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2 episodes with alien superstar
2 episodes with alien superstar
4 episodes with alien superstar
2 episodes with alien superstar
4 episodes with alien superstar
4 episodes with alien superstar
2 episodes with alien superstar
Storm goes full Alien Superstar while Xavier gets sassy. Ian Carlos Crawford and Ashley K Smalls are joined by Marvel writer Anthony Oliveira and writer/podcaster Charlie Peppers to discuss X-Men 97's 6th episode "Lifedeath Part 2" with a special brief chat with the voice of Sunspot, Gui Agustini From our Sponsor: Workout With Wes! Sign up for remote training by messaging @TheWestopher on instagram - be sure to mention SlayerFest98 for a special bonus! Support us on Patreon: www.patreon.com/slayerfest98 Buy our stuff on etsy: https://www.etsy.com/shop/Slayerfestx98 Like us on Facebook: www.facebook.com/Slayerfestx98/ Follow us on TikTok: https://www.tiktok.com/@slayerfestx98 Follow us on insta: https://www.instagram.com/slayerfestx98/ Follow us on Twitter: twitter.com/slayerfestx98 Subscribe us on YouTube: tinyurl.com/tq9qs8x
Comment conjuguer ambitions professionnelles et temps libre en tant que solopreneur·e ? Plus de résultat et moins de stress, c'est possible avec le slowpreneuriat, une nouvelle façon d'entreprendre.Dans cette mini-série, je reçois Laure Dodier, spécialiste de ce modèle d'entrepreneuriat pour nous aider à performer sur la durée et sans nous cramer en tant qu'indépendante. Les angles que nous explorons ensemble dans cette mini-série :Ce qu'est le slowpreneuriat et sa place dans l'écosystème du businessLes croyances et habitudes de travail qui poussent les indépendants à l'épuisementCroissance douce vs. hyper-croissance : le matchComment limiter le stress professionnel à la source pour mieux le gérerLa marque personnelle version slowpreneuriat pour devenir remarquable à moindre effortsAprès tout ça, tu sauras comment le slowpreneuriat peut te permettre de vivre mieux, de travailler de manière plus intelligente, et de réaliser tes ambitions sans sacrifice. Prêt·e à transformer ta manière de travailler et de vivre ?
Please do not be alarmed, remain calm...
In this intimate discussion, four alumni participants of the Black Woman Leading Mid-Career (Samira Payne, Keira Braxton, Trenity Dobbey) and Early Career (Tiana Bryan-Okeke) programs share their stories of conquering mindset matters and doing their heart work along their professional journeys. Together, we explore mindset concepts that we navigate as leaders such as leaning into a growth mindset, overcoming negative thinking, challenging your internal saboteur, conquering fears, and aligning your “come from.” They share how they leaned into community and accessed collective healing to support them during this work, and their key takeaways from their experience in the Black Woman Leading program. Join us to reflect on your own journey, celebrate your growth, and build your own resolve as we explore the inner work that goes into being a thriving leader. Guest Bios: ::Tiana Bryan-Okeke Living her life to the beat of Alien Superstar by Beyonce, Tiana Bryan-Okeke has created her own path. This CUNY Medgar Evers College alumnus has 5+ years of executive support allowing leaders across industries to focus on and execute their mission and vision. While streamlining operations and building cohesive teams; Her passion for project management allows her to transform fragmented systems into interconnected workflows that break down silos across expanding initiatives. After joining the inaugural cohort for the BWL Early Career, she has aspirations to continue being luminous while sharing her talents to help others execute their strategic plans. Connect with Tiana on LinkedIn. ::Keira Braxton (formerly Brown) Keira, a native San Diegan, is a passionate and dedicated Human Resources professional with a wealth of experience in developing and implementing HR strategies that align with business goals. She is recognized as an experienced workshop facilitator and is known for her ability to translate complex concepts into practical advice that business leaders can use to build and maintain high-performing workforces. In addition to her work as a People Business Partner, Keira serves as a member of the DEI advisory board at Teradata where she provides guidance and recommendations on the company's DEI initiatives. She also serves as chair for the community outreach, networking and events steering committee for the San Diego chapter of Teradata Alliance of Black employees (TABE). As a leader in the DEI space, Keira is committed to helping organizations create more inclusive workplaces where everyone feels valued and respected. Connect with Keira on LinkedIn. ::Trenity Dobbey Trenity K. Dobbey, a seasoned professional with over a decade of experience in social and human services, holds a Master's in Criminal Justice. Her journey began in corporate America, managing financial portfolios for major banks, before transitioning to a impactful role at the Chicago Children's Advocacy Center. There, she skillfully managed the citywide intake line for child abuse reports, showcasing exceptional skills in handling sensitive cases. Currently, at DFSS City of Chicago, Trenity oversees a diverse portfolio of 50+ agencies citywide, managing a $10 million annual budget within the Workforce Services Division. Her strategic vision and hands-on management style have left a lasting impact on the lives of Chicago residents. Building on her extensive professional and personal background, Trenity is an accomplished life coach. Drawing on her extensive experience, she offers practical guidance rooted in real-world expertise, uniquely positioning herself to drive transformative outcomes for individuals and organizations alike. Connect with Trenity on LinkedIn. ::Samira Payne Samira is currently the Director of Community Revitalization and Network Education at Rebuilding Together, a national nonprofit that supports safe and healthy housing in communities across the country. She participated in the Mid-Career Black Woman Leading Program in Fall 2023. Connect with Samira on LinkedIn. Resources: Programs: We are now enrolling for the January 2024 sessions of our Mid-Career and Early Career leadership development programs. Learn more at https://blackwomanleading.com/programs-overview/ Event: Join us for the Black Woman Leading LIVE! Conference +Retreat, May 13-16, 2024 in Virginia Beach! Learn more at bwlretreat.com Credits: Learn more about our consulting work with organizations at https://knightsconsultinggroup.com/ Email Laura: laura@knightsconsultinggroup.com Connect with Laura on LinkedIn Follow BWL on LinkedIn Instagram: @blackwomanleading Facebook: @blackwomanleading Podcast Music & Production: Marshall Knights Graphics: Téa Campbell Listen and follow the podcast on all major platforms: Apple Podcasts Spotify Stitcher iHeartRadio Audible Podbay
We spoke with THE ALIEN SUPERSTAR @txmxxr about his experience seeing RWT 11 times plus being recognized by the Queen Beyoncé herself!!! Make sure to subscribe and leave a comment if you enjoy! Click https://linktr.ee/beytimeandunwine to stay updated!
Henry Winkler visits Google to discuss his memoir “Being Henry: The Fonz…and Beyond”, and how we can build community and foster inclusion and accessibility for older adults and people with disabilities. In 2023, Henry Winkler will celebrate 50 years of success in Hollywood and continues to be in demand as an actor, producer, and director. He co-stars as acting teacher Gene Cousineau on the hit HBO dark comedy, Barry. A graduate of the Yale School of Drama, in 1973 he was cast in the iconic role of Arthur “The Fonz” Fonzarelli in the TV series Happy Days. During his 10 years on the popular sitcom, he won two Golden Globe Awards, was nominated three times for an Emmy Award, and was also honored with a star on the Hollywood Walk of Fame. In recent years, Winkler appeared in a number of series, including Arrested Development, Children's Hospital, and Parks and Recreation. He is the New York Times bestselling author of numerous children's books, including Alien Superstar, and Hank Zipzer, the World's Greatest Under-Achiever, a 28-book series inspired by Winkler's own struggle with severe dyslexia. Visit http://youtube.com/TalksAtGoogle/ to watch the video.
ALIEN SUPERSTAR & RESPECT MASHUP - BEYONCÉ & ARETHA FRANKLIN (STR8NGEREMIX) by DJSTR8NGE
In 1973, a French motorsports journalist claimed to have been visited by a UFO that revealed to him the secret origins of humanity. For the next half-century, the man known as Raël would go on to create a new faith with tens of thousands of adherents all around the world. The media have portrayed the Raelians as not just a cult, but a strange phantasmagoria of extraterrestrials, orgies and clones. But its followers insist it is the only true path forward for humanity.Featured in this episode: Nicole Bertrand, Susan J. Palmer, Harold HenningTo learn more:Aliens Adored: Raël's UFO Religion by Susan J. PalmerThe Prophet and the Space Aliens by Yoav ShamirThe UFO sect campaigning against female genital mutilation by Monica Mark in The Guardian Credits: Arshy Mann (Host and Producer), Jordan Cornish (Producer), Noor Azrieh (Producer), Annette Ejiofor (Managing Editor), Karyn Pugliese (Editor-in-Chief) Additional music from Audio NetworkSponsors: Douglas, Athletic Greens If you value this podcast, Support us! You'll get premium access to all our shows ad free, including early releases and bonus content. You'll also get our exclusive newsletter, discounts on merch, tickets to our live and virtual events, and more than anything, you'll be a part of the solution to Canada's journalism crisis, you'll be keeping our work free and accessible to everybody. You can listen ad-free on Amazon Music—included with Prime. Hosted on Acast. See acast.com/privacy for more information.
Tyrone from our Los Angeles season is back with a vengeance and ready for Round 2! Can Jujubee find Tyrone a true love match this time around, or are none of her daters good enough to play “patty cake” with him?See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Welcome back to Fright School! The summer tourists are leaving San Diego just in time for the Invasion of the College Students from OUT OF STATE! Joshua forgot about scratched CDs! Count yourself among the lucky if you have no idea what he is talking about. This week we take on teenage alienation- literally- with THE FACULTY. It's INVASION OF THE BODY SNATCHERS meets THE BREAKFAST CLUB with a twist of THE THING! Oh, the late 90s! What a time! We discuss the pressures of conformity, invasion anxiety, the rather subversive pro-drug messaging in the film, and small town nihilism. Let's get high and stay alive! The Faculty is the bleakest and most subversive film of the '90s studio teen-horror cycle By Alex McLevy Learn more about your ad choices. Visit megaphone.fm/adchoices
BEYONCE!!! The time has finally come, Renaissance came and went to LA. I'm happy to be collaborating with my fellow podcast bestie @parkerspointlesspodcast and talking about all things Beyonce! We have special guests, Daniel and Princess who are equally Beyonce STANS! Enjoy this episode as we dive deep into the Alien Superstar herself!
Beyoncé's new album Renaissance is one of her most ambitious albums yet. On this week's episode of Switched On Pop, we discuss Renaissance with beloved guest Sam Sanders, host of the new Vulture podcast Into It. In Sanders' words: “it's trying to do a lot” – but in the best way. The album incorporates seemingly every decade of contemporary popular dance music from Chic's “Good Times” to Right Said Fred's “I'm Too Sexy.” Much of the early discourse surrounding the album was marred by a confusing controversy over a small sample (we try to resolve the issue musicologically) – but the references on Renaissance are worth listening closely to, acting as a guide through essential dance music. The album is an homage to the black and queer innovators of dance; with samples and interpolations of songs both niche and mainstream flying by, like a DJ set curated by house music pioneers. On Renaissance, Beyoncé goes out of her way to cite, credit and compensate her influences, resulting in a triumph of musical curation. Just look at “Alien Superstar”: the song credits twenty-four people, largely due to Beyoncé's musical nods, rather than an exercise in boardroom style songwriting. Sanders says “the liner notes themselves are showing you that this woman and her team have a PhD in music history.” Listen to Switched On Pop to hear how Renaissance honors dance music innovators and finds new modes of expression in the genre. Subscribe to Into It with Sam Sanders Listen on Apple Podcasts: https://bit.ly/3vE4jqf Listen on Spotify: https://bit.ly/3bB7Vmf Listen elsewhere: https://bit.ly/3BI0Nz0 Learn more about your ad choices. Visit podcastchoices.com/adchoices
Beyoncé is her own powerhouse! Let's talk about why she's just like us…
Grace has a candid conversation on grief, self awareness, and why she started meditating! This episode is sponsored by Anchor: The easiest way to make a podcast. https://anchor.fm/app Join The Fine and Fearless Lifestyle: 7-Day Meditation Challenge
Beyonce is serving on her world tour. I'm just sharing the vibe!
A woman of many names. Bey, Muva, Mrs. Carter, Yonce, Queen B, Sasha Fierce, Juju, Slayonce, Ms Knowles-it All, Houston's Finest, Blue Mama, or Greatest of All-Time. Beyoncé is the name Ms Tina gave her and she deserves all the flowers. All Beyonce, Stans, fans, family and friends, this episode is for you. Josh & Bryan invited friend of the podcast Chancey (IG: @fashiondriven21) to the living room to give a synopsis of his Renaissance Tour experience and to discuss the impact of the Renaissance album almost a year after it's release. Also, we have a listener letter you definitely want to hear. Song of the Week: America Has A Problem - Beyoncé feat. Kendrick Lamar Bless Up: Kevon & Kamari Chilsom - Junior Wallstreeters Tap in to your favorite Casanegros by writing them or following them on social media using the information below: askthejigsaw@gmail.com IG: @thejigsawpodcast | @iamjoshrodgers | iambryanhaire
From October 16, 2020: Action-packed and full of laughs, LIGHTS, CAMERA, DANGER! (ALIEN SUPERSTAR #2) is the second book in the New York Times bestselling, highly illustrated middle grade series from beloved writing team Henry Winkler and Lin Oliver. After escaping his oppressive red dwarf planet and landing a role on a popular Hollywood sitcom, Buddy Burger seems destined for high-flying success. His legions of fans love his six eyes, his suction cup feet, and even his excessive need for avocados. It seems nothing can stop his rise to super-stardom-until the arrival of Citizen Cruel, a shape-shifting Squadron member sent from Buddy's home planet to bring him back by any means necessary. Will Buddy conquer this clever and unpredictable enemy? How long can he continue to keep his alien identity secret from his friends and fans? Is there enough guacamole on Earth to sustain him? And chips to go with it? ABOUT HENRY WINKLERHenry Winkler is an Emmy Award-winning actor, writer, director, and producer who has created some of the most iconic TV roles, including Arthur "the Fonz" Fonzarelli on Happy Days and Gene Cousineau on Barry.
LIVE IN EUROPE (MULTICAM FAN EDIT)
Ever feel like you don't quite fit in with the rest of humanity? You might be a starseed - an alien soul reincarnated in human form. Join Mik and Jenn as they explore this fascinating belief that our origins may lie among the stars. Discover the traits and characteristics commonly associated with starseeds and gain insights into how to embrace your cosmic heritage.Some things we talked about in this episode:Want to know more about the different types of starseeds? Check out these articles from Moon Omens, Cosmic Cuts and The Spirit Nomad.Book about the Pleidians - Bringers of the DawnMany Lives, Many Masters by Dr. Brian WeissDolores Cannon books - Keepers of Garden and The Three Waves of Volunteers*Note: As Amazon Associates, we earn from qualifying Amazon purchases.Support the showClick here to join our mailing list, support our Patreon, or check out our merch store.
Host Brittany Luse revisits her 2022 conversation with the legendary DJ Honey Dijon. As one of the only Black trans DJs playing the biggest venues in the world, she's not only become an icon of the scene, but an arbiter of the culture. It's no surprise that Beyoncé tapped Honey for her biggest album yet, Renaissance. Brittany and Honey talk house music's Black roots, the evolution of the club scene, and working with Beyoncé on "Alien Superstar" and "Cozy." You can follow us on Twitter @NPRItsBeenAMin and email us at ibam@npr.org.
