new generation of rock acts who traced their lineage through [[PunkRock punk]] and [[The80s '80s]] CollegeRadio reaching maturity, and together with HeartlandRock and other [[ClassicRock roots]]-oriented acts, they formed the basis of the [[AlternativeRock adult alternative]] radio format that all but wiped out the [[UsefulNotes/TheBabyBoom boomer]]-era soft rock that was aligned with [[{{Jazz}} smooth jazz]]. Even among the veteran artists, who were holdovers from The70s like Music/{{Aerosmith}}, Music/TomPetty, Music/BruceSpringsteen, and Music/NeilYoung, there was a shift away from late-'80s glossiness and watered-down [[ProgressiveRock prog rock]] mixed with JazzFusion. This was likely also triggered in no small part by Music/TheTravelingWilburys and Music/EricClapton's ''[[UnpluggedVersion Unplugged]]''.
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* According to WebVideo/ToddInTheShadows in his [[WMG/ToddInTheShadowsOHW "One Hit Wonderland"]] video on "Crazy for This Girl" by Evan and Jaron, MUsic/{{REM}}'s 1991 album ''Out of Time'', ''Music/OutOfTime'', particularly its lead single "Losing My Religion", was a massive catalyst in shifting the focus of adult pop away from the [[SynthPop synth]]/drum-machine-heavy, easy listening SoftRock that was dominant in the previous decade. Artists such as Music/MichaelBolton, Music/{{Chicago|Band}}, Music/AmyGrant, Wilson Phillips, Peter Cetera, and Music/RichardMarx were soon displaced by more authentic, thoughtful, and poetic artists such as Music/SherylCrow, the Music/GooGooDolls, Music/HootieAndTheBlowfish, and Music/AlanisMorissette.[[note]]For further [[https://twitter.com/shadowtodd/status/1459667625017892865 context,]] Michael Bolton had six top ten hits before "Losing My Religion" and only one more afterwards.[[/note]] R.E.M. represented a new generation of rock acts who traced their lineage through [[PunkRock punk]] and [[The80s '80s]] CollegeRadio reaching maturity, and together with HeartlandRock and other [[ClassicRock roots]]-oriented acts, they formed the basis of the [[AlternativeRock adult alternative]] radio format that all but wiped out the [[UsefulNotes/TheBabyBoom boomer]]-era soft rock that was aligned with [[{{Jazz}} smooth jazz]]. Even among the veteran artists, who were holdovers from The70s like Music/{{Aerosmith}}, Music/TomPetty, Music/BruceSpringsteen, and Music/NeilYoung, there was a shift away from late-'80s glossiness and watered-down [[ProgressiveRock prog rock]] mixed with JazzFusion. This was likely also triggered in no small part by Music/TheTravelingWilburys and Music/EricClapton's ''[[UnpluggedVersion Unplugged]]''.
