Podcasts about Crazy Frog

Send us a textRewind to 5 to 11 June 2005 when Crazy Frogs topped the charts, Coldplay went full galaxy-brain and a Chinese spy scandal had Aussie politicians sweating harder than a velour tracksuit in summer.

It's safe to listen to Cover Me...I think. Covers by: Status Quo, Crazy Frog, The Lost Fingers, Vic Dean, Trey Topper, Urselle, Angel Olsen Tidal playlist here

L'info du matin - Grégory Ascher et Justine Salmon ont expliqué ce qu'il est interdit de vendre lors d'un vide-grenier. Par exemple, les objets que vous avez fabriqués vous-même ne peuvent pas y être vendus. Le winner du jour : - Pour leur voyage de noces, Mehdi et Ebado ont décidé de parcourir 900 kilomètres à pied, de Paris à Marseille. - À Villefranche-sur-Saône, un homme a percuté un policier... qu'il croyait être le voleur de son vélo. Le policier venait justement de le récupérer. Le flashback de juillet 2005 - L'album "Caravane" de Raphaël était numéro 1 pendant 12 semaines. - En tête du classement single : "Axel F" par Crazy Frog. Les savoirs inutiles : - Il a existé un véritable Capitaine Haddock ! Il fut le premier commandant du Titanic pendant ses essais techniques, avant de devenir commandant de l'Olympic. 3 choses à savoir sur Disneyland Paris Qu'est-ce qu'on fait ? - Ce samedi a lieu le Disquaire Day, un événement mondial avec 220 disquaires participants dans 90 villes en France. Le jeu surprise : Laurent de Nancy gagne un séjour Thalazur à Ouistreham : 6 jours / 6 nuits en demi-pension avec 24 soins pour 2 personnes, ainsi que des chocolats Jeff de Bruges pour Pâques. La banque RTL2 : - Claire de Servon-sur-Vilaine vers Rennes gagne 400 euros, avec des chocolats Jeff de Bruges pour Pâques. - Marie de Mansigné vers Le Mans gagne 550 euros, accompagnés de chocolats Jeff de Bruges pour Pâques. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

The Crazy Frog is calling, snap open that Razr and hand over your mum's card details to Jamster, we're talking PHONES. Whether you're racking up the screentime or embarking on yet another social media detox, join our hosts Paul Black and Kendra McPherson to explore our relationship with our shared earth mother, the mobile telephone. We talk classic handsets, app reliance and delve into listener submitted phone faux pas. All this and more on this week's, Who Agrees?Get us on socials @WhoAgreesPod and thanks as always to studio sponsor, Irn Bru x Hosted on Acast. See acast.com/privacy for more information.

Tume ja Johannes käy läpi viikon kuulumiset aftoista automessuihin, gradustressistä queerbaittaukseen ja J. Karjalaisesta tekoälykikuliin. Sohva on edelleen viety, jugurtti lentää ja ranuja syödään pussista. Lisäksi: milleniaalihäitä, käänteinen budjetti, koronasimulaattori ja RARE hetki – Tume saa valita aiheen.

PRESS REVIEW – Friday, February 28: The British papers react to Prime Minister Keir Starmer's trip to Washington to meet US President Donald Trump. Also, The Times have an interview with a Ukrainian boy who has managed to track down his father's killer. Plus, pro-Russia politicians in Ukraine have been emboldened by recent events. Finally, Eurovision unveil their new mascot Lumo, to mixed reactions.

Welcome back to Young Hot Guys! The guys are back changing the conversation as usual and making all men look good. This week Killian, Shane and Tony are reflecting on the 90's, a simpler time before Nunchucks and when The Simpsons was known simply as ‘Bart Simpson.' We find out ‘The Crazy Frog' is based on the music of an Irish catholic priest from Wexford, and so much more! To get extra bonus content and much more you can sign up at HeadStuffPodcasts.com Shane Daniel Byrne, Tony Cantwell, and Killian Sundermann are Young Hot Guys. This is a HeadStuff podcast produced by Hilary Barry. Artwork by Shane Kenna Learn more about your ad choices. Visit megaphone.fm/adchoices

On the first solo episode of 2025, we're setting the tone with this riveting chat about rabbit heads, suspicious massages, getting Old, New Year's Resolutions, learning new words, and more! The song Crazy Frog by Axel F does not play in this episode even once, so I don't know what you're talking about. Check out our Patreon and support the show at patreon.com/leightonnight! Follow us on Twitter at @leightonnight and on Instagram/TikTok at @leighton_night. You can find Brian on Twitter/Instagram at @bwecht, and Leighton at @graylish (Twitter)/@buttchamps (Instagram). Hosted on Acast. See acast.com/privacy for more information.

Eddie has been a fixture in the music business since the mid-sixties. Most well know for producing the number one record “Doctors Orders” by Carol Douglas and for Salt N Pepa on his Next Plateau Records label to his Joint Venture with Republic Records.  Eddie also signed and developed Crazy Frog his his 9.66 Billion YouTube view with over 16.4 Million YouTube subscribers. Eddie talks about his life in music and his feelings about the business. This is a must listen podcast.

They're supercops. The only thing missing on these guys are capes. In a world where one man has only seen 30 or so movies comes a desire to learn from a master. A master of film. A master of cinema. A master who has led such a sad life.  Logan seeks the knowledge and he turns to his own personal “Yoda”; Keithie. Join Logan & Keithie on a wild adventure to discover as we watch along with a new movie each episode in THE MOVIE EDUCATION OF LOGAN CROSLAND. This episode, Logan & Keithie journey to sunny southern California…by way of Detroit with the 1984 blockbuster hit, Beverly Hills Cop. The boys talk Eddie Murphy, John Ashton, the incomparable Ronny Cox and of course; “My Name is Judge” Reinhold along with Crazy Frog, the Pointer Sisters and all things Detroit & Los Angeles.  Join us to see if you can figure out whose dad Victor Maitland looks like?

Somebody in the US has actually married AI Sausage sizzle price hike Trick Us For A Treat Sad Crazy Frog melodies for Zach's funeral Make My Day See omnystudio.com/listener for privacy information.

We talk about funny guys, Pooty goes to goofball idiot night at Busch Stadium, Pooty finds franks future wife at a candy store, talk fat men's clubs, Sloop John B. stories (the worst trips we ever been on) and we sing our favorite song of all time. And much more on this exciting installment of MM INSTAGRAM @mentholmavericks --- Support this podcast: https://podcasters.spotify.com/pod/show/mentholmavericks/support

THIS WEEK: Beverly Hills Cop (1984), Beverly Hills Cop II (1987), Beverly Hills Cop III (1994), Beverly Hills Cop: Axel F (2024)The biggest surprise of 2024 might be that there's one person John Landis can't kill despite his best efforts: Axel Foley. Join us as we dig into the Beverly Hills Cop franchise, crown Eddie Murphy the king of on-screen improv, unpack what makes part three so bad, and figure out if Eddie has still got it 30 years later.Donate to Palestinian Medical Aid Support Optimism Vaccine on Patreon

Watch on Youtube: youtube.com/watch?v=haeDapDpuhk Vik4S presents a new original music ' Ice Cream Thief'. Hope you enjoy listening it. Join the fun with "Ice Cream Thief: Crazy Frog's Dance Bonanza"! Watch as Crazy Frog takes an ice cream cone from a kid and dances his way through an action-packed chase. From energetic dance moves to hilarious escapades, this official music by Vik4S is sure to keep you entertained from start to finish. Will the kids and police catch Crazy Frog? Find out in this frogtastic adventure! Featuring upbeat, catchy tunes reminiscent of the iconic Crazy Frog dance song, this video is perfect for all ages. Don't forget to like, share, and subscribe for more fun-filled adventures with Crazy Frog and music by Vik4S! #CrazyFrog #DanceBonanza #IceCreamThief #Frogtastic #DanceParty #FunnyVideo #IceCreamAdventure #KidsFun #CatchTheFrog #Vik4S Listen or Download Vik4S Original Music- Spotify: open.spotify.com/artist/4rPNyW...Ug9n8D3xw9NYHuH Beatport: beatport.com/artist/vik4s/1192096 Website: djvik4s.com

What is your favorite song by The Hives? Mine is Buttertooth Jimmy (With His Big Crackling Box Mod Vape). Do you know about the secret Property Brothers who are the Serbs in Nelk? Crazy Frog is called C-Frog now and he drinks Nemo's Nutcracker. Scotsmen are the greediest race.   Bonus episodes and videos at https://www.patreon.com/ChapoFYM

Subscriber-only episodeGot a question/comment? Send it to me!E284:

Fredag!!! I dag blir det en snällt men naggande gott avsnitt. Det blir bolaget-nostalgi, dokusåpakändisar, gröna lunds damtoaletter och en hel del svärföräldrar. Har du ett skvaller som fler borde få höra? Maila det till kafferepetpod@gmail.comMissa inte vår månatliga systerpodd Cigarrummet. Bli prenumerant på www.underproduktion.se/cigarrummet7:10 - En capricciosa 11:00 - Tysk logik13:33 - Styrelsemötet17:32 - Magsjukan21:11 - Grannsamverkan with a vengance26:00 - Rim till svärmor33:10 - Samtal från helvetet39:21 - Anonym kafferepet-historia50:07 - Den otrolige Harry Hosted on Acast. See acast.com/privacy for more information.