This week the absolutely stunning Alien Superstar,Juno Birch is here to talk about her new tour, the Juno Show.Ella and Juno have a hilarious conversation about Drag, their love for each other's countries(minus the guns), and how Juno was able to forge her own path without that television show which features Drag Queens. Good Judy is a weekly conversation podcast about drag, pop culture, and all things Queer with Atlanta drag queen, Ellasaurus Rex (@queen_ellarex). Tune in every Tuesday with Ella as she discusses the latest news, chats with very special guests, and crowns a Good Judy and Bad Judy of the week. Good Judy is part of the WUSSY Podcast Network, hosted by WUSSY Mag (@wussymag) Produced by Roby Abraham @rabraham88 Podcast Music by DJ Helix @1djhelix Podcast Art by @Neon.Horror Follow Good Judy Podcast on Instagram https://www.instagram.com/goodjudypod/
Der Kate Bush-Song „Running Up That Hill“ listet genau eine Musikerin als Autorin: Kate Bush. Am Beyoncé Song „Alien Superstar“ haben hingegen ganze 24 Songwriter und Songwriterinnen mitgewirkt. Warum so viele? Hier entlang geht's zu den Links unserer Werbepartner: https://detektor.fm/werbepartner/popfilter >> Artikel zum Nachlesen: https://detektor.fm/musik/popfilter-beyonce-alien-superstar
Der Kate Bush-Song „Running Up That Hill“ listet genau eine Musikerin als Autorin: Kate Bush. Am Beyoncé Song „Alien Superstar“ haben hingegen ganze 24 Songwriter und Songwriterinnen mitgewirkt. Warum so viele? Hier entlang geht's zu den Links unserer Werbepartner: https://detektor.fm/werbepartner/popfilter >> Artikel zum Nachlesen: https://detektor.fm/musik/popfilter-beyonce-alien-superstar
Der Kate Bush-Song „Running Up That Hill“ listet genau eine Musikerin als Autorin: Kate Bush. Am Beyoncé Song „Alien Superstar“ haben hingegen ganze 24 Songwriter und Songwriterinnen mitgewirkt. Warum so viele? Hier entlang geht's zu den Links unserer Werbepartner: https://detektor.fm/werbepartner/popfilter >> Artikel zum Nachlesen: https://detektor.fm/musik/popfilter-beyonce-alien-superstar
Der Kate Bush-Song „Running Up That Hill“ listet genau eine Musikerin als Autorin: Kate Bush. Am Beyoncé Song „Alien Superstar“ haben hingegen ganze 24 Songwriter und Songwriterinnen mitgewirkt. Warum so viele? Hier entlang geht's zu den Links unserer Werbepartner: https://detektor.fm/werbepartner/popfilter >> Artikel zum Nachlesen: https://detektor.fm/musik/popfilter-beyonce-alien-superstar
Der Kate Bush-Song „Running Up That Hill“ listet genau eine Musikerin als Autorin: Kate Bush. Am Beyoncé Song „Alien Superstar“ haben hingegen ganze 24 Songwriter und Songwriterinnen mitgewirkt. Warum so viele? Hier entlang geht's zu den Links unserer Werbepartner: https://detektor.fm/werbepartner/popfilter >> Artikel zum Nachlesen: https://detektor.fm/musik/popfilter-beyonce-alien-superstar
If you had a billion-dollar fund to buy the full rights, masters, and publishing of ANY music artists — who are you acquiring to maximize shareholder value? This question was top of mind for real-life portfolio managers the past three years as music catalog sales boomed. Now my guest on the episode, Denisha Kuhlor, and I are asking ourselves the same hypothetical question.In this episode, we're doing a mock music rights draft. Akin to the NFL Draft, each of us getting seven picks. Any artists' catalog, living or dead, is on the table for us to acquire. Our goal is to score the biggest ROI for investors on a 10-year timeline from purely catalog revenue — streaming, syncs, and partnerships, among other sources. Touring or merchandise revenue isn't factored in, and neither are future catalog releases, only what's already been released. As you'll see on this episode, Denisha and I took very different approaches to our portfolios. One was more “risk on”, while the other was filled with more “blue chips.” Here's what to expect:[0:01] Draft parameters [4:51] First-round picks[9:42] Second-round picks[14:21] Third-round picks[18:49] Fourth-round picks[21:55] Fifth-round picks[26:04] Sixth-round picks[29:20] Seventh-round picks[37:33] Honorable mentions [52:21] Up-and-coming artistsListen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Denisha Kuhlor, @denishakuhlorToday's episode was brought to you by feature.fm. Grow your fanbase and music career with their marketing suite. Get 50% off your first three months by using code: TRAPITAL50Enjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapitalTrapital is home for the business of music, media and culture. Learn more by reading Trapital's free memo.TRANSCRIPTDenisha Kuhlor: We've talked about Burna Boy on the podcast before, so don't necessarily have to go over all of his stats, but I think that in one thing I'm finding with people discovering, music from the continent. Is that when they like the artist or there's things they like about the artist or the genre, they go back and listen, to the past catalog.And so I feel like there's still a lot of untouched ground in terms of people discovering his music and listening to his whole catalog and given how timeless in a lot of ways some of his music feels, I think that we'll have new fans discovering him over and over for a long time and getting to also benefit from the upside of that catalog is great.I'll also say, he's pretty feature light as well. He's increased the amount of features that he's had in some of his more recent albums, but even like him, some of his breakout singles, whether Ye or Last Last, were Independence, or songs that he did independently and didn't have people featuring.So I think in terms of some of the big records, there's solo records, which is exciting and that his catalog has a lot of value for people to discover and wanna to.Dan Runcie Intro: Hey, welcome to the Trapital Podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from executives in music, media, entertainment, and more who are taking hip hop culture to the next level. Dan Runcie: Today's episode is one I am really excited for. This is a music rights draft. We are going to be breaking down the artists that we would most wanna have their music rights for. So today's guest friend of the podcast, Denisha Kuhlor, founder of Stan, her and I are both managers of billion dollar funds and we can acquire the full rights, Masters and publishing to any artist, living or dead.And our job is to maximize value for our investors for the next 10 years. We each get to pick 10 artists and their full rights of music, and we draft them one by one. Denisha, are you ready? How are you feeling?Denisha Kuhlor: I am, I'm super excited for this. like keep racking my head, I think till the last minute with each pick. but yeah, I'm ready to get Dan Runcie: started.Right. It's funny because we're chatting about this yesterday and I almost wonder like if our chat yesterday like shifts anything, it's like, oh, okay. That's how you're thinking about this. Okay. That's how I'm thinking about this.Denisha Kuhlor: Exactly, in a funny way, I have some more compassion for venture investors because I can see how societal shift or even group think can shift your perspective even if just a bit. Dan Runcie: Yeah, it's fascinating, and I mean with this, we did try to keep the parameters of it a bit clear because obviously in the real music rights acquisition world, there are many different strategies about how these firms are buying and acquiring these rights. Some of them are sitting and holding on them, but we are putting ourselves in a different bucket.We are assuming that we have the means to maximize this catalogs and this artist's value through multimedia, through sync, through other partnerships, and just the revenue that it naturally generates as sound recordings themselves. And we assume that we're only acquiring what that artist has released up to that point.Of course, what that artist continues to do in the future may shift the perception of the value of what they've done, but we are only looking at what they've done up to this point. So we're saying that just to lay the groundwork, because someone may be like, oh, what about so-and-so and so-and-so may be an artist that blew up in the past five years.They may not have Steve as a catalog, but who knows? Maybe we'll both have a few of those picks.Denisha Kuhlor: Exactly. Super exciting Dan Runcie: All right, so we are gonna be so a few things to just keep in mind as well for listeners. So a few of the factors you both considered were expected longevity of the artist music themselves, which is a big piece of this. You're acquiring these rights, you're trying to get a sense for what is the music that people are still going to listen to, right?It's one thing if you dominate the charts, that you have a song that takes off, but there's a decay curve. So we're trying to find those artists that have the value, but have the much less steep decay curve as it goes down year over year. There's also a mix too. There's the stable picks, which a lot of the rights go after, which are attractive, but there's also some higher upside picks or some riskier bets.Where do those fit in? And then we're also taken into account the share of the song recordings that the artists actually have given that certain genres such as hip hop or r and b and pop music specifically, there's a lot more collaboration. There's a lot more hands being shared in that pot. So, how does that line up with another genre where that artist may have a higher percentage of those things?All those things get factored into how we pick this. So I'm ready to get started and I wanna give you the first pick so you can go and then I'll go after that.Denisha Kuhlor: Oh, thank you, so my first pick is Mariah Carey. for a few reasons. One, Mariah Carey has one of the most amazing songs in her collection, with Christmas, right? Like it's just being Christmas time, every Christmas, you know, you're going to get, a spike in revenue. Mariah Carey's also been very notable, about talking about that.She writes a lot of her own music, and I don't think how many people realize how much of a prolific songwriter that she is as well. And with the nature of R and B, much to what you talked about earlier with it being collaborative, Mariah Carey seems to be embraced by a lot of rappers for samples.So while I definitely think it will be pricey based off literally, all I want for Christmas, if anything, I think that it's. It's a bit of a safe, but also Sure. Fire and, and stable. expectation revenue. Dan Runcie: That was my number two pick. So we're definitely aligned there. It makes perfect sense because even if you, all I want for Christmas is a big piece of the pie, I wanna say 300 million streams per year on Spotify was the stat that I heard, and I forget the exact revenue number that it generates. I don't wanna quote it, but it's huge.Almost 20 number one singles that she's had. So the longevity's there, and as we know we're talking about this a little yesterday, but there's a reason that catalog isn't one that's getting acquired because, A, the people that own it, and I know she may own maybe some of the more recent stuff. I don't know if, Columbia still owns, you know, the stuff from the nineties, especially given the nature of her deal and stuff like that.But I mean, it's up there, it's definitely one of the most valuable ones. So good. Yeah. Good for you on that one. So I'll take my number one pick here and the number one pick. For this, for me, so much of it was thinking about how millennials and this group are the dominant users of streaming.Streaming makes up a bulk of the revenue for these streaming services. And who is the biggest artist for millennials overall? Just you look at the sheer numbers and everything like that, it has to be Taylor Swift. Miss 1989 herself, I will take those albums, especially these rerecorded ones, Taylor's version, because they'reDenisha Kuhlor: That's just what I was gonna ask.Dan Runcie: Yeah. I may not get Scooter bronze version, but I'll get Taylor's version and I'll keep that. I think that it's rare to find a star that has as much impact as she does that is as recent in this way, I mean, just the pure demand for this Eras tour. She could have done 10 x times the number of shows and been touring for the next five years in a in stadiums and still had plenty of demand left over.And of course, we're not counting touring revenue in this, but it just goes to show how big everything else is. The fact that midnights broke records, both in streaming and in hard sales, I think I saw 230 million dollars that album generated in its revenue. Of course. That her entire rights will likely be owned, you know, herself just given the Taylor's version of everything.Currently I'm licensed with Republican Universal Music Group. But if in a perfect world you could acquire that, I will take that. She's able to dominate in all of these multiple platforms and if we're really trying to say, okay, 10 years from now, each of her albums is still in the top 50 of the billboard, 200, just from like a rankings perspective.Well, not all of 'em, but a lot of them, and I think it's harder to come by. So yeah, I'll take T Swift.Denisha Kuhlor: Yeah, I think it's definitely a solid pick her music evokes so much nostalgia especially as her fans get older, that they'll be listening to it for life, right? Because it's not necessarily attached to a moment or even a recency of today, even though they can appreciate that.it's, yeah, it's music that's the soundtrack to their lives. So, it makes a ton of sense. And she's also another prolific songwriter, so I would assume, from an ownership perspective, it's quite attractive.Dan Runcie: Yeah. Not as attractive as Mariah though, because I feel like Taylor more recently, especially with the more pop albums, there was a lot of Max Martin production and a lot of other big name folks and you know, Kendrick Lamar, guest verses and stuff like that. And Mariah had some of that, but I still feel like she always had like her single, you know what I mean? It's like Yeah.fantasy was, they had a remix with ODB or they had a honey remix with the lock, but there was still the core Mariah version that was justDenisha Kuhlor: Yeah, that's a great point. The breakout has frequently remained just her. Yeah. Dan Runcie: so we'll see. But yeah, who's your second pick?Denisha Kuhlor: So my second pick, I thought a lot too about, like world music as we say, or just music that's global. much to your point as well around streaming. I kind of think that it's exciting to pick, an artist that can dominate globally that's, not necessarily a pop artist. And so for that, I went back and forth.Probably two of the biggest artists. but landed on Bad Bunny, Bad Bunny to me is one just an amazing and exciting artist. He also has a great amount of volume, but much to the point we just made about Mariah Carey's, Taylor Swifts, I think he's really optimized a lot of his catalog, for music that he makes and that music that he solely makes.Additionally, and I know we're not counting touring, but the sheer amount of numbers he's done touring, I think has not only earned him new fans, but earned him kind of the same type of fan appetite that Taylor Swift has in which the music will evoke a certain nostalgia, whether they saw him perform it on top of a gas station or when he was driving through the Bronx, that leads them to want to continue to listen to this music for the rest of their lives, which hopefully will be financially lucrative.Dan Runcie: He was on my list as well. You can't ignore just the huge, massive success of this last album, UN Varano Centi. We saw that album dominate week after week after week, and it, the songs are still on Spotify's Top 50 and they're still having traction there. And in an era where there's just so much more music, if you can get a song like that that comes out in 2022 that's still coming out or just an album, it's rare and I know we talk a lot about how monoculture itself is just harder to come by from a artist that is in the US or UK just because those markets are so much more saturated. But the closest we get to anyone reaching Beatlemania is someone like Bad Bunny. So that's a great.Denisha Kuhlor: Exactly, exactly. I also think a lot both, Drake's wrapped about Bad Bunny numbers and Kanye's reference Bad Bunny's, success. And so I feel like even if his peers in the industry are kind of in some ways either looking at him aspirationally or like he's one that could potentially, hit my success, is also a great indicator.Dan Runcie: All right, so the next pick I have here is, you mentioned him a second ago, the streaming king himself, 70 million streams. Drake, it's hard to think about the streaming era and not think about him. Just the massive hits that he's had and every time that he releases an album, it still creates this moment that few have the ability to be able to reach moving forward.I know Birdman will never give up those rights, and Young Money extensively will never give up those rights, but if I had the choice, I would take it. I think the knock against Drake potentially though I will acknowledge is that one. Just the high number of features and samples with all that, there's a high, there's a less likelihood that he may own all or just have a higher percentage of the revenue coming in for this stuff.But just the sheer volume of whether it's the mixtapes, the playlist, the little two packs that he puts out, the albums, especially some of the ones from like, especially the cash money albums, honestly, from, when was that? So I guess you had 2010, it was official first album, but you had so far gone oh nine and then everything up to Scorpion.Yeah, those are the biggest albums of the last decade. So I'll take DrakeDenisha Kuhlor: Yeah. Yeah. super solid pick. As someone who has seen Drake in concert 10 times, there's a few things recently. Yeah. 10 times. Yeah. So a few things that stuck out to me with Trigg specifically, The Serious Show. So the serious show was a lot of like deep cuts or songs that he hasn't recently performed on some of his tours. And you could just see that fans loved it, right?A lot of people wanted access to tickets and really loved the music. And then, lastly in part of, in going to these tours, there were so many times that I saw, that he would like go off of stage and to keep the crowd like engaged. They would do a whole set of his music that he wasn't going to perform, and the crowd literally went just as crazy as if he was on, if he was on stage so much to just like the emotional factor that his catalog has.I feel like Drake has provided the music of a generation. And so, regardless volume wise, they'll be continuing to listen for a long time.Dan Runcie: Who's your number two?Denisha Kuhlor: So next I'm going with Burna Boy. one, we've talked about Burna Boy on the podcast before, so don't necessarily have to go over all of his stats, but I think that in one thing I'm finding with people discovering, music from the continent. Is that when they like the artist or there's things they like about the artist or the genre, they go back and listen, to the past catalog.And so I feel like there's still a lot of untouched ground in terms of people discovering his music and listening to his whole catalog and given how timeless in a lot of ways some of his music feels, I think that we'll have new fans discovering him over and over for a long time and getting to also benefit from the upside of that catalog is great.I'll also say, he's pretty feature light as well. He's increased the amount of features that he's had in some of his more recent albums, but even like him, some of his breakout singles, whether Ye or Last Last, were Independence, or songs that he did independently and didn't have people featuring.So I think in terms of some of the big records, there's solo records, which is exciting and that his catalog has a lot of value for people to discover and wanna to. Dan Runcie: Yeah, he was on the list as well, and I think the attractive thing with him is similar to the bad Bunny perspective where almost more so because if you are one of the signature artists that is on this entire continent, well, I think for him, obviously more West Africa, but if you're one of the signature artists that's on this entire continent, you have the closer thing to that Beattlemania effect.And as more people there have access to streaming as more of that just grows and develops, you're going to get that curve too that just grows naturally with what's already there. And you can't undersell that. And I think given an artist like that too, there's probably huge sync opportunities as multimedia and entertainment starts to grow from that, from, from those parts of the worlds too.So there's a lot of value there. Yeah.Denisha Kuhlor: exactly. Who do you have Dan Runcie: pick, this is a pick with the mind and not necessarily with the heart, but I am a, in the role of a asset manager or not the role of a fan. And my pick here is Eminem and my pick for