Avec Eleonore Costes et Nicolas Berno. Présenté par Florent Bernard et Adrien Ménielle. On en parle de choses dans cet épisode : d'être énervé en voiture, de technologie du passé, de tatous, de bippers, de post-it, du retour d'Edith Piaf, de Crazy Frog, d'abeilles sympas, d'être joueur, et surtout de BD."NOUS, LES LEROY », toujours au cinéma : https://nouslesleroy-lefilm.com/Tu peux nous laisser des bonnes notes sur ta plateforme d'écoute et/ou en parler autour de toi, le bouche-à-oreille, c'est toujours chanmé ! Bises,Flo. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

This week, Mike and Matt talk about a man creating an event of eating cheeseballs in front of a New York City crowd, and Matt shares about a pop culture icon who has been keeping a secret for over 40 years but was right in front of us all along. MERCH: https://store.streamelements.com/funnybusinessen FOLLOW US Beacons: https://beacons.ai/funnybusinesspod Facebook: https://www.facebook.com/funnybusinesspod Instagram: https://www.instagram.com/funnybusinesspod/ Twitter: https://twitter.com/funnybusinesspod Twitch: https://www.twitch.tv/funnybusinesspod YouTube: https://www.youtube.com/channel/UCwA7LU4-jps613RuewhWWDg/featured Note: The opinions expressed in this show are the hosts' views and not necessarily those of any business or organization. The podcast hosts are solely responsible for the content of this show. FUNNY BUSINESS A podcast where Mike and Matt share internet stories or news that should be important to you. You'll hear about strange news and personal experiences, and every once in a while, Mike will quiz Matt on some of the oddest things he can find. We'll also dive into some of our original segments, like describing some of our strangest stories, debating if soccer is more boring than golf, and even talking about our feelings, as every man should. Funny Business is a podcast run by Mike and Matt, two friends who met at college and decided to start this project during the pandemic of 2020. --- Support this podcast: https://podcasters.spotify.com/pod/show/funnybusiness/support

Today's show is brought to you by Ricki's elbow parmesan. Let's get into today's show: Reuben from Y.O.G.A. drops by to play his new single 'Rodeo' and hints a collab with Jimmy Barnes is in the works! He verses Ricki-Lee and will she finally have her FIRST LOSS OF THE YEAR?! It seems like our producers were in full nostalgia mode today because wow, so many throwback moments are on the show talking about things like Speed, Armaggedon, Crazy Frog and Sister Act. Btw, you should hear at how much money the Crazy Frog ringtone made! Our audio genius Dan made the most hectic mashup of Shaboozey and J-Kwon with their 'Tipsy' song. You definitely wanna check this one out.  Enjoy the Orgasmatron of a show! Let's do it.See omnystudio.com/listener for privacy information.

We're talking Relic Ringtones here. In the height of of its fame, The Crazy Frog made a COLOSSAL amount. Find out about it now! Listen live on the Nova Player.Follow us on Facebook, Instagram & TikTok.See omnystudio.com/listener for privacy information.

Podcast for a deep examination into the career and life choices of Eddie Murphy & Jim Carrey. After getting kicked down enough times, Patrick finally learns a hard life lesson. Joe throws his hat into the political ring to keep a worse threat out of the limelight. Lev finds an age-reversal cream. Does it actually work or is it merely a wonton advertisement campaign? Find out on this week's episode of 'What the Hell Happened to Them?' Email the cast at whathappenedtothem@gmail.com Disclaimer: This episode was recorded in April 2024. References may feel confusing and/or dated unusually quickly. 'Beverly Hills Cop' is available on DVD, Blu-ray, & 4K (the whole trilogy in one actually): https://www.amazon.com/Beverly-Hills-3-Movie-Collection-Blu-ray/dp/B07ZLKW1RY/ref=sr_1_3?crid=2B0HKT56OM96P&dib=eyJ2IjoiMSJ9.-_cPKCZ6ZQI4vFVIzwNkKypQq36U9NybHbVJMVeihy37YbfeobIdg6Tfd8OIlkL4buXhQUAjlL3PY0JPI-jl6l1fd-0HuVN7wPv_JTjSPzL_6g7ONtSEzfxJ3G5O6NEc7ysavoSuaBry8EggPIAZhEYa6Co4xS6IVzlz0kC7gGB7H7DMp1NCmE4eF4FD9zBFXh3d30BUqDEnQ64dp6QJh0vlPuDy_MDPVUhyGk2zMYk.Zd4bI8opTXCI1-rChgypVm1pfaQqBO8mxuAR7Tf389o&dib_tag=se&keywords=beverly+hills+cop&qid=1712620522&sprefix=beverly+hills+cop%2Caps%2C129&sr=8-3 Music from "Axel Foley" by Crazy Frog and "Money for Nothing / Beverly Hillbillies" by 'Weird' Al Yankovic   Artwork from BJ West   quixotic, united, skeyhill, vekeman, murphy, carrey, versus, vs, beverly, hills, cop, stalone, rock, johnson, wrestling, anders, 90s, nineties

This week I chat with the awesome British musician, Marc Gallagher about:Memorising songs easily - he has over 700 learnt off by heart!His numerous collabsPerfect Pitch - how he found out he had it, how he puts it to good use, and why it's a blessing and a curseHow many different instruments he playsAttending GNUF as a teenage sound engineer and stealing the show at an open mic setBeing proud to be an openly bi musician, and how that effects his musicMinorities in the ukulele world, and trying to eradicate hate speech in musicReceiving negativity for being open about his sexuality Starting the ukulele at 11 to learn the Crazy Frog theme!Why he'd rather play Led Zeppelin than George FormbyWriting and recording his own music - and his nightmare debut performance at a school talent showAnd much, much more!If you have any thoughts, comments or guest suggestions for the show please send me a message to UkeTeacher@GrabYourUke.com---Ukulele Tales is sponsored by Kala Brand Music! For a 10% discount on anything on the Kala website, just click on my special link!---Check out my Patreon page to help support the podcast and get access to lots of backstage info and bonus material!LINKS:Kala Brand Music: https://kalabrand.com/uketeacher for a 10% discount on any Kala products.Marc Gallagher:Website: https://www.marcgallaghermusic.com/Facebook: https://www.facebook.com/marcgallaghermusicInstagram: https://www.instagram.com/marcgallaghermusicUkulele Tales:Website: http://www.UkuleleTales.comInstagram: https://www.Instagram.com/UkuleleTalesFacebook: https://www.facebook.com/TheUkuleleTeacher Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

We revisit the not-WW1 anime The Saga of Tanya the Evil. Episodes 4-6. We also talk about GBBW, war nerds, seasonal colors, high altitude sickness, crazy frog, and Napoleon. | Rate us nicely on Apple Podcasts | Support us on Patreon | Follow us on Twitter | Subscribe to us on YouTube | Join the fan Discord --- Send in a voice message: https://podcasters.spotify.com/pod/show/jjbpod/message

0:00:05 - Kevin McKay x Yeah Yeah Yeahs - Work (Dessert Blend) 0:00:22 - KANTA - Work 0:00:52 - Stefy De Cicco x Fresh Mode - Funky Beat (Main) 0:01:44 - Royale (BR), CityBoyz - Dope 0:02:02 - Coi Leray - Players 0:02:31 - Disorder, Kohen - Okay (I Don't Mind) 0:03:20 - G-Pol & Kapuzen - All Night 0:04:33 - Ivanstein - Anda Pues 0:05:00 - Lum!X, Alida - Forget You (Feat. Gabry Ponte) 0:05:32 - HUB, Almanac, CityBoyz - Mess 0:06:02 - Riton & Kah-Lo - Fake ID (CHANYE Remix) 0:06:59 - iLLzone - illest 0:07:30 - Rihanna vs. Dom Dolla - Umbrella 0:08:30 - Disclosure - Latch Baile (Crankids x Ravekings Mashup) 0:09:13 - Flyn, KAØS, Ohnuma Music - Funk Swing 0:10:14 - Groove Cartel - Back And Forth 0:10:42 - Hooders - BODY 0:11:14 - Seagma & BALD vs David Guetta feat. Kid Cudi - Feel This Memories (Seagma Mashup) 0:11:42 - Twowelve - Baile 0:11:58 - Katy Perry feat Juicy J - Dark Horse (Acapella) 0:12:27 - Sevek, Jake Tarry - Bang Bang 0:13:12 - FTampa & The Otherz - Pega Pega 0:13:45 - Shaw - It's Time 0:14:26 - Twoloud, Stupid Goldfish - Lose Control 0:15:10 - Crazy Frog vs BLVD & Henry Fong - Axel F (Even Steve Salud Remix) 0:15:53 - Lost Capital - Not A Bad Idea 0:16:38 - NOT AFRAID & Friends Vol.8 Ft.ElementZ - 3 BAILE (EZ BALLIE Mashup) 0:18:00 - SpeacSpaker - Haozi Remaster 0:19:14 - San Pacho - As Long As We Got House 0:20:25 - Remady P&R - No Superstar (Swartchback Remix) 0:20:40 - Mari Ferrari - Sector C 0:20:59 - I Want It - I Want It 0:21:35 - CAZZE - Hypnotize 0:22:13 - Major Lazer DJ Snake - Lean On (Malaa Remix) 0:22:42 - Guilc x Royale BR - Don't Come Back 0:23:44 - Super Mario Bros - Underworld (Fox'd Up) 0:23:54 - Tiesto feat. Michel Zitron - Red Lights (Acapella) 0:24:30 - Valy Mo, BLOTE - Shine 0:24:55 - Dimitri Vegas, David Guetta, Nicole Scherzinger, Azteck - The Drop (Ape Rave Club Remix) 0:26:24 - Morse - Gucci 0:27:08 - JOXION - Underground 0:27:23 - Lumberjack - We Rolling (Acapella) 0:28:04 - Madonna - La Isla Bonita (Pajane Remix) 0:28:50 - COFFIN - Abyss 0:29:15 - Bingo Players - Devotion (Odd Mob Remix) 0:29:43 - Plastik Funk & Esox - Until The Bassline Drops 0:29:58 - Frankie Steel x Sebastian Ingrosso, Tommy Trash - Reload (Gin & Sonic & WILLO Remix) 0:30:13 - Tujamo Feat. Kid Ink - Drop That Low (When I Dip) 0:30:41 - Coffin - Murky 0:31:27 - Major Lazer x Alok x Quintino - Light It Up x Party Never Ends (Lenox Mashup) 0:32:13 - HANGTYME - Beware (Turn My Music High) 0:32:48 - Douth! - Brass Power 0:33:02 - Dimitri Vegas & Like Mike ft. Ne-Yo - Higher Place (Studio Acapella) 0:33:30 - Droopping - Never 0:34:09 - Volt State - Sandcastles (Acapella) 0:34:24 - HUB, Gabzy, Carlos Colleen - Latina 0:34:55 - The White Stripes x Evokings, BYOR - Seven Nation x Say Yes 0:35:38 - Shaw X Netwerk - Mental Reset 0:36:06 - Hardwell ft. Chris Jones - Young Again (Studio Acapella) 0:36:38 - ASTRAY FRAME - Burnin' Up 0:36:59 - BILLO, COZMOS, ill.45 - Old School 0:37:43 - Charles B, JDMAJ feat Genesis Elijah - London Flow 0:38:00 - Dashi - Everyday 0:38:14 - Gloria Estefan - Conga 0:39:02 - Douth! - Your Vibe 0:39:32 - Fahjah - All The People (Main) 0:39:40 - Tiesto feat Matthew Koma - Wasted (Acapella) 0:40:30 - Macklemore - Cant Hold Us (Collini Remix) 0:41:17 - Benasis - After Hours 0:41:58 - Quad City Dj's - Space Jam (Twolate, Merk & Kremont Remix) 0:42:31 - Hysterism & Syndel - Reborn in Time 0:43:21 - Aeron Kellan - Turn It Up 0:44:20 - HUB, Holt 88, Almanac - Party Cake 0:44:35 - Avicii - Levels (Acapella) 0:45:04 - Delayz - Never Miss the Water 0:45:19 - No Doubt vs. Chris Lake & NPC - Hella Good 0:46:48 - RYZE - Do It Like That 0:47:17 - Ship Wrek vs Tim Berg - Silent Bromance (Luke DB Mash Up Mix) 0:48:02 - Spice Girls - Wannabe 0:48:16 - Jasted & Spyke - Come Dance 0:48:50 - BYOR & Vinne vs. David Guetta - Downtown x When Love Takes Over 0:50:29 - Hnry - Never Stop 0:51:01 - Warner Case & Bhaskar - Do My Own Thing 0:51:35 - SALADIN & GOLD - DIGGER Chicago 0:51:45 - Kesha - Die Young (Studio Acapella) 0:52:16 - Chris Lorenzo - Pump 0:52:46 - Chris Brown - Run It (Airbenders Remix) 0:53:30 - Grimzy - Funky Pillz 0:53:45 - DJ Kuba & Neitan x Nogun - Sweat 0:54:44 - Outwork ft. Mr Gee - Elektro (Silque Remix) 0:55:14 - Meduza vs Shadow Child - Tell Me Space Riot (Alex Guesta Mashup) 0:57:28 - Playboi Carti - Magnolia

Let's dive into an invigorating journey with the Sunrise Spin: 6 AM Beats at CycleBar Mix. The perfect tone for a day of triumph of vitality. An excellent selection for fitness that will awaken both body and soul 0:00:05 - Kevin McKay x Yeah Yeah Yeahs - Work (Dessert Blend) 0:00:22 - KANTA - Work 0:00:52 - Stefy De Cicco x Fresh Mode - Funky Beat (Main) 0:01:44 - Royale (BR), CityBoyz - Dope 0:02:02 - Coi Leray - Players 0:02:31 - Disorder, Kohen - Okay (I Don't Mind) 0:03:20 - G-Pol & Kapuzen - All Night 0:04:33 - Ivanstein - Anda Pues 0:05:00 - Lum!X, Alida - Forget You (Feat. Gabry Ponte) 0:05:32 - HUB, Almanac, CityBoyz - Mess 0:06:02 - Riton & Kah-Lo - Fake ID (CHANYE Remix) 0:06:59 - iLLzone - illest 0:07:30 - Rihanna vs. Dom Dolla - Umbrella 0:08:30 - Disclosure - Latch Baile (Crankids x Ravekings Mashup) 0:09:13 - Flyn, KAØS, Ohnuma Music - Funk Swing 0:10:14 - Groove Cartel - Back And Forth 0:10:42 - Hooders - BODY 0:11:14 - Seagma & BALD vs David Guetta feat. Kid Cudi - Feel This Memories (Seagma Mashup) 0:11:42 - Twowelve - Baile 0:11:58 - Katy Perry feat Juicy J - Dark Horse (Acapella) 0:12:27 - Sevek, Jake Tarry - Bang Bang 0:13:12 - FTampa & The Otherz - Pega Pega 0:13:45 - Shaw - It's Time 0:14:26 - Twoloud, Stupid Goldfish - Lose Control 0:15:10 - Crazy Frog vs BLVD & Henry Fong - Axel F (Even Steve Salud Remix) 0:15:53 - Lost Capital - Not A Bad Idea 0:16:38 - NOT AFRAID & Friends Vol.8 Ft.ElementZ - 3 BAILE (EZ BALLIE Mashup) 0:18:00 - SpeacSpaker - Haozi Remaster 0:19:14 - San Pacho - As Long As We Got House 0:20:25 - Remady P&R - No Superstar (Swartchback Remix) 0:20:40 - Mari Ferrari - Sector C 0:20:59 - I Want It - I Want It 0:21:35 - CAZZE - Hypnotize 0:22:13 - Major Lazer DJ Snake - Lean On (Malaa Remix) 0:22:42 - Guilc x Royale BR - Don't Come Back 0:23:44 - Super Mario Bros - Underworld (Fox'd Up) 0:23:54 - Tiesto feat. Michel Zitron - Red Lights (Acapella) 0:24:30 - Valy Mo, BLOTE - Shine 0:24:55 - Dimitri Vegas, David Guetta, Nicole Scherzinger, Azteck - The Drop (Ape Rave Club Remix) 0:26:24 - Morse - Gucci 0:27:08 - JOXION - Underground 0:27:23 - Lumberjack - We Rolling (Acapella) 0:28:04 - Madonna - La Isla Bonita (Pajane Remix) 0:28:50 - COFFIN - Abyss 0:29:15 - Bingo Players - Devotion (Odd Mob Remix) 0:29:43 - Plastik Funk & Esox - Until The Bassline Drops 0:29:58 - Frankie Steel x Sebastian Ingrosso, Tommy Trash - Reload (Gin & Sonic & WILLO Remix) 0:30:13 - Tujamo Feat. Kid Ink - Drop That Low (When I Dip) 0:30:41 - Coffin - Murky 0:31:27 - Major Lazer x Alok x Quintino - Light It Up x Party Never Ends (Lenox Mashup) 0:32:13 - HANGTYME - Beware (Turn My Music High) 0:32:48 - Douth! - Brass Power 0:33:02 - Dimitri Vegas & Like Mike ft. Ne-Yo - Higher Place (Studio Acapella) 0:33:30 - Droopping - Never 0:34:09 - Volt State - Sandcastles (Acapella) 0:34:24 - HUB, Gabzy, Carlos Colleen - Latina 0:34:55 - The White Stripes x Evokings, BYOR - Seven Nation x Say Yes 0:35:38 - Shaw X Netwerk - Mental Reset 0:36:06 - Hardwell ft. Chris Jones - Young Again (Studio Acapella) 0:36:38 - ASTRAY FRAME - Burnin' Up 0:36:59 - BILLO, COZMOS, ill.45 - Old School 0:37:43 - Charles B, JDMAJ feat Genesis Elijah - London Flow 0:38:00 - Dashi - Everyday 0:38:14 - Gloria Estefan - Conga 0:39:02 - Douth! - Your Vibe 0:39:32 - Fahjah - All The People (Main) 0:39:40 - Tiesto feat Matthew Koma - Wasted (Acapella) 0:40:30 - Macklemore - Cant Hold Us (Collini Remix) 0:41:17 - Benasis - After Hours 0:41:58 - Quad City Dj's - Space Jam (Twolate, Merk & Kremont Remix) 0:42:31 - Hysterism & Syndel - Reborn in Time 0:43:21 - Aeron Kellan - Turn It Up 0:44:20 - HUB, Holt 88, Almanac - Party Cake 0:44:35 - Avicii - Levels (Acapella) 0:45:04 - Delayz - Never Miss the Water 0:45:19 - No Doubt vs. Chris Lake & NPC - Hella Good 0:46:48 - RYZE - Do It Like That 0:47:17 - Ship Wrek vs Tim Berg - Silent Bromance (Luke DB Mash Up Mix) 0:48:02 - Spice Girls - Wannabe 0:48:16 - Jasted & Spyke - Come Dance 0:48:50 - BYOR & Vinne vs. David Guetta - Downtown x When Love Takes Over 0:50:29 - Hnry - Never Stop 0:51:01 - Warner Case & Bhaskar - Do My Own Thing 0:51:35 - SALADIN & GOLD - DIGGER Chicago 0:51:45 - Kesha - Die Young (Studio Acapella) 0:52:16 - Chris Lorenzo - Pump 0:52:46 - Chris Brown - Run It (Airbenders Remix) 0:53:30 - Grimzy - Funky Pillz 0:53:45 - DJ Kuba & Neitan x Nogun - Sweat 0:54:44 - Outwork ft. Mr Gee - Elektro (Silque Remix) 0:55:14 - Meduza vs Shadow Child - Tell Me Space Riot (Alex Guesta Mashup) 0:57:28 - Playboi Carti - Magnolia

This week on Toilet Radio: 
Zoomers pine for the days of ringtone rap - did you know why ringtones are no longer as popular? Joe explains how the government actually shut that shit down. / Super Bowl but WHERE METALLICA BUHHH / Kanye's Lords of Chaos era sucks / Meeting unironic Nickleback fans / Kerry “Burger” King's new solo music sounds exactly like you think it does, gets press at the expense of lifelong friends / Ink-Carceration is back to punish Ohioans for the crime of living in Ohio / Look, man, not every episode is gonna be good. Like this show? Want more? Get hundreds of hours of exclusive content over at the Toilet ov Hell Patreon. Music featured on this ‘sode:  Hartlight – Bound to Eternity This program is available on Spotify. It is also available on iTunes or whatever they call it now, where you can rate, review, and subscribe. Give us money on Patreon to get exclusive bonus episodes and other cool shit.