Eminem, and the reason I pick him is because his music is still some of the most streamed music across the board.And his Curtains Call album was the bestselling rap album in the UK in 2022. His greatest hits album from 2005 was the best selling rap album 17 years later. And I remember seeing that stat and I was just like, wow. And then you just think about the nature of his music. And even though he's someone that I feel, if you're someone that lives in the Twitter circles that you and I live in, Eminem is someone that I think has largely fallen out ofpopular discourse.And people do look at him a bit more, distinctly in a way that they did in 20 years ago. But if you don't live in those circles, which the majority of people don't, they still listen to his music and still revere him. And just on a sheer number perspective, there's probably more people that listen to hip hop that have an artist like Eminem and their top three and they're top two and not two.And you look at some of the numbers as well for songs like Till I Collapse and Lose Yourself, that just get played over and over for people working out and all of these things. Those songs have a timelessness to them. I mean, on stats, he was the bestselling like recorded artist of the two thousands. He was up there for the 2010s.He still tours massively, and even though a lot of his albums that probably generate the most revenue are songs that I'm no longer listening to, I can acknowledge that this has huge value. And as an asset manager, as a fund manager, I would do quite well with that, with his rights.Denisha Kuhlor: Yeah. No, I don't know if that's where I would have went, but after hearing your explanation, it makes a ton of sense. Eminem fans are, independent in the sense that they're fans regardless of whether he's the top of a pop culture, relevancy or not. yeah, I think, that's really, really interesting.And the Stan's side, he literally pioneered the word we all use today, so I think in some ways too, people forget just, how impactful culturally he's been. so yeah, that makes a Dan Runcie: Nice. All right. who's your.Denisha Kuhlor: So for my next one, I kind of wanted to go in a direction of some newer artists that are still proving themselves out of it, but I think have a lot of potential. but keeping in mind to what they've done so far, I wanna go with Lizzo. I. think of Lizzo, you know, a lot of us were actually introduced, to her in because of a sync, in one of the, in a movie on Netflix.I'm blanking on the name of the movie, but that sync actually introduced me, to her. I think that Lizzo's music is just like the perfect type of music for a movie trailer, in the sense of some of her upbeat, more like pop, pop records. It's like the perfect songs to usher in like a romcom.So from a sing perspective, I think it has a lot of potential. She's also known as, pretty talented on the songwriting side, so I think the ownership would be, I think the ownership would be attractive. and in her last tours, she's done pretty well while also there were smaller venues, the fan base and her having an engaged fan base is definitely there as well.Obviously and from an asset manager perspective, definitely wouldn't be looking to pick it up. But the numbers I've picked up, some of my earlier bets, but I think it would be a fun bet to have and see how it does in the future.Dan Runcie: It's funny because she's someone that I think she has a very high diehard fan to fan ratio, if that makes sense. And I say that because she's someone who. Does quite well. She sells out arenas and she does multiple shows in some cities, in arenas, in an era where it's very hard to get artists that are topping the charts with their streaming to sell out the same venues.The knock against her though is that she doesn't stream necessarily as well. Like she hasn't had an album that's like top the charts. I don't think she's had, you know, a 100K in the first week necessarily. But those fans do show up. so there's something to be said there. I think the other thing too, when you're mentioning the sync, I was thinking about, you know, that car, I think it's Carnival Cruise, that commercial, and it has that song that's like Hands to the Sky.Show me that your mind, like, I didn't even realize that was a Lizzo song until I just looked it up because it was stuck in my head and I'm like, oh, that's a Lizzo song from like 2016, like Pret Truth. So I think you're right with the sync piece of it. I mean, a song like Truth Hurts Itself, juice, literally anything from whether it's special or the album before this, I think that there is strong potential there.So I think Lizzo is definitely a good multimedia play. Assuming like we are in this role, you have the ability to maximize the asset.Denisha Kuhlor: Yeah, exactly, exactly. It definitely comes down to maximization of the asset on her part, and in a way. I don't see streaming continuing to go up. I think her engage fans like her, they listen to her, and they keep it at, and they keep it at that. So without kind of very targeted, like a targeted approach to maximizing her syncs, the asset becomes less attractive.Dan Runcie: So the next pick, and this is a bit strategic because I wanna take this artist before you take them, is SZA and. picking SZA because she obviously doesn't have a huge catalog. We're talking two studio albums really, that have came out. But if I could get those studio albums for a good price, I'm getting an album in control that is literally stayed on the charts for five years.People are listening, streaming and buying the hell out of that thing, and it hasn't really stopped. And this album is setting all these records and every time you see what the 10, 11 weeks that SSA's SOS has been at the top of the charts, that's in the territory with like Adele, Beyonce and all these other artists because first here's breaking records for female R and B artists then is just, you know, female artists.Now it's artists in general, like how many people are at those levels. So sure. I don't think I'm necessarily gonna have to pay Taylor Swift, Drake or Eminem numbers to get SZA rights, but this is a hits game, and if I can get two of her hits, certified hits albums, that could be worth more than 10 of someone else's mediocre ones.Denisha Kuhlor: I completely agree. SZA is it makes so much sense. It makes so much sense. I'd also say what's so exciting about CSA when you think about it is two studio albums and being able to maintain that relevancy and the sheer amount of time that those albums have lived, is so exciting and you can continue to maximize those two albums even for years to come.Because for everyone, it still feels very relevant.Dan Runcie: All right. Who's your, you've picked five, right? Okay, so last two picks. who's your sixth pick?Denisha Kuhlor: Yes. So I'm gonna keep the S theme here with SZA. and this one was somewhat a big streaming play. but Summer Walker, summer Walker was one that initially when I first made this list, didn't come to mind to be honest. But as I thought about it, and I will probably mention this more in some of my honorable mentions, but I was going for Usher, and I thought about the record that they had together and thought about a lot of the records that Summer Walker has broken. and shout out to the folks that love Renaissance, I think that people don't even realize or truly understand how big of an artist she's been, from a streaming perspective. she's had some really impressive numbers when she releases the album, she's done great numbers. and People continue to listen to her. I also think, you know, she's toyed around with retiring as well as not doing, as well as not doing tours, creating less opportunities for fans to be able to interact with her, which, fortunately or unfortunately leads them back to her music as that's one of the only sources of ways that they can interact with her.So, I don't know if I see as much sync potential with an artist like her as I would maybe a Lizzo, but I think she can continue to generate solid, solid streaming numbers, for years, foryears. Dan Runcie: a good pick. It's funny, she's someone that's not on my list, but when you mentioned her I was like, I can't believe I'd even think of the think of her. But you're absolutely right. She has, especially from a streaming perspective, she has numbers that rival some of the artists that we mentioned before when it comes to streaming and on average, streaming is making up 70 to 80% often of the revenue that comes in from these music rights.So, it makes sense to be able to have that. And I think that just given how much she's been able to speak to an audience that doesn't really have as many people speaking directly to them as well in this way of, okay, who is making music for black women, who is making like doing that? And I think when you think about it that way, that list does become slim.Especially when we're talking about artists at this level, obviously, you know, touring and some of the more personal things of just like being out there that isn't her style, that isn't her vibe or her personality necessarily. But we don't necessarily need that and I think that there's clearly value in over it, still over it.And, you know, the small features and things that she's done here and there since then. Denisha Kuhlor: Yeah. Dan Runcie: All right. So mine, I have two picks left. this is where it does get tough because, looking through some of these names and there's some ones that I like and, okay, so I am going to take Bruno Mars and I'm gonna take Mars because the fact that he has music that I think honestly can transcend in terms of the versatility of the music.Songs like 24K Magic or Uptown Funk, or.Denisha Kuhlor: Very intergenerational as well. Dan Runcie: Yeah. You hear, could hear it in the supermarket, you could hear it being out, like you could hear it in syncs or different types of things, even the more recent stuff with Silk Sonic and getting his chair of that with with Anderson .Paak there, I think there's a huge potential there.I can't speak as much to the hard numbers, but I do think that the multimedia opportunities are there. He's a pit maker and I think it would be valuable to have his stuff in there.Denisha Kuhlor: Yeah, so from kind of a multimedia or even multidisciplinary perspective, my next one is Pharrell.Pharrell's been a part of a lot of really big records, records that feel intergenerational. I would say, and I don't know the numbers of this. I would say his streaming probably isn't in the highest percentile, but it's also not in the lowest percentile.Like it's somewhere probably in the media, in the middle, given all the records he's been a part of. That makes it kind just a steady asset and also transcends multiple decades in a way that if something does come back in style, You can benefit from that upside. He also has a few records, I think about a record like Happy, that sync wise I think will continue to be used for years and years to come, in a host of ways.So Pharrell is one that could be a really safe bet or maybe a really unsafe bet, just dependent on how, things go. But I think there's enough factors, in, which he falls kind of nicely in to justify the bet. But I will say I don't think it will be, I don't think it will be cheap but I do think it can have a big upside.Dan Runcie: The upside smart thing about that pick, he's someone else I didn't think of, but I think it was a really good pick because you get the artist Pharrell and you get the producer Pharrell, so you get everything from, I forget that Sta but when was it? In 2002 or 2003, the Neptunes were responsible for 43% of the music that was on top 40 radio that was on, you know, pop So you get all those songs and then you get any of the stuff you did with NERD, you get any of like the Child Rebel Soldier stuff. I mean it makes a lot of sense. And then even songs like, Get Lucky was huge as well. I know that there's been a bunch of controversy around blurred lines, but I'm still sure that the revenue from that song continues to be massive.So I think that's a smart pick.Denisha Kuhlor: Exactly. And I think in the future we'll see kind of that doubling, right? artists like a Pharrell will continue to be super valuable when it comes to being able to capture the peak of their rights because they just have them.Dan Runcie: Definitely, definitely. so then with the last pick, it's funny, I hesitated with this one a bit, but I'm gonna go ahead and pick it anyway. It's probably the catalog or the rights that would go for the most money if anyone's was on the table at all right now. And it's Michael Jackson and I'm going to take his, because the fact that Thriller is now over 40 years old and I think that the baseline for streams from that song and streams from everything else is quite high.It is strong and there's value there. This is another one where I think I'm separating a bit of the personal versus the, you know, actual like business asset aspect of it, because I do think that the multimedia aspect of it. Yeah. You know, that would be difficult, and even me as an asset manager would probably be finding ways to create multimedia opportunities for that asset continuing forward.But on the other hand, there's still Broadway musicals, there's still Vegas intimate shows that they are creating off of this person's music. I think Variety had released that report a couple of months ago that said that they were in talks of a 900 million sale for half of the rights. I forget like exactly what the terms would be and including a few things, but I felt like that was too big not to ignore from an asset management perspective.So it would be the Michael Jackson rights for the final pick.Denisha Kuhlor: Wow. That's a really strong, a really strong final pick and makes my last pick even harder. Dan Runcie: You had seven though, right? Denisha Kuhlor: Yes, I did. I did. My seventh one is just a different caliberDan Runcie: Wait, wait. You, oh, oh, oh. With Pharrell you mean?Denisha Kuhlor: no, no, no, no. So my seventh one actually is, Dan Runcie: Wait, wait. Did we miss one? Hold on. Let me just run through it real quick. You had Mariah, Bad Bunny, Burna Boy, Lizzo, Summer Walker, Pharrell Denisha Kuhlor: YesDan Runcie: Oh, oh. We both have one more. Oh, okay. I missed up. Okay. You're right, you'reright. Yeah. okay. All one?Denisha Kuhlor: Yes. So my last pick is DMX. One, I think in a lot of ways DMX has a very unique style of music. It has a very unique style of rap. Talking to a lot of, or not talking to, but I guess watching their interviews. A lot of rappers are very inspired by DMX and he still gets credited, for, you know, rap styles or little lines that, artists borrow or throw in their music and he has a bit of a high sample potential.I think we'll see some of his music sampled more and oddly enough, whether it's like a movie, like a Creed or something like that, this sheer like BPM of some of his music, is definitely attractive from like a sync perspective. For, upbeat movies that wanna like, leverage a rap song or leverage hip hop.and I also think, and he's done very well in getting quite a few syncs when it comes to video games, I'm thinking about sings so often this podcast from a movie perspective, but gaming syncs are huge as well. and DMX's music is quite huge in the gaming community. So if anything, from an, optimizing the asset perspective, I would focus on optimizing his syncs for gaming, because of the BPM of his music.And I think I would get it at a favorable rate.Dan Runcie: Yeah, I couldn't imagine there might be some high ROI potential there, I would say and just given how dominant that run was, and I think some people forget. Yeah. Each of those first albums was just like, you know, topping the charts and everything. Especially from like 98 to 03'. it was, on, I mean, there were other rappers who may have had like, you know, bigger commercial success at that time from whether it was someone like Eminem or some others. But in terms of like relevance, that still matters to a lot of people and how that can continue. X is up there. Do you think we'll see an X movie at some point?Denisha Kuhlor: You know, I hope we do. and that's how I reference, how a lot of rappers like, feel about him because musicians appreciating another artist are probably our most likely way. You see obviously 50 cent, 50 cent in TV and film production, Drake with Euphoria, even Childish Gambino, right?So him being revered by other artists I think puts him on the best path for us to see that. which also would be Dan Runcie: Yeah. That's a good pick. So I think so. I actually, but now my seventh pick, because I'm like re-looking at these. I had Taylor, Drake, Eminem, SZA, Bruno Mars, Michael, and then now the seventh pick. this is tough, but, I'm gonna take the Weeknd and I'm gonna take him because Denisha Kuhlor: Oh, amazing. Dan Runcie: I think it's really hard to have a song that's been released like in the pandemic era of music that still tops the charts, but everything from After Hours is still getting so much radio play.He just did a remix with Ariana Grande, Die For You, a song that came out now, what, seven years ago. And that song had topped the charts. He has this ability to just, I think it's him and a handful of other artists that just have this ability to make music that can continue to like pierce through. I mean, we didn't get as much of that from Don FM but I think even he himself, like that album didn't get as much, you know, focus the same way that everything from After Hours did.And he has this way of just kind of capturing, a generation just with like the feel and the vibe, I think sync potential, especially as he's gonna be in more movies now himself and what that could look like. So, yeah definitely.Denisha Kuhlor: That's super strong. He makes hits.Dan Runcie: Another pop artist, so I know, you know, there's a bunch of Max Martin and other producers that'll get their share, but I'll take his, so, Yeah. No, super. Right. So yeah, so let's just round out the lists here. and then let's share. So with the first pick, and then in order you took Mariah Carey, then Bad Bunny, then Burna Boy, then Lizzo, Summer Walker, then Pharrell Williams and DMX. And then I took Taylor Swift, Drake, Eminem, SZA, Bruno Mars, Michael Jackson, and the Weeknd.So, yeah. How are you feeling about your picks? Did you feel like you got the artist that you wanted? Do you feel like you, you know, got the ones that you wanted to like, lighten everything up?Denisha Kuhlor: Yeah, I do. I think that some of those artists are bets that would hopefully, positively surprise me. but there's enough artists, within those picks that I know revenue will be generated and will have a positive upside regardless. If anything, we can continue to crown on Mariah Carey and some of Pharrell's records and even just the dominance Bad Bunny continues to have for a very long time while also seeing, how dominant, for decades to come an artist like a Summer Walker.Dan Runcie: Yeah, I think if we were to look at these catalogs like, or look at both of our portfolios, I think you would have like the Vanguard Growth Fund and I would have like the Vanguard Blue Chip Fund if that makes sense. Right?Denisha Kuhlor: Exactly. Exactly, exactly. Dan Runcie: You know, you may generate some higher returns, but with that, you know, there's more risk that comes with it as well.but yeah, mine, think it's probably assumed that you would generate higher returns because I feel like SZA's probably the, not even like, oh, it's probably the pick of mine that is the least blue chip relative to the rest of them. And yeah. enough, even someone like Bruno Mars is probably more skewed towards less of that certified pick on mine just because of how much of a more, strong base the other artists do have.Denisha Kuhlor: Totally. If I had to, compare thinking about venture, I would say you definitely took like a series C, series D, growth fund, with a few, maybe more Series A, like a series A pick. I think maybe this is to my roots, I took more of a series B potentially with a good opportunity fund and skewed heavily ine and seed, with a few of those artists as well. Dan Runcie: No, that makes sense. That makes sense. What were some of your honorable mentions? Yeah, maybe you can name like three, maybe first I wanna do honorable mentions, and then second, I wanna talk about some rising folks. Maybe some people that you would've picked, but maybe you didn't pick, because it's like, no, it's too early.It's too early, right? But yeah,Denisha Kuhlor: let yeah, no, Dan Runcie: with the honorable mentions like who are one or two that you had considered?Denisha Kuhlor: For sure. So the biggest honorable mention for me is Usher, Dan Runcie: yep. He Denisha Kuhlor: um Dan Runcie: mine too.Denisha Kuhlor: usher, the Vegas residency, the, tiny desk Usher's been having a phenomenal few last years. and I think people don't even realize the residency really brought it back for a lot of people. The breadth of his catalog's so talented, his music is intergenerational or continues to transcend generations. Usher was one that I thought a lot about. I was kind of going back and forth between Usher and Pharrell, and I picked Pharrell because of the exposure to so many other artists that he has. but Usher was a really, really big one.Dan Runcie: Yeah, he was on my list too, because I think similarly, this Vegas residency has created a moment and it's hard to be able to do that. I can't speak to, I haven't looked at his stream numbers and I mean, I really even like back when I feel like Usher's music was at like the top of pop culture and stuff. I don't, I wasn't tracking, oh, how high Confessions on the Billboard 200. That's just not something that I thought or cared about time, but I think that he's won. He was on my list as well. Someone else that was on my list too was, Kendrick Lamar was on my list too, because good kid, m.A.A.d city's been on the charts for a decade plus.People are still listening to that, and that's higher charts now than what the last album is. Mr. Morale, the big step was, I know that album was more controversial but the fact that Damn and, good kid, m.A.A.d city are still on the charts. You have still Pimp A Butterfly. You never know what type of multimedia opportunities that can turn into.I think if you're talking at least in my opinion, like pure like bar for bar, like the best like rapper lyricist of the past decade plus, I think it is him and there's something to be said for what value have. So yeah, he was who I was going back and forth with him and the Weeknd, for that seventh pick.But yeah, he was my honor, audible mention.Denisha Kuhlor: Kendrick pick is strong. my rap honorable mention is actually J. Cole Dan Runcie: Yep. I had him on the list. Denisha Kuhlor: As someone that gets mentioned in, a lot of the conversations with Kendrick and I think for Cole, a few reasons. one, the whispers of retiring are looming and we know that he has the desire to retire sometime in the near future.So I think people will cherish the records that he has even more, the fan base of the Dreamville built is super engaged. super active, and I think we'll be that way for a long time to come. And J. Cole, you know, picked up a lot of good features when he was coming up. Maybe it's the Rock Nation effect or whatever, but he has some amazing features, whether it's, party with Beyonce or just like, he has some really great features that he's gotten as well. So yeah, that's one I would be super excited to have.Dan Runcie: Every time I look at hits, daily double stats, just seeing who's trending. No role models is always on that chart somewhere. and it's now been, eight and a half, nine years since that song came out. So it's a hits game. If I can get one of the biggest rap songs of the decade and one of the more popular rap albums of the decade too, then you take that obviously so many other hits as you mentioned Party, and a lot of the other ones that he's then.But that song, I think itself is worth at least bringing the conversation up. A few people that I didn't mention, but I'm curious if they came up for you. We can just keep these kind of rapid fire before we get to the Rising But did you consider Ed Sheeran?Denisha Kuhlor: You know, I did, I thought a lot about like having UK representation, . and he came up for me there. He's also done a lot of like features with, African artists, whether it's Stormzy, Burna Boy, but I ultimately shied away from him. I don't even know if I have the right things to point to it, but something didn't feel right.Dan Runcie: Okay. He was on the list I had as well. I just preferred the other ones more.Denisha Kuhlor: Yeah. Like it's not even fully like quantitative, like no. Yeah, It just, yeah, like he was compelling, but not compelling enough to make you wanna get excited. Dan Runcie: Yeah, it's like I know that Divide was a huge album. I know that Shape of You is probably one of the biggest hits of the past 15 years if we're going back that far. But yeah, you know, it's just kind of tough cuts. I mean, yeah, I'm sure that al that catalog will probably generate more revenue overall, maybe then like scissors, like someone that I took.But I that Ed Sheeran's catalog isn't gonna come at, you know, a cheap cost, but who knows? So he's at least someone I thought about. Did you consider, this is going back a little bit further, but did you consider Celine Dion?Denisha Kuhlor: Oh, no, I didn't. But Celine Deion makes so much sense for so many reasons, but I didn't, you know, I'm thinking about my picks, probably Mariah Carey and DMX were as far back as went and that's because I was thinking about the streaming optimization as well, with the number you said. And IFPI's latest report streaming is just taking so much of the conversation.I would probably go for a lookalike audience to Celine Dion, so maybe more like an Adele, which also wouldn't come cheap. but audience that is a little more, well, didn't I take Adele? I think that Adele almost, in a way like Ed Sheeran, for all the right reasons. It's like, no, I wouldn't get pushback if I was thinking about my LPs comment saying, I don't get pushback in any way for picking Adele, but in a lot of ways Adele feels safe. And while her music is easily recognizable and does well, her type of music in a lot of ways, doesn't really feel like something that you play and stream over and over almost in the way that Taylor Swift's music does.and so while ballads are great, and I think people really, really love them from a replay value on streaming, I just didn't get as excited as I wanted to.Dan Runcie: I think you're right because I think that the reason that I didn't take her is because I thought that it could have easily been a catalog and rights that you would overpay for because of the name and everything that she's done. But when you look at the pure streaming numbers, yeah, I know that Easy on me had like broken records at the time, but still those records I believe got broken like a week later or a month later by BTS or whoever else, it was Bad Bunny and since then Taylor Swift, right? So yeah, I questioned the replay value and I do think that because, yeah, I thought that it would've been high compared to some of these other artists. Going back to the Celine point, I think you were right, because I also shifted a bit just thinking about how big the streaming error is and how that generates so much cattle revenue for this.And one of the big thesis that I've had overall with music rights sales and acquisition is that a lot of these deals have overvalued the artists from the seventies and eighties and undervalued the from the nineties and two thousands. Because if you thinking about the dominant we're streaming as and who are the dominant generation of those consumers, as great as you know, Celine and others were, the songs that are most likely to resonate are like Taylor Swift and Drake, you know, are gonna be more relevant to this generation than Madonna or Celine Dion or some of the others.And I did consider. Madonna as well, just thinking about it. I know this next tour she's gonna do on is gonna be big, but I held back then for the same Celine thing. It's like, yeah, maybe if this was 20 years ago when we were doing this draft in 2003, then maybe I would've taken Celine Dion or Madonna but I think that decay curve is definitely, you know, flattened a bit where maybe the upside, not just the upside potential, but the consistency just may not be, or not the consistency.Obviously it's consistent, but it just didn't seem to valuable as some of these other picks.Denisha Kuhlor: Yeah. No, I agree. And I think, you know, in like working the music or working the records, so you can optimize your catalog. You have to kind of think about who's making the decisions now or who's coming into power now. and some of those executives are younger. and so, thinking about how they might place value, even though they're familiar, obviously with the brand and the artists, on a premium for that music, I think it would be a much longer conversation much to what you said, which is probably why some of these artists were willing to sell, and kind of let the asset manager deal with the headache of justifying the value while they've extracted the value from the asset manager who's excited to go out and Dan Runcie: Yeah. Did you consider Beyonce?Denisha Kuhlor: I did consider Beyonce. I just, it's expensive very, very, very expensive. it would be, I think, you know, Beyonce is an interesting one. She's actually one of my favorites in the sense that I think uses her catalog really well with all kind of the moments that she's had, whether it's the Super Bowl or, her Coachella performance.She reworks her music in a way that continues to feel new. Like as an artist, almost to the point of where I also had trepidation with Adele, how Adele navigates her artistry. while I respect, and obviously we want artists that set boundaries. I don't know if it's in my best interest as an artist, right?She kind of drops her music and waits long stretches before going back her choice to cancel her tour and do a Las Vegas residency, means there'll be a lot of places untouched unless she decides to, venture out. Whereas someone like Beyonce is exciting because her music is always being brought back, right?I did consider, interestingly enough, Destiny's child, because I feel like I, it would get the upside of every time a Beyonce performs or has a big, moment on the world stage, at a price point. And maybe Beyonce's part wouldn't be up for grabs, but other people's would at a price point that would be attractive.Dan Runcie: The other thing about Beyonce too is that she's kind of like Lizzo, but magnified in this sense that very high touring to streaming output, if that makes sense. But I don't get to collect tour revenue. I'm collecting the music rights and a lot of the songs from Renaissance. So if you compare the streaming of SZA's SOS to Beyonce's Renaissance, like it isn't even close. SZA's is much more popular there and the same way that I'm seeing good kid, m.A.A.d city and 2014 Forest Hill drives and Eminem's Greatest hits albums like still at the top of that charts. I'm not seeing the same thing for Lemonade or Beyonce in a way that's almost surprising because you feel like, okay, the generational impact, those records are huge.Everyone revered them, but this is a game and they just aren't at that And I know you'd have to pay a premium because of it's Beyonce.Denisha Kuhlor: Yeah. Beyonce is one of the biggest, and probably most vocal invisible fan bases in the world. but that doesn't also in some ways, show for the parts that we just talked about, right? Some of these younger fan bases or these fan bases for other artists, They care very much about streaming.They were a digital native or streaming first, and they're going to continue to optimize for that. whereas, like you said, I think because Beyonce's fan base is so engaged, so passionate, you see the power of the fan base come out really in touring, whether they listen to Beyonce every day for the past year, I think the conversion and amount probably of minutes listened, for a Beyonce to, in terms of needing to then feeling compelled to buy a ticket is much lower than the minutes needed to be listened for a SZA or some of these other artists to then lead to that conversion of buying, buying tickets and so she has a fan base that's gonna support, like regardless way. and like you said, that's not well great. Not in our best interest.Dan Runcie: Right. Yeah. Because it's like she's been making music for over 25 years now as a high profile public recording artist, and in that way, because of the touring and amount, amount times, you got to see her. It's almost like her touring business is closer to Elton John or Billy Joel than it is SZA in that way.Denisha Kuhlor: Exactly. Beyonce is a touring artist who has the ability to use that fan base to parlay into super financially lucrative deals. But as you mentioned in the beginning of this criteria, unfortunately we'd not be seeing a lot of that. Dan Runcie: Right. And yeah, if you acquire the rights to Alien Superstar, you gotta split that with 24 different writers, soDenisha Kuhlor: Yes. Another great point. Beyonce's been highly collaborative,and very good about giving people opportunities and also giving them credit. but when it comes to the piece of the pie, which I'm sure she could do based off her ability to get extreme amounts of touring revenue, high leverage, brand partnerships, but when it comes to the part that we can control as asset managers, we'd definitely be paying a high premium, and hoping for the best in someone. Dan Runcie: Got it. Yep. I agree. All right, so a few rising stars that I had had and considered, but didn't. So, I look at someone like, so it's funny, neither of us picked any country or rock artists, but I look at the popularity of someone like Luke Combs and even though I don't listen to that genre of music or as much, he's dominated the charts.He has continued to just, you know, put out and, you know, someone that's still pretty young, I wanna say, I don't know, he is like late twenties, early thirties, 10 years from now, could we look back Denisha Kuhlor: and could Dan Runcie: this person have like, you know, impact level of like your, whether it's your Garth Brooks or Blake Shelton or like one of these other artists that like people just come to time and time again and they put up strong numbers both in streaming and in pure album sales.Someone like that could be interesting. I feel like Morgan Wallen is someone else that fits in this category where he is also just high on the charts Denisha Kuhlor: and Dan Runcie: stuff. I mean, obviously his incidents and everything else that he's been notorious for would cast a shadow on that. And I don't know if I'd be willing that necessarily, but he's one that came to mind too.And I think there's other artists too, like whether it's like, you know, Billy Eilish or Olivia Rodrigo it must have been like, okay, I could see them continuing, but we'll see.Denisha Kuhlor: Yeah, I thought like a Rosalia, on my end, for example. the other two that came to mind, and this one I don't know how to feel, but something in me was like considerate. NBA Youngboy, he has a fan base that's passionate right? And is digitally native and they stream and they don't really need, the opinions of the outside world when it comes to music.He was one probably not a category for Verizon stores and more honorable mentions, but I'll mention it. Anyway, Frank Ocean. I feel like there's value there, in Frank Ocean, for sure. And then, Rema, I feel like Rema is the next step, when it comes to music from the continent.The folks at Maven have continued to do an amazing job, and you look at Calm down, it's one of the biggest records in the world. And not only, within Africa or the United States, but also within India, which I thought was just super interesting. So definitely a really, really global artist. He's had records, calm Down, is doing well before this Selena Gomez remix.Dume B has been cited even on present Barack Obama's playlist. So I think he can hold his own, for sure. And feature wise he's very exciting as well. And he's still young enough, but with enough volume where I feel like I could get a competitive rate.Yeah, I think so too. Yeah, those are good picks there. let's see, another group I thought of, or not group, but where were they on this list? Let's see. So I did consider some K-pop in the mix. I was like, okay, what would that BTS catalog look like, right? I mean, because I feel like inthe same rationale that you had about Bad Bunny and Burna boy, I was considering them as well.I think what made me pause, I was. The fact that at least some of the group members now need to join the military, or at least on their like what does that look like? How does that impact the longevity of their music as opposed to them being able to kind of like ride the waves themselves?So it'll be interesting, right? It's because I think especially now, it's like, I feel like, I don't know, in, earlier days when it was more common for popular figures, whether it's in sports or entertainment to be drafted, there was less pop culture. Things saturating their mind. So when they came back, it's like, oh, okay.I don't know, this might be a bad analogy, but like, oh, Muhammad Ali's back still relevant. Okay. him, you know, he's doing opposed to a way where I hope by the time that BTS is like back in full effect again, that they still can command that same power that they once did. So,Dan Runcie: Yeah. So that dynamic is also why I kept them off. I thought a lot about like boy bands, interestingly enough. So when you look at the Jonas Brothers or even One Direction, and it's almost like the, at their peak like level of fandom, that their audience like gives them, I almost feel like it can't be topped again, for so many reasons, right?Like falls off in a way that you're really excited to embrace maybe when you're younger or them having a younger fan. Interestingly enough, the only person in, it's not a boy band, but that I feel like has captured that audience and has truly, really been able to maintain it, is the artist who did end up picking, which is Taylor Swift.Taylor Swift was able to successfully, like, grow with her fan base from this like teen era. to now we see that the upside is there for her because her fans just have more disposable income that they can spend on something that was so important to them for so long in their. Did you consider Harry Styles?Denisha Kuhlor: I did. but interestingly enough, I just go back and forth so much with, it feels still like a moment. I don't, I would like to see more catalog growth or more catalog volume before fully wanting to, before fully wanting to commit. It's one that I'd have on my radar, but I don't think, I'd be ready to start negotiating just yet.Dan Runcie: That's fair. Even if you got the one direction stuff, his chair of the One Direction stuff.Denisha Kuhlor: Now if I did that, that would make it, that would make it more attractive because it gives a bit of both worlds, the nostalgia from one direction as well as the bet on him as a solo artist but one kind of at least makes, whatever amount you spend, it gives a justification for it being stable to some some extent.Dan Runcie: Yeah, I don't know. That might not have been the best hypothetical to pose at you though, because like when Justin Timberlake sold his catalog, that was just him as a solo artist that had nothing to do with NSYNC or Yeah. like that.Denisha Kuhlor: Yeah. Yeah. and I think it's harder than we realize. And looking at a sync perspective, we would still need, even if we brought really valuable syncs sync opportunities, with their music, we would still need the permission of so many other people. So the sheer, operational output that would be required to truly maximize it, or at least that part of it, couldn't be taken lightly as well.Especially when you have so many other artists in your catalog in which the sign off to get a sync could be muchDan Runcie: Yeah, that's a good point. All right, well I know you and I could talk for hours about this topic and could probably draft seven more if we wanted to. I feel like we almost kind of did the, last part of the conversation. Denisha Kuhlor: We might need to have few more maybe pre-seed edition opportunity fund edition. Dan Runcie: Yeah, I feel like there's a few ways we could like set parameters around it where it's like, okay, only, you know, people under 30 years old. And then how does that change the or over 50 or people that longer with us or in a particular genre. I think there's so many others like that we didn't even mention.But yeah. any last words before we wrap this up?Denisha Kuhlor: Yeah, I mean, if anything, I have a lot of respect for the people that are doing this every day. I know, and you've interviewed some of the amazing firms that have really set out to, to do this work. but this is a fun one and I'm curious to hear everyone else's pick. So definitely tweet Dan and I.Dan Runcie: Yeah. Please respond with the ones you like, the ones you didn't like, and let's, let's keep the conversation going. Denisha, it's pleasure as always.Awesome. Thanks for having me. Dan Runcie Outro: If you enjoyed this podcast, go ahead and share it with a friend. Copy the link, text it to a friend, post it in your group chat. Post it in your Slack groups. Wherever you and your people talk, spread the word. That's how capital continues to grow and continues to reach the right people. And while you're at it, if you use Apple Podcast, Go ahead.Rate the podcast, give it a high rating, and leave a review. Tell people why you like the podcast. That helps more people discover the show. Thank you in advance. Talk to you next week.