The theme song for our podcast. YOU DON'T GET IT. Song Writer attributed to "Crazy Frog"

Hello! On today's all new full episode of PCMC, Mike is joined, once again, by Janine. Together they dish on pop culture news, review new movie trailers, and confess their current media obsessions. Topics in today's show: Pixar movies in theaters, Andor action figures, Alamo Drafthouse, Mickey in the public domain, "Mickey's Mouse Trap," "Beverly Hills Cop: Axel F," "Ultraman: Rising," Crazy Frog, Hilda, Wish, Paul Riser, Trolls, The Boy and the Heron, Robert Pattinson's couch, Mad Max, and much, much more! Find us @PCMCpod everywhere.

It's the series finale! Alfie and Fionnán go off-script and reflect on the year and the podcast so far. The lads chat about everything from the real Crazy Frog story to Taylor Swift's lyrics but don't worry; it's not all Christmas cheer! Alfie tells us about his experience as a performer at Christmas time and the reason Hudson Taylor Whelan's Christmas tradition came to an end.https://linktr.ee/howtobreakanartist Hosted on Acast. See acast.com/privacy for more information.

Nick welcomes writer/producer/journalist/filmmaker Amy Guth (who is also the host of Crain's Daily Gist podcast) to the podcast to talk about her latest adventures in L.A., how weird the holidays are out there, and she also talks about a project that imploded (thanks to a certain celebrity), the end of "mentorship," and reflections on the business stories of 2023. Then, Esmeralda Leon and Nick discuss spending time in hospitals, the history of the cell phone, the annoying memories of "Crazy Frog," great prank calls, the technical marvel of call waiting, and using the term "tootaloo" when saying goodbye at the end of a conversation. [Ep203]

Zurück aus dem Disneyland für Erwachsene packen die Twins Storys aus, wie sie Hunter S. Thompson für Fear and Loathing in Las Vegas nicht besser hätte schreiben können. Doch ähnlich wie die Protagonisten seiner Geschichte sehen auch Bill und Tom ein, dass diese Stadt, so schön sie mit all ihrem Futurismus und Bling Bling auch sein mag, mit Vorsicht zu genießen ist. Nun scheint der Hung Over überwunden zu sein und die beiden lassen sich von der vorweihnachtlichen Stimmung hinreißen, in der Vergangenheit zu schwelgen. DVD Mappen, Crazy Frog und Britt der Talk. Die Millennials unter euch wissen Bescheid. Also macht's euch gemütlich, schlürft Rotwein aus der Teetasse und genießt eine Reise durch die Zeit. - Cheers! Alle weiteren Infos rund um den Podcast, Updates und Werbepartner findet ihr hier: www.instagram.com/kaulitzhills.podcast/ Learn more about your ad choices. Visit podcastchoices.com/adchoices

Geoff, Gavin, and Andrew talk about Poymel secretions, the impending anal waxing, exploding head syndrome, making a sleep soundtrack, spinoff podcasts, Crazy Frog's dick, Nick's feet, life changing sandwiches, the guy in a puffy NFL jacket drenched in soda, Gavin's belly button shot, dream laughter, shredded food, Big Bite, bacon butty, the regulation sandwich, the jack hammer, Andrew's warehouse days, the party gurpler, living in cat breath, head measurements, and more.  Subscribe to the LetsPlay channel https://www.youtube.com/channel/UCkxctb0jr8vwa4Do6c6su0Q. Sponsored by BetterHelp http://betterhelp.com/face, Katos Coffee http://katoskoffee.com Code FACE10, and Nuts.com http://Nuts.com/face. Learn more about your ad choices. Visit megaphone.fm/adchoices

No need to wait until the end of this episode to know that this is the lowest rated song that we've covered to date. Come and hear our chat about this track, now! Hosted by @sliiiiip and @megamixdotcom, the Super Hits Podcast reviews a different retro single each episode! We're on all of the usual podcast platforms, so come find us. Come and give us a 5-star review! To correct us if we miss a fact or get something wrong, to request a single, or to just say hello, hit us up at superhitspodcast@gmail.com Here's our website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://megamixdotcom.com/super-hits/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Here's our Twitter: @SuperHitsCast Here's our Instagram: @SuperHitsPodcast You can also find playlists for all of the songs we've covered on ⁠⁠⁠⁠Spotify⁠⁠⁠⁠ and Apple Music. Just search for Super Hits Podcast Playlist! --- Send in a voice message: https://podcasters.spotify.com/pod/show/superhitspodcast/message

Tom and Eddy join me for another episode of the DMP. 0:00 Gal fight  2:36 Surfing 8:33 Bamboo  19:20 Do not disturb feature  26:59 Dragons after Joey Manu 37:56 Jack Wighton and Latrell Mitchell case thrown out  43:02 Jarome Luai  53:22 AFB requests release 1:00:46 Internationals

Dunc's been loving Tik Tok Helluva yarn from Steve in England (cheers big herb!) Crazy Frog's d*ck See omnystudio.com/listener for privacy information.

Why was the Crazy Frog so crazy? An Investigation.  Ask Alex. Our New Tattoo Shopping List for Australia's Loosest Bloke. If you've got something to add to the show, slide into our dm's @Matt.and.Alex   See omnystudio.com/listener for privacy information.

The BoH babys are BACK with a brand-new episode covering a scattershot grab-bag of extremely important topics! First of all, we're officially announcing that we will be covering The Golden Bachelor when it begins airing in the US at the end of September. We also detail some BoH-adjacent books and music we've been enjoying, dig into a red-hot crematorium scandal, and try and determine where 90s hitmakers The Offspring stand on trans rights. Plus, we catch up on recent weddings, product launches, and comings-out (both closet and implant).

With the chorus of cell phones belting out staticky Chinese pop songs and Crazy Frog remixes, identifying your ring tone can be a challenge, at best. In this podcast, learn how to identify whose phone is ringing, in Mandarin, and save your already half-deaf ears from the mad cacophony. Or, better yet, put on the vibrator alert. It makes for a nice back pocket massage. Episode link: https://www.chinesepod.com/0672

With the chorus of cell phones belting out staticky Chinese pop songs and Crazy Frog remixes, identifying your ring tone can be a challenge, at best. In this podcast, learn how to identify whose phone is ringing, in Mandarin, and save your already half-deaf ears from the mad cacophony. Or, better yet, put on the vibrator alert. It makes for a nice back pocket massage. Episode link: https://www.chinesepod.com/0672

This week, we're bopping our heads through the last weeks of summer— to the tune of Eurodance! We reflect on the high BPM European dance music that soundtracked the ‘90s and 2000s, from hits like “Barbie Girl” and “I'm Blue” to CGI-characters-turned-chart-toppers like Gummibär and Crazy Frog. We discuss the controversy around Sweden's supremacy in music production, Eurodance aesthetics as a blueprint for Mass Bushwick, the Euro-exoticism of Albanian pop stars, and more.Links:Image board'Why Don't We All Go Bonkers?' – The Rise and Fall of Happy HardcoreSNAP! – Rhythm is a Dancer Albanian pop star conspiracy Twitter threadGreen Day's Anti-Sweden billboardFlat Pack Pop: Sweden's Music Miracle – BBC Why Backstreet Boys 'I Want It That Way' Lyrics Are so ConfusingThe Soviet Spy Who Invented the First Major Electronic Instrument – Smithsonian MagazinePlanet of the Bass Official Music VideoThe Eurodance EncyclopediaFreestyle Disco Dancing Championship This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.nymphetalumni.com/subscribe

This week, we're bopping our heads through the last weeks of summer— to the tune of Eurodance! We reflect on the high BPM European dance music that soundtracked the ‘90s and 2000s, from hits like “Barbie Girl” and “I'm Blue” to CGI-characters-turned-chart-toppers like Gummibär and Crazy Frog. We discuss the controversy around Sweden's supremacy in music production, Eurodance aesthetics as a blueprint for Mass Bushwick, the Euro-exoticism of Albanian pop stars, and more.Links:Image board 'Why Don't We All Go Bonkers?' – The Rise and Fall of Happy HardcoreSNAP! – Rhythm is a Dancer Albanian pop star conspiracy Twitter threadGreen Day's Anti-Sweden billboardFlat Pack Pop: Sweden's Music Miracle – BBC Why Backstreet Boys 'I Want It That Way' Lyrics Are so ConfusingThe Soviet Spy Who Invented the First Major Electronic Instrument – Smithsonian Magazine  Planet of the Bass Official Music VideoThe Eurodance EncyclopediaFreestyle Disco Dancing Championship

Popcorn Pals interviews co-directors, Danny & Michael Philippou about their debut feature film, Talk to Me. The Australian twins are best known as online global sensations Rackaracka, with more than 1.5 billion views on YouTube. In our chat, the first time filmmakers share that there is nothing scarier than a teenage house party, how they had to fight to keep the Crazy Frog song in their film, what happened to the person who made the embalmed hand prop, and their surprising suggestions for how to market their film. All this and so much more in this very special episode of Popcorn Pals.Popcorn Pals is a Popcorn Podcast with Leigh and Tim spin-off series.Watch Popcorn Pals interview with Talk to Me directors Danny & Michael Philippou on YouTube: https://youtu.be/4g9kW3f4KLcKnow someone who loves movies? Please share Popcorn Podcast with your friends.Visit popcornpodcast.com for more movie reviews, celebrity interviews and news.Popcorn Podcast interviews the biggest stars, including Hugh Jackman and more, on YouTube: Popcorn Podcast Hosted on Acast. See acast.com/privacy for more information.