The gaming industry is larger than music and film combined. We've seen big music collabs in Fortnite, Roblox, and more, but there's room to leverage music even more. That's been a big focus for Vickie Nauman, who works at the intersection of music and gaming. She consults for major record labels, game developers, and more through her company, CrossBorderWorks. She's also worked on big virtual concerts, like David Guerra and Saweetie in Roblox, and VR games like Beat Saber. But there are plenty of friction points between music and gaming. As Vickie said, the music industry likes to get money upfront, whereas gaming is fine getting it on the back-end. Then there's the long process of clearing music from rights holders to even use in games. It makes it tough to move quickly It's even more challenging because of how fast technology is changing. New virtual experiences are being created daily, which adds pressure on the music industry to sort this out. Vickie and I covered all this and more. Here's everything we discussed: [1:40] What attracted Vickie to gaming[2:40] The gaming moment that finally struck a chord with the music industry[4:33] Similarities and differences between gaming and music industries[10:09] Why Travis Scott's Fortnite concert clicked but others haven't[9:53] Can gaming have its Kate Bush - Stranger Things moment [15:47] Why the music industry plays catch up to technology[21:33] Clearing 143 writer's share for David Guetta's Roblox concert[28:45] Dot-com bubble era of web3[30:45] Music will evolve differently in web3 experiences[36:17] What's slowing down virtual reality adoption?[41:26] AI is coming at the music industry like a freight train Listen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSS Host: Dan Runcie, @RuncieDan, trapital.coGuests: Vickie Nauman, @vnvnvnvnThis episode was brought to you by trac. Learn more about how artists can bring web2 and web3 together for their fans at trac.coEnjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapital Trapital is home for the business of music, media and culture. Learn more by reading Trapital's free memo.TRANSCRIPT[00:00:00] Vickie Nauman: There are not an enormous number of opportunities for music and games. It's gaming is similar to the music industry where there are a handful of huge, huge, huge gaming studios, and then there's an inordinate long tail of small to mid-size gaming companies and, you know, very, very similar to music.[00:00:19] So the few big studios, a lot of them are doing, you know, licensing and they get music in. But it's been much more common over the years to gaming studios just hire a composer and they just create a song that is right for the mood and the moment in the game, the gaming studio owns it and they're just done.[00:00:40] You know, they don't have to worry about licensing or business models to incorporate music into the games. But I think for the most part, the music industry always likes to get their money up front, and the gaming industry likes to get all the money on the back end[00:00:55] Dan Runcie Intro: Hey, welcome to the Trapital Podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from the executives in music, media, entertainment, and more. Who are taking hip hop culture to the next level.[00:01:22] Dan Runcie: This episode is all about the future of gaming, and today we'll be breaking it down with someone who understands this space in and out. Vickie Nauman. She is the founder and CEO of CrossBorderWorks, which is her consulting and advisory firm, which works with some of the biggest major record labels, streaming services, and more on the intersections of word music meets technology, gaming, and several other emerging tech platforms.[00:01:47] We talk about what music and gaming's challenges and opportunities are in the future, how games are monetized versus music, some of the opportunities there. We also talk about the music industry itself and why the music industry often sometimes plays catch up with regards to emerging technology, how that impacts her work.[00:02:07] And what it can look like for gaming, to have that huge sync moment that Kate Bush running up that hill moment like we saw on Stranger Things. What could that look like for music in a video game? I think we've seen several successful examples over the past couple of decades, but we'll continue to see more as gaming in the Metaverse, Web three, and AI continue to intersect and influence this space.[00:02:29] Really great episode. It was great to have her share her insights here, and I hope you enjoy it. Here's our chat.[00:02:36] All right. Today we're here to talk about gaming music and so many of the intersections it has, and wanted to talk with someone who understands this space better than almost anyone that I could reach out to Vickie Nauman, who has consulted and worked with many of these companies in music and gaming.[00:02:53] Vickie, welcome to the pod.[00:02:54] Vickie Nauman: I am so happy to be here. I'm a huge admirer of your writing and your work and it's an honor.[00:02:59] Dan Runcie: Thank you. Appreciate that. So what is it for you that attracted you to this space? It's been an emerging space for some time, and it feels like the music industry is now starting to put more emphasis in, but you had been focusing even before the current wave has been there. What attracted you to it?[00:03:16] Vickie Nauman: Well, I've always looked at gaming and I'm one of these people who for years was telling the industry. Gaming is bigger than music and film combined, you know, it is a massive, massive industry and they're, you know, and almost all the monetization is built on low friction, high engagement in-app purchasing.[00:03:37] And so companies are releasing games that are free and they're making billions of dollars. There's, you know, there's lessons for the music industry. I feel like it all fell on deaf ears. People are like, yeah, yeah, yeah, you know, companies come to us and. We wanna license them our whole catalog, and they don't want it.[00:03:53] And so there's nothing for us to do. And then, Marshmello did a set in Fortnite and got 10 million people to listen to his music, and that struck a chord in the, you know, in the industry. you know, and importantly, it didn't necessarily resonate with the digital business people who were always, you know, under an onslaught of new companies coming to try to get rights.[00:04:19] But it was in marketing and a and. and then there was like, it was a moment where I think everyone started to realize the power of gaming and the hundreds of millions and billions of people who are playing games as a new platform in a new way for artists to reach, fans and to break artists.[00:04:37] And it was interesting too because at that time I was working with Beat Saber. and they were this was in 2019 that all of this happened. And, Beat Saber was still an independent studio out of Prague, brand new game. And we were trying to get some of first songs in to that game.[00:04:55] Vickie Nauman: We had worked with Monstercat before and we had these original soundtracks in there, but we didn't have any, huge major label acts and we were trying to license Imagine Dragons. And so I heard firsthand from labels and publishers all throughout that process of like, wow, you know, we really want to do more with gaming.[00:05:16] And I credit a lot of that to Marshmello.[00:05:20] Dan Runcie: And you talked a little bit about how gaming is just so much bigger than music, and part of it is because they're not necessarily selling the content itself. They are selling what you can do on top of it from things you can buy or other things that are less friction. The frictionless, as you mentioned.[00:05:38] Had any of that come up, especially after the marshmallow event? Did any of that come up in any discussions about like, Hey, could this be an opportunity to rethink monetization a bit more broadly? Or maybe think about the bigger picture? What have some of those discussions been like?[00:05:54] Vickie Nauman: Yeah, it's been really interesting actually because they're really in aggregate. There are not an enormous number of opportunities for music and games. It's gaming is similar to the music industry where there are a handful of huge, huge, huge gaming studios, and then there's an inordinate long tail of small to mid-size gaming companies and, you know, very, very similar to music.[00:06:18] So the few big studios, a lot of them are doing, you know, licensing and they get music in. But it's been much more common over the years to gaming studios just hire a composer and they just create a song that is right for the mood and the moment in the game, the gaming studio owns it and they're just done.[00:06:39] You know, they don't have to worry about licensing or business models to incorporate music into the games. But I think for the most part, the music industry always likes to get their money up front, and the gaming industry likes to get all the money on the back end. And so you know, there are these friction points that, you know, marrying a business model into a game is kind of an art because if you've already got an existing model and it's free, or there's, you know, in-game purchases, then how do, you know, do you try to incorporate music into that? Do you just pay the rights holders and get a deal for a certain period of time, or can you create a revenue share and some way to participate in the upside and, a lot of gaming companies are even huge companies are still new to this. And so they're kind of what I would call, like dipping their toes into the pool, you know, testing the waters and trying some small things. And then trying to figure out does this work for us?[00:07:44] Do we need to, you know, do we need to create a big stack of technology to manage the rights? Most of them do not have an appetite to do. They certainly have the skills, which is part of what's so fun working with gaming companies is they have amazing engineers and really great minds about problem solving and coming up with these ways to engage users.[00:08:06] But nobody really wants to dedicate engineers to building a rights management system. And so I think everyone is, you know, all the companies that I work with, they're trying to kind of simplify things with music, try it out, find out what their users want, what their gamers want, because that's another big thing is, you know, you have to ask, you know, gaming is such a culture and such a subculture and each game has kind of a different community in it and a different vibe, and so you really wanna make sure you're getting that. Your assumptions of what kind of music is going to work are in line with your user's expectations.[00:08:45] There was one company that I worked with that was like, had a lot of underground, you know, all, their users thought of themselves as very underground and they did a music thing that their users thought was too commercial, the gamers rebelled . So, so, the best thing is to ask the people who are gaming, ,you know, and your products.[00:09:02] Ask them what they want.[00:09:04] Dan Runcie: Yeah, that customer base, especially with gaming, I think is huge cuz it makes me think a lot back to that Travis Scott Fortnite integration, which was almost three years ago at this point, but it was the perfect combination of so many things. At the beginning of quarantines with the pandemic, but also there's such alignment between the type of person that's on Fortnite with the Travis Scott fan as well, which is why I think that one worked much better than some of the other A-list artist superstar artists collaborating in a digital gaming environment.[00:09:37] Vickie Nauman: Yeah, I think that's a great, I think that's a really great point, and you know, because of the dynamic of gaming and the kinds of things that we're seeing, you know, it's not like a service that has, it's just music and it's going to put out hundreds of thousands or millions and millions of songs and just saying, You know, something for everyone, you know, let the end users find the music that resonates with them with, when you're picking and choosing a couple of artists or a couple of songs, you know, you kind of have one shot. And it reminds me of, you know, I used to work in radio before I started doing all of this, and. there was so much science to the choices that we made in radio because we knew that you know, we had one signal and we had to choose artists.[00:10:24] You know, if we said our demographic is, you know, 18th to 34, urban men and women who are professional and make a hundred thousand dollars a year and above, if that's your demographic, then you have to say, what kind of music and what kind of programming and what kind of announcers and events. Gotta get it.[00:10:45] And that's very similar to the way things are when you're doing things in the metaverse or gaming where you're like, well, we're just doing, we're picking a few things and we really wanna light them up, but we need to get them right. We need to get the user experience, we need to get the right artist to fit with the right user base.[00:11:04] And then how we present it, how we monetize it has to also be something that fits within the gaming community.[00:11:14] Dan Runcie: That makes sense. And I feel like that lines up with something else you had said in recent interviews talking about gaming syncs and the potential there and how there may not be as much because a lot of the game developers are doing in-house music now, but it can grow in the future. And I'm thinking about, especially this past year, we saw the Stranger Things moment with Kate Bush running up that hill and I assume like it's only gonna be a matter of time until we see a gaming moment that is at that level or something like that, or maybe there already has been ones that have been at that level.[00:11:45] Vickie Nauman: No, I think it is a really good point there as well that, that I think with the Kate Bush moment or Fleetwood Mac with the skateboarder and the, you know, cranberry juice that we've had these cultural moments in social that have, Absolutely lit up music for a new generation, which I love.[00:12:05] I mean like kids bought tickets to see Fleetwood Mac in concert after listening to 20 seconds of one song. And that's so exciting and I think, it will get there with gaming. and I think when you think about the limited number of opportunities and then then the limited number of artists or songs that can be integrated into every game, I think that we are really, really at the early end of the early part of that spectrum.[00:12:34] I don't think we've even begun to really let the music industry and the gaming industry come up you know, with that Kate Bush moment or the Fleetwood Mac moment. and I think that, what I love about gaming as well as you know, other kinds of audio visual is that when you hear it, you know, you hear the music differently when you're gaming and you know, like Beat Saber, I've worked with them for many years.[00:12:58] Vickie Nauman: I also work with Niantic on, they have a new NBA game and you know, with Ubisoft and some early stage gaming companies but with Beat Saber there are certain songs. that I've always loved. Like there's a, you know, a bunch of Green Day songs that are some of my favorites that I've listened to for 20 years, but now I've, played them in Beat Saber, and now whenever I hear the songs, I hear them differently because of the experience of having this immersive gaming and this gaming experience.[00:13:30] So I think there's, I think there's just so much potential that we haven't yet been able to tap into. Some of it is also because there's been so much friction around licensing, and for the most part, I think sync licensing is the best way to do things in gaming because you want something specific and then you know, the artist and their team want to know how their music is being used and you know, you, take something to rights holders and if they're like, you know, we need more money or we don't like that rev share, or that artist has a conflict. And then you're like, okay, well, you know, we'll move on to something else. And then you know, ideally you get an artist and a label and a publisher and a writer and those teams that all say, wow, this is great. I would love to have my music in this game.[00:14:21] And that's really where I think that, you know, if we can get those, all of those things right. that's the start of it.[00:14:28] Dan Runcie: Yeah, and this conversation too is making me reflect on a few things. Cause I feel like music and gaming have gone through ebbs and waves like for instance, I know that there's always been music in games like Madden or like the NBA 2K series, for instance. But I think back to like Grand Theft Auto.[00:14:43] I know one of the things there, they always had music. So they had this Vice City game that came out 20 years ago and that was all eighties. So I feel like for a lot of people of a certain generation, that was like their thing to go to. And then a couple years later, Guitar Hero and Rock Band, huge. Right?[00:14:58] And then I think even those songs reintroduce, especially some of those classic rock song rock songs there. And you also had some of those Def Jam vendetta. video games as well. So now I think what's different of course is that these are more so, okay, how do we integrate them into these digital environments, the metaverse and things like that.[00:15:15] So I'm excited to see, I still think that there is huge potential to see one of those moments happen, and who knows? I mean, I feel like the Kate Bush moment was largely, I don't wanna say unplanned, cuz obviously people expected it, but no one would've anticipated that it would've taken off that way.[00:15:32] But that's how these things.[00:15:34] Vickie Nauman: Exactly. I know, I know. I love it. like a lightning in the bottle, you know, where you're just like, wow, you know, we didn't, we really couldn't quite anticipate that things would resonate like that and, and especially reaching a gen, a new generation that probably otherwise would've never heard of Kate Bush.[00:15:50] but I also think that with. you know, with music and gaming, what's, what's also so fun for me personally, is I've been doing music licensing and write based things for like 20 years now, you know? So I feel like an old lady when I say that, but I'm always the one chasing everyone, you know, I'm chasing labels and publishers and trying to put things in front of them, you know, what do you think of this? What about that? Have you thought about it? Is this approved? Is it not approved? Can we move forward? No, we can't. gotta start over. And this is the first time in my entire professional life where I. artists, publishers, labels, and songwriters coming to me now and saying, I wanna get my music in games, you know, and I wanna get my music in the metaverse.[00:16:36] Vickie Nauman: how can we get band in the Metaverse? And I love that because, you know, for me, like self selection in the industry is huge. It's really frustrating when you have to drag people kicking and screaming into the future and into experiences. So I love it when people contact me and let me know which of their artists on their roster are really interested or even better, which, artists are gamers themselves and then they are already part of the community but then they want to take it a step further with their music.[00:17:08] Dan Runcie: That's good to hear because I often feel like the music industry is playing catch up when it comes to emerging a new technology. In so many ways, dating back 20 plus years at this point. So the fact that people are coming to you now is good. Do you feel like that is true overall? Do you feel like the industry is at the moment, like right in step with where things are going?[00:17:29] Or do you still feel like there's a bit of catch up?[00:17:32] Vickie Nauman: I think there's always a bit of catch up, just simply because, you know, technology moves at such a pace. None of us can really quite keep pace with it. And then there's always these very similar dynamics where there will be some new technology that comes around, whether it's, you know, on demand streaming or live streaming or gaming or virtual reality, and now metaverse and NFTs and fractionalizing rights and all of those things in web three, and there's a very common pattern where these technologists, they look at music and they say, oh my gosh, this would be fantastic for my platform, you know, it will help me with adoption and relevance and get in, get some artists and some music in there, and fans will come and it'll all be great. And then they start talking to the industry and they learn about how music writes work, and that you usually can't just go to an artist and get what you need. They're usually signed or they have some management and they publishing is probably administered by someone and they all have their ways of doing business. And there's a moment where everybody then, you know, they have to decide, do we have an appetite to do this? Or should we just move on to something that isn't as complicated? Because music is great when you get it right, but not all companies really wanna do things right.,You know, and so, you know, we kind of go through this every time when there's new, you know, new user experiences that are emerging.[00:19:06] And I think that the music industry is always, you know, takes all these things in. and then they start thinking, number one, is this a fad or is this something that's going to last? Is it worth us spending time and cycles to really engage with the companies on this particular kind of experience? And then how can we extract value?[00:19:30] How can we make money? How are they making money? Is our deal going to outlive the the survival time of any given platform or company? There's a lot of people, I mean, it's very frustrating sometimes to do licensing, but I have empathy with all of the, with all of the rights holders, because I'm in the same boat where companies come to me and I have to just like, oh gosh, you know, it's a great idea, but you guys have never done anything before and, you know, can you build this? Can you execute you? Can you take it from a PowerPoint or a demo into a fully functioning product? And it's hard. And so I think that, you know, the labels and publishers they have assets to protect and they're, you know, and now increasingly artist management companies are also in the mix because a lot of things require artist name, image, and likeness rights.[00:20:26] And sometimes that can come from the label, but sometimes it. So they're all in a mode where they have something to protect, they want to exploit and, you know, make money, but they have a lot to lose if they do things wrong. And so there's this inherent mismatch between how quickly things move in technology and how slow and methodical the music industry is about deciding.[00:20:52] Whether they wanna move forward. And then there's the other issue, which we're faced with right now, which is all of these emerging use cases and people being kind of afraid of agreeing to the wrong terms and setting a precedent that they're later going to regret. And so, . when technologists complain about the music industry and they're like, they're so slow, they're so backwards, they don't understand our vision.[00:21:20] It's like, well, they have a lot to lose. You don't have a lot to lose cuz you're a startup and you have a big idea. But these guys have, you know, they've been, you know, 20 years of companies just like you that have come before. And so I always try to encourage, I always try to encourage people not to just, you know, get so frustrated with music that you know that they abandon it because a lot of great Id great ideas die on the vine because of these mismatches. But to be patient and to also, you know, maybe you think you need Jay-Z. But I would challenge most early stage companies, you're probably not ready for Jay-Z.[00:22:00] You know, like let's, you know, maybe find some earlier stage artists that might be more appropriate to your size and budget and a little bit more forgiving. And then you get product market fit and then start expanding and, you know, might end up with Jay-Z, but maybe you might find you don't need, you know, you don't need that to resonate with users.[00:22:24] Dan Runcie: Right. The break thing things fast mentality of startups just doesn't always line up. And that's a good point too. You get approached by so many companies, you don't know who's gonna be there. And obviously that probably requires some level of evaluating these startups to see what makes sense. That's just one side of it.[00:22:42] The other side of it is the patience to be able to see these things through. And I know you've seen this yourself with David Guetta and making sure his music can be cleared. Can you talk a little bit about that process?[00:22:54] Vickie Nauman: Yeah, it was really crazy. I mean this was a project I did with Warner Music Group and I love what they're doing cause they're really trying to create a pipeline to get their artists into metaverse and new web three based experiences. And so, this was a year ago, David Guetta was doing a DJ set as an avatar in Roblox, and he originally had chosen 26 songs and then we narrowed it down to 20 songs.[00:23:23] but you know, what I found was that those 20 songs represented 143 shares on the publishing Plus, almost all of them had shared masters. And what many people don't realize is when you're listening to music and you see, you know, here's a song featuring, you know, Shakira or somebody else, that featuring usually means that artist is probably on a different label.[00:23:50] Vickie Nauman: And so even the sound recording can end up having multiple owners. and there was a certain point in the process where I start looking at these songs and I quickly saw like, wow, there are, you know, 10 of the songs that had, you know, all these writers who are not on a PRO, so they're non society, they don't have a publishing administrator.[00:24:18] They may own one or 2%, which if you're in streaming and on-demand audio streaming, it doesn't really matter, the services can still use the music, even if you can't find the person who has one or 2% but if you're doing sync licensing, you need to have a hundred percent of the publishing at a hundred percent of the master recordings or the sound recordings cleared in advance.[00:24:42] So I chased down. All of these people, these writers and people who had small shares, you know, they weren't registered anywhere. I found them on social media and got everything, got everything in there and approved. But for me, it was kind of an exercise in how well prepared or how poorly prepared are we for the world that's coming, which is all of these metaverse, web three-immersive platforms that are building creator tools directly into the platform, assuming that artists can just be nimble. And then you look at this, it's like David chose these songs, he wanted to mix these songs. And that's so unsustainable to think of, you know, being able to harness innovation.[00:25:38] When you have 143 different rights owners that all have to be harmonized around the same deal, and then a third of them are people who are not even, you know, technically in the ecosystem of music, but they still have shares. And that's true for hip hop and electronic music. Pop music also has an enormous number of writers, but they tend to mostly be with pros and have publishing administrators. But in hip hop and electronic music, there's just a ton of people who are contributing to big songs, but they're completely outside of our ecosystem.[00:26:16] Dan Runcie: That point reminds me of the news that had came out when Beyonce released her album, The Alien Superstar song had 24 songwriters on, and people were like, oh, well how does this happen? And I think for some people it became a bit of an eye-opening. Well, this is how a lot of this music gets created, and these are the people that either had a hand or they helped sample.[00:26:35] There's so many things. And then if someone goes and samples, they only have superstar in the song that's gonna have all those same 24 writers, plus whoever helped them with that new song.