While Abbie is resting up and preparing for an EPIC episode next week, here's a mashup supercut of three Nightmare Fuels that had Abbie in stitches. You'll hear about Oscar's boat shoe, an intense Crazy Frog car chase, and a root on a rock. Enjoy! Supercut 1: "And That's The Last Boy I Slept With" A Nightmare Fuel with Allira Potter. Listen to the full episode here Supercut 2: "All Of A Sudden, High Beams Flash Into The Car..." A Solo Nightmare Fuel. Listen to the full episode here Supercut 3: "On The Rock: Just Me and My Pussy" Nightmare Fuel with Carla From Bankstown. Listen to the full episode here LINKS Review the podcast on Apple Podcasts https://bit.ly/ial-review  Follow the podcast @itsalotpod on IG  Email your own voice memos for Nightmare Fuel to hello@itsalotpodcast.com  Access this episode's transcript here  CREDITS  Host: Abbie Chatfield @abbiechatfield Guest: Allira Potter @allirapotterGuest: Carla from Bankstown @carlafrombankstownExecutive Producer: Lem Zakharia @lemzakhariaCo-Creative Producer: Oscar Gordon @oscargordon Social and Video Producer: Amy Code @amycode . Managing Producer: Sam Cavanagh  Find more great podcasts like this at www.listnr.com/See omnystudio.com/listener for privacy information.

Stand-up comic and SNL star Eddie Murphy broke out on the big screen in Eighties movies like 48 Hrs and Trading Places, but his biggest box office successes came while playing Axel Foley, a street-smart Detroit detective as a fish-out-of-water in Beverly Hills, California. Produced by Jerry Bruckheimer and Don Simpson, the first two films were huge hits commercially and critically, and while the third film (directed by John Landis) was panned, it still brought in enough to put the franchise over $700 million at the box office. Oh, and the movie brought us the tune made famous by Crazy Frog. We're wrapping up a month of Eighties classics with Beverly Hills Cop!   For more geeky podcasts visit GonnaGeek.com   You can find us on iTunes under ''Legends Podcast''. Please subscribe and give us a positive review. You can also follow us on Twitter @LegendsPodcast or even better, send us an e-mail: LegendsPodcastS@gmail.com   You can write to Rum Daddy directly: rumdaddylegends@gmail.com You can find all our contact information here on the Network page of GonnaGeek.com Our complete archive is always available at www.legendspodcast.com, www.legendspodcast.libsyn.com

Charlie met Nicky Winmar and they might be best friends, Crazy Frog joins the podcast to co-host for a segment, are the guys from AFL 360 stealing gear from our show??? And after a loss to Essendon on the weekend at the Dreamtime game... is Richmondy back?See omnystudio.com/listener for privacy information.

Matthias Wagner learned early in his career that not everything is like an engineering “marketing video…all so streamlined and perfect.” Sometimes you have to dive into a project with no documentation and no roadmap and “figure it out now.” That fearless, can-do attitude has led him on a circuitous and amazing route into, out of, and now back into the electronics world where he is leading Flux as they try to remake the PCB design flow.  While others have previously tried and failed, Wagner recognized that many of these were “too small of dreams to make any meaningful change…you just need to start from scratch.” And yeah, that's scary. And it's a lot of work, don't get me wrong, it's very hard. But then what else were you going to do with your time that was worthwhile? One of Wagner's career pivots was out of the electronics industry and into the music industry. In this fascinating interview, Wagner reflects on that decision and states, “that was a really dumb idea at the time, but I made it work.” And, boy, did he ever! During his foray into the music industry, Wagner's work sold over 1 billion units across the globe and was honored with platinum and gold records. His song, Axel F by Crazy Frog, has nearly 3.8 billion (yes, billion with a b) views on YouTube. And we haven't even mentioned his experiences developing energy systems for Burning Man that then lead to working at Facebook on products with billions of users. You will just have to listen to hear about those. And, after listening to this episode, you might be inspired to “give yourself permission to dream big dreams.” Other highlights from this Moore's Lobby interview with Matthias Wagner include: -Why hardware engineers are jealous of software developers -The competition between hard core gamers and general users when developing Oculus -What the PCB and electronics industry can learn from developments in the music industry -Learning how to run a business by NOT running a business

Today's episode is a two-parter. Part 1 is on Spotify and YouTube's billion streams and views playlists. After reviewing both lists, there's a lot to learn about the streaming era and the strategy for both platforms respectively. I broke it all down with Tati Cirsiano, a music analyst at MIDiA Research.Spotify's list is more reflective of passive consumption. Spotify's top-performing songs are more correlated with radio hits than YouTube, which is a more active consumption experience.YouTube's Billion Views Club has more international stars than Spotify. With streaming continuing to grow across the world and plateauing in the United States, YouTube's list more reflects future music consumption. Part 2 is with Glenn Peoples from Billboard. We talk about its new Global Music Index that takes the publicly traded stocks from the biggest music companies in music to give an overall picture of stock performance for the industry. Here's everything Tati, Glenn, and I covered on the show:[3:03] Immediate takeaways from each Billions Club playlists[5:15] How “meme traffic” impacted both platforms[9:37] Passive consumption vs. active consumption[12:11] International differences between Spotify and YouTube[14:57] The Justin Bieber conundrum [16:36] How Spotify and YouTube enable fragmentation of fandom[21:26] Gym-going and seasonality's impact on streaming numbers[26:14] Short-form videos eventual effect on YouTube streaming[27:55] YouTube vs. Spotify competition intensifying [35:58] MIDiA's upcoming predictions report[38:33] What % of the Global Music index Spotify takes up[39:23] Why music industry stocks fell further than the overall market[46:25] Streaming platforms increasing prices[50:22] What goes into calculating Average Revenue Per User for Spotify[55:23] Spotify's podcast strategy & acquisitions[59:18] How much of Trapital's audience comes from Spotify[1:02:53] Why TikTok should launch it's own streaming service[1:09:39] What Glenn expects 2023 to look likeListen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Tati Cirisano, @tatianacirisano, Glenn Peoples, @theglennpeoples Download The Culture Report here: https://trapital.ck.page/a23b7a6a4aSponsors:MoonPay is the leader in web3 infrastructure. They have partnered with Timbaland, Snoop Dogg, and many more. To learn more, visit moonpay.com/trapitalEnjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapitalTrapital is home for the business of hip-hop. Gain the latest insights from hip-hop's biggest players by reading Trapital's free weekly memo.TRANSCRIPTION[00:00:00] Tatiana Cirisano: Spotify's list is more of an accurate reflection of what the passive majority listens to, whereas YouTube is more of a reflection of what people are actively fans of and actively engaging, which is interesting because that was a question that we asked in our last episode where we were like, how do we measure, like, what are new ways to measure consumption? And I said, well, it'd be interesting if we could actually measure, you know, active consumption versus passive. And now here I'm looking at these two lists, I was like, oh, this is actually potentially an example of that.[00:00:37] Dan Runcie: 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. [00:00:57] Dan Runcie: Today's episode is a two-parter. We normally don't do two-parters, but these topics were so closely linked, it made perfect sense, so we had to do it. The first part of this episode is a conversation I had with Tati Cirisano from MIDiA Research, and we talked about the Billions Clubs. Spotify and YouTube both have their respective playlists that have over a billion streams and views respectively. So we talked about what can we learn from both of these playlists together. What does it tell us about the most popular songs that do well on streaming, but also what can it tell us about these two platforms individually? What are the differences between the two playlists? Are there certain songs that perform better on others versus that and why? And what that means more broadly for the sector, Just given how big these companies are. Second part of the conversation, I talked to Glen Peoples who works for Billboard, and he recently released this Global Music Index, which is a value-based index that takes the publicly traded stocks from many of the biggest companies in music, combines them, and gives us an overall picture of how we can look at the performance of the music industry, at least in the publicly traded companies. Hint, it's been a down year for stocks overall, so nothing too surprising there. But we talk specifically about Spotify, who stock is noticeably in a tougher place, at least from, where it was year to date compared to some of the other companies. So we talked about why that is, what to expect, and more. Really great conversations. Let's start things off with Tati. Hope you enjoy it. [00:02:31] Dan Runcie: All right. Today we have Tati Cirisano back with us from MIDiA Research and we're going to dive into the Billions playlists that are both from Spotify and YouTube. What a fascinating list that's like a tripped-out memory lane, telling you what songs are popular, but also how these lists are different. I feel like they both have somewhere between like 3 to 400 songs, but there's a whole bunch of different trends here. I know that we both have a bunch of notes here, but Tati, I'll start with you. What stuck out to you most when you were looking through these lists? [00:03:03] Tatiana Cirisano: Oh my gosh. So there's so many things. I guess I'll start with the things that stuck out to me that don't have to do with differences, but just stuck out to me in terms of just looking at both. And one was that I felt like there was definitely a dominance of songs and artists from the last decade and maybe even just the last five years, which was interesting to me because there's been such a debate recently about is old music or what we call catalog, which is often not actually old music. But is it sort of cannibalizing new music? Does new music have more to compete with? And that whole argument. So it was interesting to see that there actually weren't that many or weren't relatively as many older songs. I believe the YouTube Billion Views Club had, like, one song from the 70s. It makes more sense with YouTube. And I think YouTube had even more dominance with more recent songs. And that kind of makes sense because if it's visual-based, maybe some of these songs we don't have the music videos, or maybe they're not as good. But I thought that that was interesting just off the bat from both ways. [00:04:03] Dan Runcie: Yeah, I would agree. I think that YouTube's list did trend much younger, and there's a whole MTV effect of just what music videos look like then and now. But I also feel like what's important is with both Spotify and YouTube, that when these platforms accelerated in growth, a lot of the artists that were releasing music around those times accelerated and growth too. And I feel like I saw some trends there. If I think about YouTube and its rapid growth phase more so in the early 2010s. There were a few songs there that I saw, whether it was like a party rock anthem or songs like that, that streamed really well on YouTube. Still nowhere near a billion streams on Spotify. And I think on the flip side of that, on Spotify, there were a few songs that were in that late 2010s era when Spotify was in its rapid growth phase that weren't on YouTube's playlist. So that was one of those interesting things. Like, for example, I think Drake's song Nice for What, a billion streams on Spotify. It's in the Billions Club, but it wasn't on YouTube's list. And I remember that music video, I think it's at the skating rink and he has, like, Issa Rae and all these people in it. So there was definitely some influence of the platforms too. [00:05:15] Tatiana Cirisano: Yeah. And that reminds me, too, of with the influence of platforms, it felt like, there were, so okay on both platforms. I felt like there were a lot of songs that were driven by, like, a viral hit or a novelty, which kind of just goes to show how embedded music has become in, like, meme culture and social media and just like online culture in general. But it also, like, looking at the differences within that, it felt like, this is like, I mean, you'd need to do more of a real, like, study and look at the actual numbers on this, but just from scrolling over the list, it seemed like, more of the TikTok traffic is going to Spotify. Like, there were a lot of songs that had a billion streams that I just remember being moments on TikTok, like Dreams and the Roses, Imanbek remix, like those songs and many others had passed a billion streams on Spotify, but had not cracked the YouTube list. And then on the flip side, YouTube had a lot of stuff that was more, like, just these, memes about, I'm trying to think of an example, like the Dame tu Cosita song and video, like that. There were actually an abundance of songs on the Billion Views Club for YouTube that were linked to these videos, including Crazy Frog. [00:06:24] Dan Runcie: I saw that. [00:06:25] Tatiana Cirisano: It like that was just, like, that was a moment in time in meme culture that kind of preceded TikTok humor. I don't know, like you can almost track meme culture's impact based on these two platforms lists as well with TikTok driving more traffic to Spotify and sort of the old, almost like Vine humor going more to YouTube. [00:06:45] Dan Runcie: That point makes me think of two things I also saw as well. So I believe the first YouTube video that hit a billion streams was Psy's Gangnam Style. I don't think that song has a billion streams or anywhere close to that on Spotify's list, which I think speaks to your point about just the visual nature of that. And that of course is a pre-TikTok era. The other song I think that lines up with this a bit, and this is because of memes within the music video itself is Nelly and Kelly Rowland's Dilemma music video. That is the most popular YouTube video that Nelly has, and I'm pretty sure that Kelly Rowland likely has too. And it's because of this one scene in the music video where Kelly is texting on this 2002's phone and she has Microsoft Excel open, and that's what she's actually using to text. So they're both, you know, generating money. And Kelly was even talking about an interview semi-recently talking about, I didn't even know what Microsoft Excel was. They just told me to type. But over time, and now we obviously have a different relationship with texting. That type of event can blow up on YouTube in a way that not necessarily going to Spotify. [00:07:54] Tatiana Cirisano: Right. Like, there's an inherent difference in just what you're going to do on these platforms. Like, there's a number of reasons why you might look up a music video on YouTube. Maybe you like the song, maybe there's a celebrity cameo, maybe somebody told you that. It's a crazy, wild video and you're just curious. Like, there's a lot more reasons I think than there are reasons why you would stream a song. So that just by definition kind of opens up a lot of differences in these lists. [00:08:18] Dan Runcie: The other thing, too, that you mentioned earlier was the decades and how YouTube's list only had one song that I think that was before 1980 and there was only a handful even from the 80s and the 90s as well. And while Spotify had a bit more, I still think it was quite less. Last time I looked at Spotify's list, it was less than 10% of the 300-plus songs that were more than 20 years old. And I have to assume YouTube may be even closer to 94-96%. Part of that, I think, as you mentioned, is music videos, but I also wonder is part of it with Spotify having a bit more of a close link to radio play and just things that were popular on the radio at the time. Like for instance, a song like Goo Goo Doll's, Iris, that was on Spotify's list is not on YouTube's list. I don't necessarily think the song had like a memorable music video necessarily, but I think it's the audio of it, it makes people think of, you know, what was that movie that it was in? I'm trying to remember the movie that it was in. It'll come to me, but there was some 90s movie that was in, I'm drawing a blank on it right now. Oh, City of Angels. So it was in that, and then, but I just don't think that people, like, recognized the music video they would like, it wasn't necessarily this big, like TRL hit the way that like a boy band song was. [00:09:37] Tatiana Cirisano: I noticed the same thing where looking over Spotify's list, it felt very much like just a list of every radio hit of the past 10 or 20 years that it was really, really tied to that. And I wonder, like, this kind of brings me to another thing that I wanted to talk to you about with this, which is how my sort of theory with another reason that these are different is that Spotify's list is more of an accurate reflection of what the passive majority listens to, whereas YouTube is more of a reflection of what people are actively fans of and actively engaging, which is interesting because that was a question that we asked in our last episode where we were like, how do we measure, like, what are new ways to measure consumption? And I said, well, it'd be interesting if we could actually measure, you know, active consumption versus passive. And now here I'm looking at these two lists, I was like, oh, this is actually potentially an example of that. And the other reason that came to me is because at MIDiA, we've recently done a report on looking at different types of entertainment and how much of consumption is in the background of another activity versus focused. And YouTube, like, people that watch music videos on YouTube are much more likely to be doing that as a focused activity in the foreground rather than something in the background, which makes sense because it's visual, there's, you know, social features to it, et cetera whereas they're a lot more likely to just put on their Spotify music in the background of something else. So I wonder if that's also part of the reason that Spotify seems to have more of a tie to radio and those songs that were just kind of popular for everyone whereas YouTube is more what are the songs and artists and videos that people are like engaging with.