[00:26:44] Vickie Nauman: Exactly. I know, and like when you watch the Grammys and they go through the , the awards for composers, you know, and there's a paragraph, all these names that have contributed to each of these songs. and I think about it a lot though, like, you know, we've kind of, if you go back in history to the olden days, you know, fifties, sixties, seventies, you know, like in the fifties and sixties, most artists, it was very common to have a songwriting group and then an artist, someone performed someone else's songs.[00:27:20] And then when the rock music came around, we had bands that it was like a big deal. Like we write our own songs. And so in that era, like if you're licensing rock music from the seventies, eighties, or nineties, it's great because there's like one or two writers on every song and it's usually the band and they've written every single thing.[00:27:43] So you, you know, you wanna license one Green Day song, you're pretty much going to have the same mix across all of their music. And then you fast forward to the way people create now, and we have this incredible fragmentation where we have on average seven writers per song, but it's outsized in electronic music and hip hop.[00:28:05] And so we have 10, 15, 20 writers on every song with these tiny shares and that just a trend of how people collaborate and how they create and samples and you know, people in the studio and people all, you know, collaborating all over the world. But I think a lot about where the industry is going. And Metaverse and NFTs and Web three and, you know, where you know, again, all of these platforms are assuming that you as an artist can come in and bring all the rights you need to be able to do something interesting with your fans and whether or not this is going to drive a different kind of creation because, it will definitely the artists who have just a one writer or a couple of writers.[00:28:55] And who really have tight control over everything are at a much bigger advantage to be able to be nimble in the, in this next iteration of music experiences than writers, than artists who have 20 writers. And some of them they don't even know. And so, you know, I'm going to watch this because like, there's a producer, Poo Bear, you know, contributed to a lot of big songs, but he's doing an NFT project and he's just made a decision. I'm gonna write, perform, do everything on these songs that I'm doing in the NFTs. Cause I don't want to, you know, have to pull in an entire army of people to get them to approve.[00:29:36] So I feel like, you know, thinking creatively about how you can take advantage of things without having all of this, administrative burden. It might drive and change some of how we see music being created.[00:29:50] Dan Runcie: That's a really interesting point because I think broadly, everyone's been trying to figure out specifically with Web three and what's ahead, how do we best make this work? How do we make this into a real business vertical that can drive real revenue. It isn't just a fad. And I know you've spoken about this in the past, how felt like we were at this .com bubble era of Web three and where things are now more proof of concept, but not actual businesses, like more features, not necessarily companies, but where do you feel like we are now and if any of the things that have been good examples, does anything stick out to you to be like, okay, like that's generally how this could be done and how we could approach Web three.[00:30:33] Vickie Nauman: Yeah, This does really remind me of the early two thousands, because. There are so many things that, like in back then, we would do things like order a pint of ice cream to be delivered by someone and no markup. And it's like, that's ridiculous. That's not a real business. But it was a proof of concept that you put your name in, put a credit card in, you order something and they promise to deliver it and it, comes to you.[00:31:02] And so, I feel like, you know, and then out of the ashes of all the companies that burn through venture capital, you know, inflamed out or had some great idea, but there was no business model to it. And somebody else then saw it and said, if we do what they did, but we do it this way, you know, we're in the midst of that process.[00:31:25] And back then out of the ashes of everything grew, companies like Amazon you know, and there were certainly lots of casualties, but I think we're kind of in that phase right now with Web three, and I'm still really bullish about it, but I think that we've, I think that we have now because of crypto and what people saw with FTX, you know, their eyes have been open a bit.[00:31:51] and a lot of the companies that have been doing things with music and NFTs and, you know, some of them have been really lucrative and successful, others haven't, but it's all part of the process. but I think that some of the things that I see I think that music is going to evolve slightly differently in all of these web three experiences than maybe, non-musical, activities.[00:32:14] Like, especially in NFTs. I think the dynamic of, you know, of buying and collecting. Visual art is going to have its own trajectory. But I think, music in token based communities, I mean, I think there will be a point where we'll probably look back and be like, damn, remember when we talked about NFTs, non fungible tokens?[00:32:35] Sounds this ridiculous name. But I think that what we will see is these artist communities that are artist centric, that are token based, and it's like fan clubs 2.0, you know, interactive fan clubs with different ways to, you know, limit membership. Maybe you can co-create with the artist. Maybe you are getting a access to ticketing or the artist in some way.[00:33:04] that there's benefits and ways to pull a small community of people around an artist together. And then We've had a lot of these artists direct to fan initiatives for many, many years that most have failed because they required the artists to do too much. The artists are artists, you know, they wanna be artists.[00:33:23] They don't want to spend all their time, you know, on 20 different platforms. But I think these are different because I think there's something inherent about, you know, artists and fans that is the most golden connection that you can possibly have in music. And we currently have artists and fans and then, all the different platforms and labels and publishers and, algorithms and transaction engines and, you know, followers and all of these things that are keeping many, many, levels separate of separation.[00:33:58] And now I think we can bring them much closer together. So I think that's one experience that I think is going to have an enormous and outsized, positive effect for music. And I think some of these will have music in them and some of them won't. And, some of them will be more about the artist's brand and their likeness and you know, their personality, their identity.And then I think another, use case in web three is, this fractionalizing rights and allowing users to invest in music. because this requires, you know, SEC, you know, this is like full investment, you know, you have to really, really get that right. I think there will be very few companies that end up in that space.[00:34:44] I think it's [00:34:45] Vickie Nauman: just you know, the lift is too much for the average, but I think there will be a really viable marketplace. And I've talked to writers and performers who are also even signed, cuz if you're signed to a label or a publisher, you know, you're not gonna fractionize their share.[00:35:01] Dan Runcie: Right.[00:35:02] Vickie Nauman: And that's also something I always have to tell the companies that want to do this.[00:35:05] Like I'm going to now tell you some really disappointing news. but they're interested in doing some fractionalization of maybe just their writer's share or their performers share. And that's super interesting. And so, you know, how can we make that another income stream.[00:35:22] And then I think the third area that I'm really bullish about is the experiential side of, you know, we, we've seen during the pandemic, you know, and starting with starting with these things in Roblox and you know, Fortnite and you know, having these kind of pop-up experiences. Again, that's a proof of concept that if you put an artist in as an avatar and create some sort of activation, that people will come and they will buy virtual goods and they will have a great time.[00:35:56] So I think you know, that's, again, we're just barely scratching the surface of where these more experiential things will go with AR VR. Just, you know, web-based and mobile-based and, you know, avatars, you know, live streams I think fit in there as well. And I also think that the way the internet and even websites, the way that they work now, where you are, kind of view, go to a menu and you click on things and you get a flat page that tells you this is, you know, who the people are, this is what the products are, you know, like even the most basic things about how we engage online I think are going to change. And so I think there's going to be much more, you know, immersion and interactivity and real, you know, real time engagement. And to me that's just feels like that's just so perfect for. You know, small artist, activations where you don't need 20 million songs.[00:36:52] You just need a couple of artists who really want to do it. And I think that we will have just a really, really wide range of ways for people to enact more meaningfully with artists performing online.[00:37:03] Dan Runcie: Yeah, I think the collectible piece was a key point, and I also think that artists just being able to have communities around this too. I think we probably overestimated the investing piece just because I don't think that the average fan is going to be as interested in that piece, and I think that was a big selling point.[00:37:21] It's almost in the same way that like we all may have Apple devices, but how many of us are owning stock in Apple as a result of us wanting to see the thing right. But I do think that the collectible piece is huge. Obviously you see it in people wanting to have physical media, whether it's cassettes or vinyls going up.[00:37:37] So there's an aspect there that I think will continue to be tapped into, but it'll be fascinating to see how that plays outthe other emerging technology space that I know you've done some work into is VR itself. And I know that one of the companies that you worked with extensively was acquired by Meta and although you know, from my purview, they seem to be one of the more successful companies in a landscape that I think has been a bit slower to have that mainstream adoption than a lot of people thought with VR more broadly. So where do you see with that space right now?[00:38:10] Vickie Nauman: Yeah, it, you know, VR at the beginning, you know, it had so much promise of, you know, being, you know, being transported to, other worlds and having, you know, having this 3D environment around you. But I always felt like it's going to be gaming, that would be the catalyst to this because I think there's also, you know, there's also something like how much time does anyone want to sit in a headset?[00:38:39] And you know, you generally, it's kind of like, you know, remember when 3D TVs, we're huge, and everyone's like, no, we're not gonna sit around our house with these funny glasses on for hours at a time. It's just not going to happen. But I think that gaming has really been an enormous entry point in, and, you know, Beat Saber is the VR game that was acquired by Meta and continues to do extremely well with this customized gaming rhythm But I think that, you know, part of it is we need the headsets and things to shrink and we need them to be, a little bit more, you know, a little bit more comfortable. We need to be able to spend more time in them, and we need to have more experiences than we have right now.[00:39:28] And I think that there are things, you know, there are lots of companies that are starting to build even like, you know, meetings and,you know, are we going to have meetings with people in the metaverse and in virtual reality? There are companies that are doing enterprise-based training for employees that are using VR you know, and using these technologies in ways that I think is not gimmicky, but it will actually lend, it will actually lend to human emotion and feeling close.[00:40:00] but I think with everything with web three, we're going to have a blend of, these things, you know, AR is generally considered to be more accessible than VR because you know, you don't need as much equipment. But I think as, all of these things grow and we start to get more platforms and you know, more variety of use cases that we'll probably see a blurring between AR and VR and lighter weight.[00:40:28] hardware and more cost effective hardware, and that will just help to grow. That'll help to grow the market.[00:40:36] Dan Runcie: Yeah, I think for a while VR kind of had a bit of that sharper image vibe, I would say where, Yeah, you know, you go in the store, there's these cool forward technology things, but not necessarily something that I would wanna have in my house, right? And I think over time, to your point, the headsets get smaller, gets a bit more accessible.[00:40:54] We'll eventually get there. It's just a matter of the use case said, Yeah, to your point, I think gamers, if anyone, you think about the people that are gonna be wearing a headset while they are playing Call of Duty or whatever it is, they're probably the audience that's more likely to have another device over their head as they are interacting with game.[00:41:13] Vickie Nauman: Exactly. Exactly. And I think, you know, fitness is another area that, with VR originally was like, oh yes, you know, are there ways to simulate, you know, downhill skiing and hiking and cycling and, you know, being in this expansive different world than being in your house. but you know, you don't really wanna just be sweating, you know, sweating in your, headset either. And so I think the only, like, there probably needs to be some evolution, if that's a big enough market to support specific hardware of fitness, you know, then there probably are people who really want to do that. but you know, we're still kind of trying to figure out what this entire next iteration of the internet is going to be, and I can't imagine that VR won't be a part of it.[00:42:05] Dan Runcie: And I think the other emerging platform that'll likely or emerging medium, that might likely be a part of it somehow is AI and that's the one thing we haven't talked about deeply yet today, but where are you at right now with AI and let's fast forward five years from now, 2028. What role does AI have with music, and specifically with what the major record labels and their artists are doing?[00:42:28] Vickie Nauman: I know. I mean, it's just like, I feel like web three is, we kind of have some time because I feel like you know, companies are building infrastructure, there's lack of, you know, horizontal integration and interoperability. We have time to kind of keep experimenting and figuring it out. AI is coming at us like a freight train right now, and I think maybe five or six years ago when.[00:42:54] AI and music first came on, the first came on the horizon. A lot of people were freaked out by it. Then they listened to the music and said, that's pretty bad, you know, now, we're not worried anymore. But now music's getting way better. and I think that, I kind of look at it in a couple of different, you know, avenues because I feel like the first thing that I see is artists. And artists are always the first to embrace any kinds of creator tools. You know, they're not afraid of technology, they're not afraid of tools, you know, you think back to drum machines, you know, my God, the drum machine's gonna eliminate drummers, you know, we don't need drummers anymore. Well, we didn't, you know, we still need drummers.[00:43:41] But it did serve a purpose. Practicing and, you know, don't need to have you know, a drummer there to practice your songs. Don't need to always take a drummer on tour if you're doing some sort of small, intimate shows, but we still need great drumm. so I think that artists are probably going to be the first ones to embrace and use technologies that are like, think of plugins to DaaS and, you know, and that you've got a writer's block and you want to have something kind of help pull some things out of your head and break through that.[00:44:13] So I think like that is going to be a really, really robust market. And those are still very much human creations. They're just tools that are now a little bit more advanced.[00:44:25] you know, the opposite end of it is text to music, [00:44:29] and that's where I think like, we have no idea how that is going to play out and who owns it either.[00:44:37] I think that electronic music is kind of the first use case because it's easiest to replicate and come up with, you know, a new electronic mix that's AI generated as opposed to something that is, you know, got, you know, 12 instruments in it. But, I still feel like there's a line there around what are the areas where it's, music is still kind of human created and you can never get it away.[00:45:03] Vickie Nauman: And live music for sure, you know, there's nothing that replaces being in a room and you're waiting for your favorite band to come on stage. And we're all human and we're all there in this shared experience. and I also think that there are things about human creativity and music that surprise you and that, you know, kind of, you know, a human can take you down an emotional path or a musical path that you never, ever would've anticipated.[00:45:32] And that's something that, that seems inherently human. But I think there's a lot of things, like a lot of background music. A lot of music that's kind of music for sleeping, music for concentration, you know, non-descript, you know, unknown artists production. I think that area is probably ripe for disruption by AI.[00:45:57] , you know, but it just still doesn't answer some of these fundamental questions about the copyrights of, if you fed an AI engine, millions of songs and it can now reproduce music based on a text command, you know, who owns that? You shouldn't t he music that was fed into the AI participate in that.[00:46:20] Dan Runcie: right. Because right now there's nothing that's necessarily pulling them, that they're pulling these from whatever, lyrics, websites that are there, but the lyrics, websites aren't, you know, pulling from those. So a lot of issues to sort through.[00:46:32] Vickie Nauman: Yeah. what do you think about?[00:46:34] Dan Runcie: I mean, I'm excited for the potential because I do think that if the industry is able to get it right in some way, if there's a way to fairly compensate people, like let's say that whether it's open AI or one of these companies has some way that they have a licensing agreement, no different than the record labels have licensing agreements with the streaming services or the dsbs. If you have something there that attributes some level of, okay, how much was pulled from here, and even if it ends up being some fractional aspect or whatever it is, obviously it would most likely all be some fraction, some way to attribute that back, especially if that becomes the next viral TikTok hit.[00:47:14] If that then spawns the journey for the next person to release the next big song, and you think about, whether it's the next Billy Eilish or whoever is creating music in their bedroom that's gonna release the biggest album of the year, like that's likely where this is gonna come from. I do think that's some of the things that we discussed in this conversation about how.[00:47:32] because the industry is more likely to not be in this break things fast mentality, to make sure that things are right. It's more likely to play catch up on some of those things, which I think, you know, could be frustrating to see it play out, but it's completely understandable just given how these things play out.[00:47:49] So maybe we'll see some more, of this happen from independent artists or those that are doing more things where they own everything themselves, kind of to your point with whether it's Poo Bear or other people like that, experimenting. Okay, what could that look like? So I think we'll probably see some type of innovation there.[00:48:06] Or maybe there's even a solution where some company has more rights to more of the royalty free or independent artist owned music where that can then be used as something derivative from where the OpenAI or chatGPT three or some of these companies can pull from. But I think we're a little ways away from that.[00:48:27] Vickie Nauman: But there's clearly no stopping it.[00:48:29] Dan Runcie: Yeah, no, this is a train that is gonna continue to go on for sure. But Vicki, this is great. I feel like we covered a bunch of stuff, especially with gaming and so many of its intersections. And if people wanna follow along with you and the work that you're doing, where's the best place that they should follow Thank you so much.[00:48:47] Dan Runcie Outro: If you enjoyed this podcast, go ahead and share it with a friend. Copy the link, text it to a friend, post it in your group chat, post it in your Slack groups. Wherever you and your people talk, spread the word. That's how Trapital continues to grow and continues to reach the right people. And while you're at it, if you use Apple Podcast, go ahead, rate the podcast, give it a high rating, and leave a review. Tell people why you like the podcast, that helps more people discover the show. Thank you in advance. Talk to you next week.
Jean Jacket is too classy for this world. Alien Superstar. Whip whip!Join BP, Coop and Justin as we discuss NOPE, Jordan Peele's third foray into the horror genre, starring Daniel Kaluuya and Keke Palmer as horse-wrangling siblings attempting to capture evidence of an unidentified flying object. Appearing in supporting roles are Steven Yeun, Michael Wincott, Brandon Perea, and Keith David.Follow the Complete Guide to Horror Movies podcast on our social channels below.↪ Facebook↪ TikTok↪ Twitter↪ Instagram↪ Subscribe to our YouTube channel↪ Tip us $5↪ Linktree↪ WebsiteThemes and AnalysisThe film has been characterized as containing themes related to spectacle and exploitation. GQ's Gerrick D. Kennedy wrote that Nope "is a movie about spectacle. More specifically, our addiction to spectacle... Nope is about holding a mirror up to all of us and our inability to look away from drama or peril." Kennedy also states that "the erasure of black contributions" to the history of filmmaking plays a significant role in the film. Writer-director Jordan Peele was partly inspired to write Nope by the COVID-19 lockdowns and the "endless cycle of grim, inescapable tragedy" in 2020.Critical ReceptionOn the review aggregator website Rotten Tomatoes, 82% of 433 critics' reviews are positive, with an average rating of 7.4/10. The website's consensus reads, "Admirable for its originality and ambition even when its reach exceeds its grasp, Nope adds Spielbergian spectacle to Jordan Peele's growing arsenal." Metacritic, which uses a weighted average, assigned the film a score of 77 out of 100, based on 64 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale, the same score as Us, while PostTrak reported 79% of filmgoers gave it a positive score.Box OfficeNope grossed $123.3 million in the United States and Canada, and $48.1 million in other territories, for a worldwide total of $171.4 million.FutureIn July 2022, Perea revealed that he had convinced Peele and the Universal executives to change his character's fate in the film's climax from being killed primarily out of interest in a potential sequel, saying: "There's no way the story's over in my head. There's no way. For how heroic everything kind of seemed at the end, I'm like there's no way they leave the heroes like this. This is just the start of something new." In an interview with Thrillist, Jean Jacket designer John O. Dabiri suggested that the creature survived its apparent death at the film's conclusion, saying "There's a species of jellyfish that's called the immortal jellyfish... I'm not a movie maker. But if it was me, I would say there would be some interesting opportunity to ask whether we've seen the last of Jean Jacket."In an interview with The New York Times, Peele addressed a character that was cut from the film, listed on IMDb as Nobody, saying "The story of that character has yet to be told, I can tell you that. Which is another frustrating way of saying, I'm glad people are paying attention. I do think they will get more answers on some of these things in the future. We're not over telling all of these stories".#nope #jordanpeele #horror #movie #death #horrorfilm #splatter #deathscene #blood #gore #scarymovie #horror #completeguidetohorror #horrormovie #scary #creepy #graphic #jeanjacket #kekepalmer #idontknowwhothismanis #meghantrainor #no #creature #alien #twilightzone #americandad #scifi #aliens #paranormal #barbieferreira
Jean Jacket is too classy for this world. Alien Superstar. Whip whip! Join BP, Coop and Justin as we discuss NOPE, Jordan Peele's third foray into the horror genre, starring Daniel Kaluuya and Keke Palmer as horse-wrangling siblings attempting to capture evidence of an unidentified flying object. Appearing in supporting roles are Steven Yeun, Michael Wincott, Brandon Perea, and Keith David. Follow the Complete Guide to Horror Movies podcast on our social channels below. ↪ Facebook ↪ TikTok ↪ Twitter ↪ Instagram ↪ Subscribe to our YouTube channel ↪ Tip us $5 ↪ Linktree The film has been characterized as containing themes related to spectacle and exploitation. GQ's Gerrick D. Kennedy wrote that Nope "is a movie about spectacle. More specifically, our addiction to spectacle... Nope is about holding a mirror up to all of us and our inability to look away from drama or peril." Kennedy also states that "the erasure of black contributions" to the history of filmmaking plays a significant role in the film. Writer-director Jordan Peele was partly inspired to write Nope by the COVID-19 lockdowns and the "endless cycle of grim, inescapable tragedy" in 2020. Critical Reception On the review aggregator website Rotten Tomatoes, 82% of 433 critics' reviews are positive, with an average rating of 7.4/10. The website's consensus reads, "Admirable for its originality and ambition even when its reach exceeds its grasp, Nope adds Spielbergian spectacle to Jordan Peele's growing arsenal." Metacritic, which uses a weighted average, assigned the film a score of 77 out of 100, based on 64 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale, the same score as Us, while PostTrak reported 79% of filmgoers gave it a positive score. Box Office Nope grossed $123.3 million in the United States and Canada, and $48.1 million in other territories, for a worldwide total of $171.4 million. #nope #jordanpeele #horror #movie #death #horrorfilm #splatter #deathscene #blood #gore #scarymovie #horror #completeguidetohorror #horrormovie #scary #creepy #graphic #jeanjacket #kekepalmer #idontknowwhothismanis #meghantrainor #no #creature #alien #twilightzone #americandad #scifi #aliens #paranormal #barbieferreira
J Wortham and Wesley Morris are back, just in time for Scorpio season. Ever since they watched Jordan Peele's latest film, “Nope,” together over the summer, they haven't been able to stop talking about it. The film stars Daniel Kaluuya and Keke Palmer as siblings whose family horse ranch is threatened by an otherworldly creature. But instead of escaping or destroying the monster, they are determined to take a picture of it. Why is proof so important? And what does it mean to be believed? Today: The unresolved questions of “Nope” (some of them, anyway) and what the film says about the grimmer aspects of living in America. (Beware: Spoilers ahead!)“Still Processing” is back for a mini-season. New episodes on Tuesdays. Follow the show on Apple, Spotify, Stitcher, Amazon Music or wherever you get your podcasts.
Hey everyone I'm back ! Happy Halloween, Samhain, Hoodoo Month, Gede, & Ancestral Veneration to everyone. New Episode discussing crystals, healing, and business things !
Recap of summer to fall culture news from Beyonce, WNBA, NBA, Drink Champs, Ye', Books, the Pod Space to much more. VOTE!
On this episode, Zaya talks with Deja DuBios about her drag experience and the etiquette to have for a drag show. As well with the Halloween season quickly approaching, they talked about cute ideas for costumes and how Halloween to impact baby drag queens in the making. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/isaiah-smith68/message
"Alien Superstar" singer Beyoncé and Ryan Reynolds both have beef; find out with who! Plus, Madonna officially comes out! 'Wild "N Out' star Jessie Woo co-hosts with us, so tune in to today's Dish Nation for the best celebrity dish!
This episode finds Dana finally being able to purchase She by Shereè merchandise and Vincent indoctrinated in the world of Beyonce's "Renaissance" and embracing his alien superstar status. There's also an Emmy's breakdown, thoughts on the new Whitney Houston biopic trailer and this week's recipient of the "Angela Bassett We See You Gurl Award" who's doing something about climate change.
I'm not in the Beyhive. I'm not a Beyonce stan, but she's one of the greatest artists of our generation. Here are (actually 12) times I had to stan Beyonce! Beyonce's underrated rap skills, being nearly naked on the Met Gala red carpet, almost falling down during her Super Bowl performance, Formation, surprise album drops, the parties she throws, being "that thique"... Enjoy! Follow @pvalleypodcast on Twitter and IG. --- Support this podcast: https://anchor.fm/pvalley/support
The Queen is a lizard.
This week we're discussing Jordan Peele's third film, "Nope." This sci-fi horror centers on the Haywood family, who has been raising and training horses for Hollywood productions going back generations. Jobs have slowed but...freaky UFO activity around their ranch has picked alllll the way up. But instead of just saying "nope" and moving like the title might imply (and my a$$ woulda done), siblings OJ and Emerald Haywood decide to try and find a way to outsmart the UFO and cement their family's legacy once and for all. "Nope" is currently playing in theaters.
There have been many great songs about acts of heroism big and small, and in times like these, boy do we need heroes and heroines! Hosts Jim DeRogatis and Greg Kot share their favorite songs about heroes. They'll also hear selections from the production team and review the new albums by Beyoncé and Drive-By Truckers. Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:Bonnie Tyler, "Holding Out for a Hero," Footloose: Original Soundtrack of the Paramount Motion Picture, Columbia, 1984Beyoncé, "BREAK MY SOUL," Renaissance, Parkwood and Columbia, 2022Beyoncé, "COZY," Renaissance, Parkwood and Columbia, 2022Beyoncé, "ALIEN SUPERSTAR," Renaissance, Parkwood and Columbia, 2022Beyoncé, "THIQUE," Renaissance, Parkwood and Columbia, 2022Drive-By Truckers, "The Driver," Welcome 2 Club XIII, ATO, 2022Drive-By Truckers, "Welcome 2 Club XIII," Welcome 2 Club XIII, ATO, 2022Drive-By Truckers, "Every Single Storied Flameout," Welcome 2 Club XIII, ATO, 2022Drive-By Truckers, "Wilder Days," Welcome 2 Club XIII, ATO, 2022Aimee Mann, "Save Me," Magnolia: Music from the Motion Picture, Reprise, 1999John Lennon, "Working Class Hero," John Lennon/Plastic Ono Band, Apple, 1970The Impressions, "We're a Winner," We're a Winner, ABC, 1968The Kinks, "Celluloid Heroes," Everybody's in Show-Biz, RCA Victor, 1972The Flaming Lips, "Waitin' for a Superman," The Soft Bulletin, Warner Bros., 1999The Stranglers, "No More Heroes," No More Heroes, United Artists, 1977ONE OK ROCK, "Save Yourself," Save Yourself (Single), Fueled By Ramen, 2022Family of the Year, "Hero," Loma Vista, Nettwerk, 2012Elton John, "I'm Still Standing," Too Low For Zero, Geffen, 1983Billy Bragg, "There Is Power in a Union," Talking With The Taxman About Poetry, Elektra, 1986Rhianna, "Umbrella (feat. Jay-Z)," Good Girl Gone Bad, Def Jam, 2007Natalie Merchant, "Ophelia," Ophelia, Elektra, 1998David Bowie, ""Heroes"," "Heroes", RCA, 1977Nas, "Hero (feat. Keri Hilson)," Untitled, Def Jam, 2008Talking Heads, "Once In A Lifetime," Remain In Light, Sire, 1980
That's that Na-Na…said Queen Bey on her highly acclaimed Seventh Studio album “Renaissance”. Dedicated to her Late Uncle Jonny, it's as vibrant as it is brilliant. With Cheeky lyrics & melodic beats, Beyoncé's artistry shines brightly in music that is beautiful from beginning to end. Act I makes you dance, laugh, smile, and most certainly feel good. It's hard enough to create one album where every song hits, but to do it again and again….baby you got to be an Alien Superstar. As if the COVID pandemic wasn't enough, a visibly sinister looking virus is now making waves. Monkey pox, a member of the small pox family, originally started in the tropical rainforest regions of Central and West Africa. How then did the virus makes its way to the UK and spread wildly from there? We may never know; but one things for sure and two things are for certain, healthy and clean hygiene habits are as important now as they've ever been. Misinformation initially spread that only certain “groups” of people were susceptible to Monkey pox but that just isn't true. Take the time to do your research with helpful resourced like: https://www.cdc.gov/poxvirus/monkeypox/index.html | to better understand how it works and symptoms to look out for. Also, at the very least…wash your hands. Ding Dong! Word on the street is somebody tipped off the FBI in Trump's inner circle. Hmmmm, we wonder who??? Mar-O-Lago was the center of attention just recently as it was raided for what the FBI believed to have held top secret governmental documents that the former President was not supposed to be in possession of. Mind you, these are documents that have to deal with “National Security”! Initially, the documents from the raid were to remain sealed, but a federal judge did unseal the search warrant which highlighted over 20 boxes of documents were taken, information on the president of France, and note, the executive grant for clemency for Mr. Stone, among other items. As with you, we too are going to see how this plays out, in our bed with our shades like the Tiffany Pollard meme. Before & After of the “Buffalo” Project: https://www.twolaneconcepts.com/Welcome back and welcome to the official kick-off to Season Four of Authentic Filters! Over 10,000 downloads, we can't thank you enough. This is going to be an exciting 12 episode season that will take us to the Holidays and we know you're ready for the ride! Let's keep those downloads coming and the reviews. You know what time it is…Let's Get Into It.
Today's dose of "Vitamin D" is dedicated to you recognizing the superstar that you are. Hmm? I think half the time we don't recognize our value simply because we lack confidence. And what is confidence? Confidence is simply knowing. Well, now it's time for you to know who you are. You know, I was taking a listen to Beyonce's new album "Renaissance" and in it her track "Alien Superstar" Beyoncé belts "I'm one on one. I'm number one. I'm the only one. Don't even waste your time trying to compete with me. No one in this world can think like me." Did you catch it? Nobody can do what it is that you do when you do how you do what you do when you do. I don't care if you tell them all that you do. Why? Because guess what? They are not you. And I need you to further recognize that and realize that and walk into your power and realize that you are the source of your power. There is nothing else that you need from anyone else or anything but simply to be you. Beyoncé continues on. "Category sexy Bitch. I'm the bar. Alien superstar." Imagine you just me and you makes you a superstar that's out of this world tattoo. She goes on to say, "We just reaching out to the solar system. We flying over bullshit." We're not entertaining the foolishness. We're not entertaining the negative thoughts. We are shutting them down because guess what? You are great. You are amazing just as you are. In fact, you are an alien superstar. Okay?! All right. That's it. For your dose of "Vitamin D." Be sure to follow us on all social media @VitaminDDawnDai and until next time, alien superstar, always remember, "you are your greatest asset."See omnystudio.com/listener for privacy information.
Apesar de ter ganhado mais força e corpo nos últimos anos, o hype em torno dos tênis existe desde o final dos anos 1970, quando integrantes do movimento Hip Hop, como b-boys, DJs e grafiteiros, passaram a usar esse tipo de calçado, customizando e transformando os sneakers em uma de suas várias marcas registrada. Nesse episódio do ELLE News, a gente fala da cultura sneakerhead e puxa alguns dados, como a supervalorização desse tipo de acessório, que promove toda uma rede de resale. E ainda: as polêmicas envolvendo os lançamentos inusitados da Balenciaga, como a nova bolsa em formato de saco de lixo; a plataforma de promoção de designers africanos; o balanço do varejo brasileiro, que volta a alcançar números animadores; e muito mais. Roteiro: Gabriel Monteiro, Giuliana Mesquita e Patricia OyamaMontagem e publicação: Compasso Coolab Este episódio usou trechos das músicas Are You That Somebody; de Aaliyah; Work It, de Missy Elliot; Alien Superstar, Beyoncé; Balenciaga, de Filv; For my hand, de Burna Boy; Custa nada sonhar, de Itamar Assumpção.
Let the Beyoncé takeover on Diva Dailies begin. We're putting a temporary pause on Girl Group Divas Summer, because Bey is back (and I'm sleepin' real good at night.) For the next two weeks, we are deep diving into Beyoncé's Renaissance…so far.In this episode of Diva Dailies, Angie (@poetrysoul3) and Steffi (@inn_mho) review Beyoncé's 7th solo studio album, “Renaissance” (2022). We also give a brief but much needed and deserved tribute to the passing of iconic, legendary diva Olivia Newton-John. As we do in all of our Diva Discography episodes, part 1 is an in-depth review and discussion on EVERY SINGLE TRACK of the album. We then end our conversation sharing our Top 3 favorite songs from the album, 1 song we'd cut, and the underrated gem. Make sure you tune in next week for part 2 when we talk about Beyonce's Renaissance era.Album Info: Renaissance (also titled as Act I: Renaissance) is the seventh studio album by American singer Beyoncé, released on July 29, 2022, by Parkwood Entertainment and Columbia Records. It is her first solo studio release since Lemonade (2016) and serves as the first installment of a trilogy project. Beyoncé conceived the album as a reflection of her state of mind during the COVID-19 pandemic, writing and producing it with Nova Wav, The-Dream, Symbolyc One, A. G. Cook, Honey Dijon, Beam, Tricky Stewart, BloodPop, Skrillex, Hit-Boy, No I.D., P2J and various others. Beam, Grace Jones and Tems appear as guest vocalists.*Email us for show notes: divadailiespod@gmail.com*Twitter & Instagram: @divadailiespod*YouTube: Diva Dailies PodcastSTEFFI'S SOCIAL MEDIA:*Twitter & Instagram: @inn_mho*YouTube: innmyhumbleopinionANGIE'S SOCIAL MEDIA:*Twitter: @poetrysoul3*YouTube: Sleepy Nerd ProductionsEPISODE TIME STAMPS:- Housekeeping (01:05)- Friendly Reminder to Review the Pod! (01:- Oscar & Razzie Moment of the Week (03:02)- Opening Discussions: Album Intro (12:49)- Opening Discussions: Our First Listening Experience & Initial Impressions (14:39)Track by Track Review- I'm That Girl (29:10)- Cozy (35:06)- Alien Superstar (40:23)- Cuff It (46:13)- Energy (52:32)- Break My Soul (56:10)- Church Girl (60:24)- Plastic Off the Sofa (66:13)- Virgo's Groove (71:12)- Move (75:31)- Heated (77:30)- Thique (79:11)- All Up in Your Mind (82:39)- America Has a Problem (84:25)- Pure/Honey (88:10)- Summer Renaissance (94:12)Rapid Fire Round- Top 3 Fave Songs (97:27)- 1 Song to Cut (98:02)- Underrated Gem (98:28)- Favorite Transition (99:19)- Closing Thoughts (100:46)
Beyoncé's new album Renaissance is one of her most ambitious albums yet. On this week's episode of Switched On Pop, we discuss Renaissance with beloved guest Sam Sanders, host of the new Vulture podcast Into It. In Sanders' words: “it's trying to do a lot” – but in the best way. The album incorporates seemingly every decade of contemporary popular dance music from Chic's “Good Times” to Right Said Fred's “I'm Too Sexy.” Much of the early discourse surrounding the album was marred by a confusing controversy over a small sample (we try to resolve the issue musicologically) – but the references on Renaissance are worth listening closely to, acting as a guide through essential dance music. The album is an homage to the black and queer innovators of dance; with samples and interpolations of songs both niche and mainstream flying by, like a DJ set curated by house music pioneers. On Renaissance, Beyoncé goes out of her way to cite, credit and compensate her influences, resulting in a triumph of musical curation. Just look at “Alien Superstar”: the song credits twenty-four people, largely due to Beyoncé's musical nods, rather than an exercise in boardroom style songwriting. Sanders says “the liner notes themselves are showing you that this woman and her team have a PhD in music history.” Listen to Switched On Pop to hear how Renaissance honors dance music innovators and finds new modes of expression in the genre. Subscribe to Into It with Sam Sanders Listen on Apple Podcasts: https://bit.ly/3vE4jqf Listen on Spotify: https://bit.ly/3bB7Vmf Listen elsewhere: https://bit.ly/3BI0Nz0 Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week, the panel begins by trying to tackle Jordan Peele's most recent sci-fi, western, horror film NOPE. Then, the panel is joined by author and host of Slate's Working podcast, Isaac Butler, to discuss the new HBO series The Last Movie Stars. Finally, Slate's editorial assistant and production assistant for Culture Gabfest, Nadira Goffe, joins to discuss Beyoncé's 7th studio album Renaissance. In Slate Plus, the panel gets into some NOPE spoilers. Email us at culturefest@slate.com. Endorsements Dana: The proper name pronunciation of two Irish artists from our Spoiler Special episode: Roisin Murphy and Ciara Mary-Alice Thompson (aka CMAT). In that vein, an endorsement for CMAT's album If My Wife Knew I'd Be Dead. Julia: An endorsement from “Recipe Julia” for Alison Roman's Mustardy Green Beans with Anchovied Walnuts from her cookbook Nothing Fancy. Steve: From a previous Julia endorsement: the app Merlin. Also, alto saxophonist Sonny Red's album Out of the Blue. Podcast production by Cameron Drews. Production assistance by Nadira Goffe. Outro music is "What We Didn't Do" by Particle House. Slate Plus members get ad-free podcasts, a bonus segment in each episode of the Culture Gabfest, full access to Slate's journalism on Slate.com, and more. Sign up now at slate.com/cultureplus. Learn more about your ad choices. Visit megaphone.fm/adchoices
This week, the panel begins by trying to tackle Jordan Peele's most recent sci-fi, western, horror film NOPE. Then, the panel is joined by author and host of Slate's Working podcast, Isaac Butler, to discuss the new HBO series The Last Movie Stars. Finally, Slate's editorial assistant and production assistant for Culture Gabfest, Nadira Goffe, joins to discuss Beyoncé's 7th studio album Renaissance. In Slate Plus, the panel gets into some NOPE spoilers. Email us at culturefest@slate.com. Endorsements Dana: The proper name pronunciation of two Irish artists from our Spoiler Special episode: Roisin Murphy and Ciara Mary-Alice Thompson (aka CMAT). In that vein, an endorsement for CMAT's album If My Wife Knew I'd Be Dead. Julia: An endorsement from “Recipe Julia” for Alison Roman's Mustardy Green Beans with Anchovied Walnuts from her cookbook Nothing Fancy. Steve: From a previous Julia endorsement: the app Merlin. Also, alto saxophonist Sonny Red's album Out of the Blue. Podcast production by Cameron Drews. Production assistance by Nadira Goffe. Outro music is "What We Didn't Do" by Particle House. Slate Plus members get ad-free podcasts, a bonus segment in each episode of the Culture Gabfest, full access to Slate's journalism on Slate.com, and more. Sign up now at slate.com/cultureplus. Learn more about your ad choices. Visit megaphone.fm/adchoices
Warren has since apologized to the Beyhive for the misunderstanding, insisting she meant no disrespect to Beyoncé when she questioned the number of songwriters on "Alien Superstar".