[00:11:09] Dan Runcie: That's a good point. It makes me think, well, on the YouTube side, I'm much more likely to listen to a YouTube playlist run, right? Like, I normally don't do that when I'm watching YouTube. I know YouTube has playlist, but I'm more likely to put a Spotify playlist on, which speaks to that. And I know some of the stuff that you've researched and the team has researched on MIDiA as well, is just this whole nature of probably a bit more on the digital stream provider side, but how to measure active versus passive engagement of, or actually listening to a song. And maybe this is a closer way to get a gauge for that because, you know, especially when these artists have these big week sales that'll come out and we'll see the numbers come through, it would be great to know, okay, how many people said yes, I want to listen to this Taylor Swift song from the Midnights album as opposed to people being like, oh, it just happened to be what's dominating today's top hits or if I'm listening to, you know, the number 50 or the top 50 songs in the US. These are the ones that happen to play. [00:12:11] Tatiana Cirisano: Yeah, yeah. That makes total sense. And I think the other reason why Spotify's list probably is more tied to radio is because it's a lot more, like the user base is less international than YouTube 'cause that was the biggest difference, looking at the two lists was just how few internet, like non-Western artists there were on Spotify's Billions Club versus YouTube's. [00:12:36] Dan Runcie: That stuck out too. And I think YouTube as well also had a list of artists that had the most Billion Views Club songs were and artists like Ozuna were high up on that list. I want to say he had at least 10 videos on YouTube that hit a billion. But on Spotify, it's far less. I think J Balvin was another one too, where there was a big discrepancy there. And yeah, I think the fact that YouTube has had much more of a market share and in general listenership in these regions outside of, you know, US and Western Europe as opposed to YouTube. So maybe part of that, where it's a signal of like, okay, this is where Spotify's clearly trying to grow and has been trying to get more share in. So, like, if Spotify achieved its goal, then it likely would have more of that and vice versa.[00:13:28] Tatiana Cirisano: Right. And then it is YouTube's sort of a more accurate representation of, like, what the music landscape of the future looks like in that way where it will be less dominated probably by Western artists. As you know, streaming sort of infiltrates all these other places. And that is so interesting for, like, the fragmentation conversation that we've been having because it means things are just further fractured and, you know, there's going to be lots of artists and songs on these lists that we've probably never heard of. Like, it was so interesting to me because part of the, like, excitement that I had to do this little project of, like, opening the two and comparing them was, I was excited to be surprised. I was like, I want to see what things are on the list that I'm like, I have never heard of that. Or what is that? How did that end up here? And I did not have that moment once looking at Spotify's playlist. But looking at YouTube's, there were so many videos and so many artists that I just had never heard of, and that was exciting to me. So I wonder how much that's a product of YouTube specifically versus that being what will happen inevitably when streaming is more widespread.[00:14:34] Dan Runcie: And were most of the surprises that you had, were most of them from an international perspective, or were there any Western-based music surprises? [00:14:43] Tatiana Cirisano: That's a good question. There were definitely a handful of Western ones that I can't think of right now, but the majority were probably just artists I'd never heard of or songs, yeah, artists I didn't know anything about that had billions and billions of views. Yeah, I don't know. Let me think about that. [00:14:57] Dan Runcie: Yeah. While you're thinking about that, one thing that stuck out to me was there were certain artists that I think surprised me both in a way of, oh, I thought there would've been more here, or there were actually a bit less here. One artist is Justin Bieber. So I know that Justin Bieber is very popular, but if you would've asked me who were the biggest artists of the 2010s, I probably would name four names, maybe even five names before I named his name. But if you look at, even if you're just looking at Western artists, the artist that is the one with the most songs on Spotify and the one that I believe has the most songs on YouTube as well, Justin Bieber is in the top three of both of those lists. I believe it's at least nine songs on Spotify and at least maybe 10 or so on YouTube. And there's something about that fandom that I didn't necessarily, I mean, I knew that he was huge. I knew that there were so many songs that were quite popular, especially the album that had, like, Sorry, and Love Yourself. Like, that one was huge, but I thought that there were other artists, like for instance, an artist like Beyoncé or even someone like Taylor Swift, who, I don't believe that Beyoncé had a song on the YouTube list at all, or a song that's really close to that. And at least up to now, I don't think that Taylor Swift has a song on Spotify's Billions List. I think that Blank Space will probably get there eventually, but I don't think she has a song this moment that's on that list. So to see the two of them who I think a lot of people largely think are two of the largest musicians in of the past decade, but to see someone like Bieber just have hit after hit on both of these lists, I was like, wow.[00:16:36]Tatiana Cirisano:That's so interesting, the Justin Bieber conundrum of all of this. Okay, I have a couple of thoughts on that. I think, so he was sort of Made on YouTube, right? That's where he started posting clips. That's where he was discovered. And I think something else that this ties into that I wanted to bring up is how, with YouTube, the artists that reach these Billion Views Club, I think probably are more likely to have sort of built a community on YouTube which Justin Bieber did, and that was kind of like the roots of his fandom. So when I was reading YouTube's, like, blog about the Billion Views Club, and there were a bunch of artists' quotes, and a lot of them had to do with the artist saying, you know, like, YouTube was a place to build a community. And Alan Walker was one of the artists who said that. And he was someone who, he's an electronic music artist who when I was looking at the YouTube Billions Views Club, he came up again and again and I was like, it seemed random to me because he's a great artist. He has a big community of fans, but I just didn't think that he would have billions of views. But he seems to credit the community aspect for that. So I think that could be part of it. But then as soon as you said, oh but he's also one of the top artists on Spotify, I'm like, okay, but that's a completely different story because there's no community building on Spotify. So is it just that the fans are, that obsessed with the music that they're, you know, maybe migrating over and streaming there as well, or are we just misremembering, you know, how big of an impact Justin Bieber had? And then that brought me to thinking about how, I mean I think this relates to Taylor as well, but they both built their fan bases at a time when things were just kind of a lot less congested. So I think it was in many ways, easier to get a billion views or billion streams on something a couple of years ago than it is now, now that people's tastes are so fragmented. So maybe that's also part of the reason why, like, I wonder how many of those streams came from, you know, pre-2015 or something versus from then on. I wonder when they were accumulated. So yeah, that's sort of my rant of thoughts. [00:18:41] Dan Runcie: That one about Bieber is a good one because I didn't think about that, but I think it's absolutely right. He was doing all those cover songs of all these other artists when he's like a teenager. He's growing the base there. And to the point that you had brought up in an article a couple of months ago, we talked about the last time we're on the podcast, he is in a different category than someone like a Beyoncé or Taylor Swift. Like, when Taylor made Teardrops On My G uitar. I don't even like, that was probably around the same time that YouTube started. Like in some ways her fandom predated so much of what people know as music. And of course, Beyonce became a solo artist from Destiny's Child well before YouTube even started. So I think that's a good point there with some of it. The Spotify thing though is interesting, yeah. I mean, I think those songs did get a lot of radio play as well. Like everything off of that album, that Bieber's album that Sorry came on as well. Like, they got a ton of radio plays. So that ties into the Spotify piece of it, too, and maybe a little bit of misremembering of certain things of, well, and you know, like I'm a little bit older than the custom Bieber demo, so there could be some of it there where they may not hit me in the same circles that, the same way that, you know, someone did with Beyoncé for instance.[00:19:53]Tatiana Cirisano:Yeah. I have another thought related to this that I feel like I'm struggling to articulate, but I'm going to try, which is that on the Spotify list and the YouTube list, I thought there was more overlap when it came to which older artists were on the list than there was when it comes to newer artists. And I wonder if that is also sort of further proof of this fragmentation that's happening because it would make sense that if a decade ago, two decades ago, people kind of had less to choose from to listen to. Everybody kind of has the same favorite artists from those decades that they've listened to enough to reach a billion streams. Yet now that people have more choice and things are fragmented more, their favorite artists and songs today are more varied. [00:20:39] Dan Runcie: Yeah. Yeah, no, I think there's something there because if you think about it, the lists are quite similar. And I think even if you look at YouTube's list, which I think even though YouTube's list is less reliant on radio, the biggest songs they have from the 80s and 90s are still the same songs that people have heard in bars and in stadiums and in TV commercials for decades now. So there's consistency there. Things do start to get a bit segmented to your point of where things are right now. So both of these platforms, in many ways enable the fragmentation of fandom. Their algorithms made it easy for people to have their own circles. So I do think that that piece of it is true. So I think that's a good point. [00:21:18] Tatiana Cirisano: Yeah. Okay. I'm glad I could put that into words 'cause it was one of those things where I had this thought and was like, does this make sense? [00:21:24] Dan Runcie: Yeah. Oh, yeah. [00:21:25] Tatiana Cirisano: Yeah. Fascinating.[00:21:26] Dan Runcie: Another thing too, that stuck out, this stuck out a bit more on Spotify's playlist than others, but how certain songs have shifted from when radio, for instance, was more playing songs that I think people more often wanted to hear in their cars. But Spotify, it's on-demand, it's everywhere. I think, for instance, workout music is something that we've seen a pretty large uptick on with Spotify. A song like Eminem's Till I Collapse, which is in the billions playlist for Spotify, I don't think I heard that song once on the radio. Maybe I'm misremembering things just relative to how big Eminem's hits were in the early 2000s. But that song is one of his most played songs. And I think it's because it's a song that a lot of guys listen to when they want to work out. Maybe it's something that they also will play, like, I don't think they to like LA Fitness necessarily like on the speakers, but I think it's more so of like a, no, let me go listen to this while I try to, you know, set PR on the bench press or whatever. So I feel like there's things like that, also seasonal music, right? Of course, just Mariah Carey and some of the records and accolades that All I Want For Christmas Is You has continued to reach and all of the remixes and versions she's done of that song, like that doesn't happen without streaming, right?[00:22:41] Tatiana Cirisano: I was going to say September was also on there, which, you know, every September everybody starts to sing. That is a seasonal song. So, yeah, no, I totally agree with you. And I also noticed that both lists had a lot of, like, upbeat music, like what you're saying, like stuff that people work out to. And I feel like it's for different reasons. Like I'm Spotify, maybe those types of songs dominate because like you're saying, they're the things that people put on in the background of something. Whereas on YouTube, the reason might be because those tend to have more vibrant videos. Like, I feel like more people are likely to watch videos for, you know, an upbeat reggaeton song than like some acoustic, I don't know, Taylor Swift song, even though she's a massive star. Like, overall, you know? And on that note, I don't know if this is just my, you know, anecdotal takeaway, you'd have to, again, like actually go through all the songs and do some data crunching. But I felt like Spotify had actually more varied in terms of like upbeat songs were on there. But also a lot of, Coldplay, a lot of like earlier Ed Sheeran, like, those more like, not so upbeat, more acoustic songs, whereas YouTube barely had any of those because again, I think there may be less likely to be something people watch the video of. I don't know. But that was interesting just how uptempo the two lists were. [00:23:59] Dan Runcie: Yeah. I would need to go back and check to see if like a song like Coldplay's Yellow. Is that on YouTube's list? [00:24:08] Tatiana Cirisano: It's on Spotify's, but I don't think it's on Youtube's.[00:24:10] Dan Runcie: And that would speak to that, right? It's a more somber video. I'm pretty sure Chris Martin's head is laying like sideways on the pavement in that video, right, or on the bed, if I remember correctly. So yeah, it's just not going to be as, I think, yes. Like, if you have five minutes, like, this is the thing that I want to be able to get to. So yeah, it's such a fascinating distinction. And I think with it, it's clear that with both of these platforms, the two of them are really trying to compete more and more with each other, with both Spotify trying to get more and more international, YouTube trying to have more and more influence just in terms of the overall revenue that they generate for the industry. So I do want to talk about the two of them as companies distinctly, but before we get there, I think that the international piece and just how revenue is generated for each of these streams or each of these views will be an interesting distinction over time because, especially with Spotify, these streams that the artists are generating don't necessarily get weighted the same in terms of the pro rata and the pools that they get put into and then getting separated. So if one artist has a bunch of streams from a bunch of their fans, but a lot of their fans are in places where the subscriptions cost $2 per month to subscribe to Spotify, or there's a over index of free accounts versus paid, like these numbers don't necessarily reflect that, which is fine. I think we're just trying to get a gauge for what listening looks like. But the revenue may actually look very different for, let's say, thinking about like one of these, you know, 80s or 90s radio hits. The person that's listening to that account may be more likely to be paying 10 or maybe soon $11 a month for Spotify subscription if I'm just thinking about what that consumer may be like and therefore essentially getting more revenue per stream than some of the newer artists that may have a younger aboard international fan base. So that was another point that I thought was interesting. We won't have that data, but just based on inference, I feel like that's a trend in terms of where it's going. [00:26:14] Tatiana Cirisano: Yeah, that makes sense. And I also wonder, like, if short form video becomes the more dominant form of consuming video, and the people that are watching music videos on YouTube shift to watching 32nd videos that use music on shorts, like, what will that do to the revenue mix? And it'll also depend on if the way that UGC platforms payout to the music industry changes where it's no longer this, you know, blanket payment for uses and is more per use. I think there's a lot that could get shifted around there. And I wonder if, like, does that mean YouTube is sort of cannibalizing its own, one of its own sources where people that are watching music videos are now going to shorts instead? Or is there an opportunity? Like, I think there's an opportunity for both. But I guess these are just questions that come up in my mind when I think about it. [00:27:02] Dan Runcie: Yeah, it's like in some ways it's similar to when Instagram adds stories, right? You're trying to get a sense, is this additive or is this going to take away, And I think YouTube's goal is that would be additive, but you're bringing up, I think, a valid thing where it's a little different with music and how you're registering streams. And I do think that there's a certain number of people that the better and better that shorts get, there's going to be less desire to go check out the actual video. And if these songs aren't registering, I think at least for a stream or a view, it's 30 seconds of listening needs to be registered, at least to be counted as a stream. Then if that doesn't happen on a short end, you're just getting these clips, then how does that impact the actual artist themselves, right? [00:27:47] Tatiana Cirisano: No, you put it really well. Like, the better that shorts gets, the more it might actually threaten people going to YouTube to watch the video.