The New 7th Album Released 6 Years After Lemonade Does A Wonders Seeing Her Dive Into More Unique Sounds. RATE: 9/10 Favorites: I'm That Girl, Alien Superstar, Cuff It, Break My Soul, Church Girl, Cozy, Virgo's Groove, Plastic Off The Sofa, America Has A Problem, Summer Renaissance, Thique, Pure/Honey, Heated Least Favorite: Energy Keep On Craving My Lil Junkies
While the world was distracted with the Depp v Heard trial, something else was happening under our noses, that you may have missed. Information that perhaps you might like to hear before it's tucked away and forgotten. Information that leaves you wondering, "What the Sh*t is Going On? Support the show
On today's episode of Backstage Pass with Gentry Thomas we get to talk to the Fonz from Happy Days, the one and only Henry Winkler. The two talk about Winkler's ongoing show 'Barry' which is about a low level hitman traveling to LA and ends up wanting to be an actor. The show's first three seasons are available to watch on HBO Max and Hulu. The legendary actor gives Gentry his own mini acting class revealing inside tips on how to be a Hollywood star. The 76 year old author additionally speaks about his book series he co-wrote with Lin Oliver. The now trilogy series is called Alien Superstar and is about a teenage extra-terrestrial crash landing on Earth and becoming a famous actor. Henry and Gentry chat it up about Adam Sandler, Happy Days, Shaq, and so much more on today's podcast. Make sure to subscribe and follow for the latest episodes.
HENRY WINKLER called in to chat about his New book- HOLLYWOOD VS THE GALAXY. (Alien Superstar #3).
Huge thank you to the iconic multiple Golden Globes and Emmy Award winning actor Henry Winkler for coming on my show for an interview! We began the interview talking about Henry's political views, the importance of climate change, and the uproar of people not wanting to receive the Covid-19 vaccine. We then got into his time in theater, his role as Butchey in The Lords of Flatbush, and how he was the reason for Sylvester Stallone making Rocky. Henry discussed getting the role of the most iconic TV character of all time Arthur Fonzarelli aka Fonzie or "The Fonz", his first day on the set of Happy Days, and if there will be another Happy Days reunion in the near future. He talked about what it was like working with Pat Morita, who played Arnold on Happy Days and later played Mr. Miyagi in the Karate Kid films. We then talked about Henry's role as Chuck Lumley in Ron Howard's 1982 Night Shift, working alongside Michael Keaton, and his cousin Richard Belzer. Fun Fact: Henry Winkler did not know that he and Richard Belzer were cousins until they did an episode of Law & Order: Special Victims Unit together. We talked about his role as Principal Himbry in the late great Wes Craven's 1996 classic masterpiece Scream, his death scene taking two hours to film, and his Fonz jacket being in the closet scene. Henry is afraid of watching horror films and told the story of seeing Jaws for the first time when it was in theaters back in 1975. Henry told me about how it felt winning an Emmy for the first time as an actor for Best Supporting Actor in a Comedy Series for Barry in 2018. We finished the interview talking about his important book series Hank Zipzer that he created with his writing partner Lin Oliver in 2003 to help kids who have dyslexia. He has a new book series called Alien Superstar and the final book of the trilogy is releasing this October. HBO's Season 3 of Barry will start filming on July 30th, 2021 and will be releasing soon. He is also the voice of Fritz in the new Monsters at Work animated series. Stay tuned! Thank you Henry Winkler for all of your timeless work in TV, film, literature, and most importantly being an inspiration to the world. You can purchase Henry Winkler and Lin Oliver's Hank Zipzer and Alien Superstar series' on Amazon or anywhere you purchase books: https://www.amazon.com/dp/B075VDZ5VS?searchxofy=true&binding=kindle_edition&ref_=dbs_s_aps_series_rwt_tkin&qid=1627363893&sr=8-3. https://www.amazon.com/dp/B088HGKW37?binding=kindle_edition&ref_=dbs_s_ks_series_rwt_tkin&qid=1627363939&sr=1-1. Follow Henry Winkler on Twitter: @hwinkler4real Follow me on Instagram and Twitter: @thereelmax. Website: https://maxrcoughlan.com/sports-and-hip-hop-with-dj-mad-max-2021.html. Website live show streaming link: https://maxrcoughlan.com/sports-and-hip-hop-with-dj-mad-max-live-stream.html. MAD MAX Radio on Live 365: https://live365.com/station/MAD-MAX-Radio-a15096. Subscribe to my YouTube channel Sports and Hip Hop with DJ Mad Max: https://m.youtube.com/channel/UCE0107atIPV-mVm0M3UJyPg. Henry Winkler on "Sports and Hip-Hop with DJ Mad Max" visual on YouTube: https://www.youtube.com/watch?v=IFgv-3XPv9I.
We here on the Morning Show are unabashed super fans of Henry Winkler. He is, hands down, the nicest and kindest person that we have ever had on the show. And, at 75 yrs old, he working hard than most people half his age. With a new season of the HBO series "Barry" filming soon, the last of his "Alien Superstar" children's book series dropping later this year, and now lending his talents to the Disney Plus animated series "Monsters At Work", he's sitting on top of the world. But more importantly, if you need some zen in your day...if you need to listen to someone who knows what REALLY is important in this life....take a few moments and listen to our conversation with Henry...and you'll know why we love him. See omnystudio.com/listener for privacy information.
Join the fan chat on Discord! Link: https://discord.gg/ZzJSrGP The Composition of Interstellar Comet 2I/Borisov Is Much More Alien Than We Thought Link: https://www.sciencealert.com/turns-out-interstellar-comet-2i-borisov-is-much-more-alien-than-we-thought When the first known comet from interstellar space was spotted traversing the Solar System in late August of last year, astronomers snapped to attention. 2I/Borisov was an extraordinarily rare opportunity to study the formation of comets around other stars. In those initial measurements, 2I/Borisov seemed a heck of a lot like comets from the outer Solar System. But a new analysis has revealed that our visitor is much more alien than we thought after all. In the cloud of gas that the comet started to emit as it neared the Sun, a team of astronomers detected more carbon monoxide than they've ever seen in a comet within 300 million kilometres (180 million miles) of the Sun. "This is the first time we've ever looked inside a comet from outside our Solar System," said astrochemist Martin Cordiner of the Catholic University of America, "and it is dramatically different from most other comets we've seen before." 2I/Borisov wasn't the first known interstellar object in the Solar System; that was 'Oumuamua, whose identity is still uncertain. However, 2I/Borisov is the first known comet, which made it very exciting indeed. As 2I/Borisov sped away from the Sun after its December 8 perihelion, astronomers made a careful study of its coma, the cloud of gas that envelops a comet as it nears the Sun, and the ice inside sublimates due to the heat. Astronomers aren't sure why Solar System comets have such varying proportions of CO, but they think it may have to do with the temperature at which the comet formed. The colder the temperature, the greater the concentration of CO. This means, the researchers believe, that 2I/Borisov formed somewhere very cold indeed. "The comet must have formed from material very rich in CO ice, which is only present at the lowest temperatures found in space, below -420 degrees Fahrenheit (-250 degrees Celsius)," said planetary scientist Stefanie Milam of NASA. Meet The Redditors Using Astral Projection to Escape Quarantine Link: https://www.vice.com/en_us/article/m7qz9p/meet-the-redditors-using-astral-projection-to-escape-quarantine Paranormal enthusiasts say they're using out-of-body experiences to infiltrate forbidden spaces—including the Pentagon. Late last year, the internet was crackling with plans to stage a million-strong raid on the supposed alien stronghold, Area 51. Now, with the COVID-19 pandemic forcing everyone to quarantine at home, venturing farther than the local park seems like a dream from a lost reality. But what if there was a way to explore our planet that didn't put us in harm's way and was more stimulating than scrolling through Google Earth? And what if, while we were at it, we could storm Area 51 too? According to a group of paranormal enthusiasts on Reddit, astral projection could be the vehicle we need. Falling somewhere between a lucid dream and a near-death experience, astral projection is the sensation of separating from your physical self, keeping your mind awake while your body is asleep. Early records of the practice trace back to the Roman Empire. Experiences feel profound, and astral travelers have even claimed to learn things they otherwise couldn't have known. Reddit's /R/AstralArmy is a focal point for the psychically curious to embark on out-of-body “missions” to off-limits locations, including military bases, Wuhan, the Pentagon, and supposed hives of paranormal activity like Skinwalker Ranch. The idea is intriguing: if you could go anywhere at all, what secrets could you learn? A nineteen-year-old Wisconsinite who goes by Commander XXX told Motherboard via voice call that he started the subreddit (motto: “projection for protection”) because he was intrigued by the possibilities of group astral projection. One group that took OBEs seriously was the US government's Defense Intelligence Agency (DIA). In 1995, the CIA declassified details of the DIA's nearly two decades of psychic research, the $20 million Stargate Project. From 1978, the program investigated the potential for psychic spying during the Cold War. Some of the wildest accounts of “remote viewing” entail visiting civilizations inhabiting the red rocks of Mars. Skeptics ultimately lambasted the project. But the archive continues to fascinate parapsychology researchers, and clearly inspires Reddit's astral travelers. "Most people are pretty basic astral projectors," Commander said, amid a baffling explanation that their missions are not necessarily representative of physical locations, but could be muddied by the interplay of how thoughts impact reality. His argument is that you never know if anything is objectively true anyway, a concept about competing forms of perception that is not as far-fetched as it first appears. Iran-launched military satellite entered Earth's orbit, US Space Command announces Link: https://www.foxnews.com/world/iran-launched-military-satellite-entered-earths-orbit-us-space-command-announces The launch of Iran's first military satellite has been deemed a success by U.S. Space Command. The 18th Space Control Squadron tweeted Wednesday that it tracked "2 objects [...] from #space launch originating in Iran." Earlier Wednesday, Iran said it launched a military satellite into orbit amid wider tensions with the U.S., a successful launch after months of failures. “Iran's first military satellite, Noor, was launched this morning from central Iran in two stages. The launch was successful and the satellite reached orbit,” Iranian state TV reported, according to Reuters. The U.S. State Department and the Pentagon both say such launches advance Iran's ballistic missile program. On its official website, Iran's paramilitary Revolutionary Guard said the satellite successfully reached an orbit of 264 miles above the Earth's surface. The two-stage satellite launch took off from Iran's Central Desert, the Revolutionary Guard said, without elaborating. The paramilitary force said it used a Ghased, or “messenger,” satellite carrier to put the device into space, a previously unheard-of system. Show Stuff Join the fan chat on Discord! Link: https://discord.gg/ZzJSrGP The Dark Horde Podcast: https://www.spreaker.com/show/the-dark-horde The Dark Horde, LLC – http://www.thedarkhorde.com Twitter @DarkHorde or https://twitter.com/HordeDark Support the podcast and shop @ http://shopthedarkhorde.com UBR Truth Seekers Facebook Group: https://www.facebook.com/groups/216706068856746 UFO Buster Radio: https://www.facebook.com/UFOBusterRadio YouTube Channel: https://www.youtube.com/channel/UCggl8-aPBDo7wXJQ43TiluA To contact Manny: manny@ufobusterradio.com, or on Twitter @ufobusterradio Call the show anytime at (972) 290-1329 and leave us a message with your point of view, UFO sighting, and ghostly experiences or join the discussion on www.ufobusterradio.com For Skype Users: bosscrawler
Join the fan chat on Discord! Link: https://discord.gg/ZzJSrGP The Composition of Interstellar Comet 2I/Borisov Is Much More Alien Than We Thought Link: https://www.sciencealert.com/turns-out-interstellar-comet-2i-borisov-is-much-more-alien-than-we-thought When the first known comet from interstellar space was spotted traversing the Solar System in late August of last year, astronomers snapped to attention. 2I/Borisov was an extraordinarily rare opportunity to study the formation of comets around other stars. In those initial measurements, 2I/Borisov seemed a heck of a lot like comets from the outer Solar System. But a new analysis has revealed that our visitor is much more alien than we thought after all. In the cloud of gas that the comet started to emit as it neared the Sun, a team of astronomers detected more carbon monoxide than they've ever seen in a comet within 300 million kilometres (180 million miles) of the Sun. "This is the first time we've ever looked inside a comet from outside our Solar System," said astrochemist Martin Cordiner of the Catholic University of America, "and it is dramatically different from most other comets we've seen before." 2I/Borisov wasn't the first known interstellar object in the Solar System; that was 'Oumuamua, whose identity is still uncertain. However, 2I/Borisov is the first known comet, which made it very exciting indeed. As 2I/Borisov sped away from the Sun after its December 8 perihelion, astronomers made a careful study of its coma, the cloud of gas that envelops a comet as it nears the Sun, and the ice inside sublimates due to the heat. Astronomers aren't sure why Solar System comets have such varying proportions of CO, but they think it may have to do with the temperature at which the comet formed. The colder the temperature, the greater the concentration of CO. This means, the researchers believe, that 2I/Borisov formed somewhere very cold indeed. "The comet must have formed from material very rich in CO ice, which is only present at the lowest temperatures found in space, below -420 degrees Fahrenheit (-250 degrees Celsius)," said planetary scientist Stefanie Milam of NASA. Meet The Redditors Using Astral Projection to Escape Quarantine Link: https://www.vice.com/en_us/article/m7qz9p/meet-the-redditors-using-astral-projection-to-escape-quarantine Paranormal enthusiasts say they're using out-of-body experiences to infiltrate forbidden spaces—including the Pentagon. Late last year, the internet was crackling with plans to stage a million-strong raid on the supposed alien stronghold, Area 51. Now, with the COVID-19 pandemic forcing everyone to quarantine at home, venturing farther than the local park seems like a dream from a lost reality. But what if there was a way to explore our planet that didn't put us in harm's way and was more stimulating than scrolling through Google Earth? And what if, while we were at it, we could storm Area 51 too? According to a group of paranormal enthusiasts on Reddit, astral projection could be the vehicle we need. Falling somewhere between a lucid dream and a near-death experience, astral projection is the sensation of separating from your physical self, keeping your mind awake while your body is asleep. Early records of the practice trace back to the Roman Empire. Experiences feel profound, and astral travelers have even claimed to learn things they otherwise couldn't have known. Reddit's /R/AstralArmy is a focal point for the psychically curious to embark on out-of-body “missions” to off-limits locations, including military bases, Wuhan, the Pentagon, and supposed hives of paranormal activity like Skinwalker Ranch. The idea is intriguing: if you could go anywhere at all, what secrets could you learn? A nineteen-year-old Wisconsinite who goes by Commander XXX told Motherboard via voice call that he started the subreddit (motto: “projection for protection”) because he was intrigued by the possibilities of group astral projection. One group that took OBEs seriously was the US government's Defense Intelligence Agency (DIA). In 1995, the CIA declassified details of the DIA's nearly two decades of psychic research, the $20 million Stargate Project. From 1978, the program investigated the potential for psychic spying during the Cold War. Some of the wildest accounts of “remote viewing” entail visiting civilizations inhabiting the red rocks of Mars. Skeptics ultimately lambasted the project. But the archive continues to fascinate parapsychology researchers, and clearly inspires Reddit's astral travelers. "Most people are pretty basic astral projectors," Commander said, amid a baffling explanation that their missions are not necessarily representative of physical locations, but could be muddied by the interplay of how thoughts impact reality. His argument is that you never know if anything is objectively true anyway, a concept about competing forms of perception that is not as far-fetched as it first appears. Iran-launched military satellite entered Earth's orbit, US Space Command announces Link: https://www.foxnews.com/world/iran-launched-military-satellite-entered-earths-orbit-us-space-command-announces The launch of Iran's first military satellite has been deemed a success by U.S. Space Command. The 18th Space Control Squadron tweeted Wednesday that it tracked "2 objects [...] from #space launch originating in Iran." Earlier Wednesday, Iran said it launched a military satellite into orbit amid wider tensions with the U.S., a successful launch after months of failures. “Iran's first military satellite, Noor, was launched this morning from central Iran in two stages. The launch was successful and the satellite reached orbit,” Iranian state TV reported, according to Reuters. The U.S. State Department and the Pentagon both say such launches advance Iran's ballistic missile program. On its official website, Iran's paramilitary Revolutionary Guard said the satellite successfully reached an orbit of 264 miles above the Earth's surface. The two-stage satellite launch took off from Iran's Central Desert, the Revolutionary Guard said, without elaborating. The paramilitary force said it used a Ghased, or “messenger,” satellite carrier to put the device into space, a previously unheard-of system. Show Stuff Join the fan chat on Discord! Link: https://discord.gg/ZzJSrGP The Dark Horde Podcast: https://www.spreaker.com/show/the-dark-horde The Dark Horde, LLC – http://www.thedarkhorde.com Twitter @DarkHorde or https://twitter.com/HordeDark Support the podcast and shop @ http://shopthedarkhorde.com UBR Truth Seekers Facebook Group: https://www.facebook.com/groups/216706068856746 UFO Buster Radio: https://www.facebook.com/UFOBusterRadio YouTube Channel: https://www.youtube.com/channel/UCggl8-aPBDo7wXJQ43TiluA To contact Manny: manny@ufobusterradio.com, or on Twitter @ufobusterradio Call the show anytime at (972) 290-1329 and leave us a message with your point of view, UFO sighting, and ghostly experiences or join the discussion on www.ufobusterradio.com For Skype Users: bosscrawler
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