[00:27:55] Dan Runcie: Yeah. So many interesting, I think, things to just dive into with this. But I think it's a good point to just talk more broadly about Spotify and YouTube in general, just in terms of where they are, how both of them want the other one. And I think based on these blog posts and based on a number of the letters that, the emails that you'll see from Lyor Cohen when he's describing where things are with YouTube. There's clearly a goal to, you know, establish itself as the leader in the market. And I think the growth has been pretty strong, but of course Spotify, I think still with nearly 200 million paid subscribers is definitely, you know, I think leading on that front. But where do you see this play out in terms of whether or not the trends and clearly what these playlists tell us about the tendencies of these two companies and also where things are going and who we think will be more or less dominant, let's say five years from now? Let's not say 10 years. I think that's a bit too far out, but let's say five years from now. [00:28:51] Tatiana Cirisano: Yeah. Well, I've written about this, I've written a couple of blogs about this, but I think that YouTube does have a lot of advantages, especially for just where the music landscape is going. So one is that, in the streaming world, there's so little differentiation, right? All the DSPs kind of offer the same experience, the same catalog, the same price. But YouTube actually has a differentiating factor in that it's an audio-visual platform, and that they also have shorts, and they kind of have this ecosystem of apps that feed into each other. And that's sort of the second advantage, is that ecosystem aspect where, you know, based on our data, new generations of fans are really looking for more ways to actively participate in fandom and, you know, not just listen to a song, but create content around it. And YouTube has that it has this, you know, creator proposition. In many ways, YouTube was the first, arguably the first, you know, creator platform. The first place that you could post video content online and build a career around it. So, fans want this, but also artists need more ways to directly engage with their fans and monetize and actually not just be discovered, but sustain fandom and build communities. And that's the thing that I think so many social platforms lack, is they can help artists get discovered, but it's still really hard for them to connect the dots. So when you have YouTube, if you think about like the journey of, a fan through the ecosystem, you know, maybe they discover a song on shorts, and they can actually just click it and go straight, you know, go straight to the artist's YouTube page where maybe they watch the video that just came out and then they can go to YouTube music and stream the song, and it kind of creates this more frictionless experience. So I think we're already seeing a lot of consumers spend more of their music time on platforms that let them play around with the music, like the TikToks of the world and the shorts of the world. So if you have an ecosystem that combines that with streaming and the ability to just go seamlessly from one to the other, I think that's really powerful. And that's also why, you know, ByteDance launching a streaming service could really change the game. I think ByteDance and YouTube have a lot of the same advantages in that space. So I think YouTube is well positioned for the current era and what both artists are looking for and what fans are looking for, I guess is how I would frame that.[00:31:22] Dan Runcie: Yeah. I think that YouTube's biggest advantage with this is that A, it still is under a much larger company that prints money from search, which is Google, right? So the fact that it in itself is the second largest search engine, largely because of Google, I think that piece of it will serve well. And I think secondly, the fact that when there's so many more things competing for your attention, whatever can make that have less friction, it can make it easier for people to access that platform as we've seen based on the rise of TikTok, I think those platforms do tend to win out in this area where you're ultimately trying to either capture or monetize attention. And the way that streaming is going, even though I know it can be lucrative for artists that own their assets or have favorable terms, it is a bit more of a measure of capturing attention for a lot of artists and being able to essentially market and position themselves out there to share what they have so that they can monetize elsewhere. And I do think that, I know I've talked about this previously, but just Spotify may be in a little bit more of a difficult position just given the fact that its ultimate goal is still to try to get more monetization from its non-music audio, whether it's your podcast or your audiobooks and stuff like that.[00:32:41] Dan Runcie: And I think that is a little bit of a tougher bet relative to YouTube, China. going with shorts and essentially try to compete more directly with TikTok or just other things in general that are making it easier. That said, I still think that Spotify is more strong from a product perspective of actually being able to, you know, ease of use of listening, being able to find and skip to the song, and being able to listen to a song on my phone you know, turning off the screen and then putting it in my pocket. And I know that YouTube does now allow you essentially to do that if you pay for subscription, but I think the friction, at least in the consumer's mind, is a little different than it is with doing that with Spotify, even because you do that with Spotify for free account especially. So I do think that there are some pros and cons there, but to your point, I do think that because YouTube is moving more in the direction of creating less friction for people to use its product and just the fact that it's visual, it's engaged, and to your other point, it's a bit more directly connected to fans being able to actively choose what they want to listen to, like the data and all those things are going to be more impactful and insightful there.[00:33:48] Tatiana Cirisano: Right, Right. So I think artists will kind of go to wherever the fans and the remuneration opportunities are, and I think YouTube is right now, providing more of that than Spotify is. Like, Spotify is a place where you can monetize scale, but you can't monetize niche. And YouTube is an ecosystem where you can monetize both. And I think there's no reason why streaming services in general shouldn't be a place where you can monetize both. But we haven't really seen that happen yet, and I think YouTube is moving in that direction. So I guess I come at this question because of the work that I do from such a perspective of what do the artists and the fans want. But of course, that doesn't necessarily mean that alone isn't going to, you know, make YouTube overtake Spotify. So I guess I'm a little bit biased just based on the work that I do. [00:34:38] Dan Runcie: Yeah, I could see that. Because there's just so many other, there's just so many factors at play here. It's such a dominant position and at the end of the day, nearly 200 million people in the world are paying for the service and that is much higher than a lot of these other services. It'll be interesting to see how this plays out though. I feel like to some of the points you brought up earlier. Just going back to the Billions Club, if we had this conversation two years from now, I'd be interested to see, one, which old songs creep back up and which songs that have come up recently end up rising up and hitting those places, and does it line up with a lot of the points that we brought up here? So I'm excited to see what that looks like. [00:35:15] Tatiana Cirisano: No, me too. And also what the pace will be like? Will there be just way more songs that have hit a billion streams in a shorter amount of time, or will the opposite trend happen because of fragmentation? Like, I'm not, I'm not really sure. So yeah, as always, excited to see definitely what comes next. [00:35:30] Dan Runcie: Well, Tati, this is great. Thanks for coming to share these insights. And I think now I got to go back and count how many Crazy Frog videos there were on YouTube's list because when I saw that, I'm glad you brought that up. I was just like, my goodness, I forgot all about this trend. [00:35:45] Tatiana Cirisano: Yeah, at least in that ratio, you know, we have confirmed YouTube wins. [00:35:49] Dan Runcie: All right. Before we let you go, what do you have coming down the pipeline? Are there any upcoming research or any recent things that you've put out that listeners should keep an eye out for?[00:35:58] Tatiana Cirisano: Yeah, I would say coming up one of my favorite things that we do at MIDiA Research is our predictions report where every year, at the end of the year, we put out predictions for the coming year. And we also rate ourselves in terms of how much we got right from the past year. I believe our success rate is somewhere above 80%.[00:36:16] Dan Runcie: That's legit. [00:36:17] Tatiana Cirisano: That's great. But yeah, so we always do I believe we always do a free webinar on that. It was free last year. So look out for that because it's a great chance to interact with us even if you're not a client. And it's a lot of fun. [00:36:30] Dan Runcie: Awesome, we'll look out for that and, yeah.[00:36:33] Tatiana Cirisano: Yeah.[00:36:33] Dan Runcie: We'll have to see. I'm curious about what the hit rate will be this year. So definitely let us know what the success rate is...[00:36:39] Tatiana Cirisano: We will.[00:36:40] Dan Runcie: from the ones you made last year, heading into this year. [00:36:42] Tatiana Cirisano: Awesome. Thanks, Dan. [00:36:43] Dan Runcie: Awesome. Well, thank you. This is great. [00:36:45] Dan Runcie: All right. Hope you enjoyed that first part with Tati breaking down the Billions Clubs. Here's my chat with Glenn Peoples.[00:36:53] Dan Runcie: All right. Today we have Glenn Peoples with us who is from Billboard, and he just released this Global Music Index, which has stated that music stocks are down 44% this year, twice as much as the market. And Glenn, it'd be great to start here. What's going on? Why are socks down in the music industry?[00:37:13] Glenn Peoples: Hey, thanks for having me. Well, stocks are down in general. So it's not that just music that's having a tough time at the stock market. You know, a big component of the Global Music Index, which I created for Billboard is Spotify. And Spotify has had a tough year, just like Netflix has had a tough year. There's, I think, enthusiasm for streaming stocks was high at the beginning of the pandemic and dropped quite a bit since then. And investors are not looking at growth so much as looking at margins, looking at profits, and so they're expecting a lot more from streaming services right now. So it's a tough time to be a streaming service, whether you're Netflix, whether you're Spotify. You could say, well, the investors got carried away. They were overvalued. Yeah, maybe so. It's just been a tough year for streaming services and when Spotify is that big of a component of the index, it's down, well, as of yesterday, it's down 60% for the year. And so that's a lot of market cap that's gone and that's dragging down the index. And that's the short version. [00:38:17] Dan Runcie: Right. So of course, it's a value-based index. Market cap is what defines it. And just so listeners know, how big of a factor is Spotify? Like, how much is their stock and their market cap weighted in terms of the overall index?[00:38:33] Glenn Peoples: I would say it's probably, again, this is just ballpark. It's probably about 15% of the value of the index. It was a lot more obviously. I would say right now at its current price, it's 10 to 15%. Universal Music Group is the biggest component of the index, and there's some other companies just a handful that really stand out above everybody else. Live Nation, Warner Music Group, Sirius XM are some of the big ones. [00:39:02] Dan Runcie: The thing that stuck out to me about it is that, of course, Spotify stock is a huge piece of it, but even if you were to take out Spotify, the non-Spotify stocks in that index still are down more than the overall market has been this past year. So it also makes me think that there may be something going on that's a bit deeper than just streaming. [00:39:23] Glenn Peoples: Yeah, it's not just streaming. You know, a lot of music companies had a great 2021 and I think that they just had further to fall. So there were some really high valuations and it just sets these companies up for a pretty big fall when investor sentiment turns and the market turns. And ever since the Fed announced in, I believe, December, that it was going to start raising interest rates. You know, stocks have started to fall and Spotify definitely started to fall then. And it's been a long, what is that, roughly 10 months since then. Things have calmed down a bit, but stocks are, boy, they're really having a tough time. It's really volatile a lot there. I think there's two ways to look at it. One is what's the value of the stock? What's the value of the company as valued by investors? And what's the potential of the company based on the company itself and the intellectual property it has? And those two don't always line up. You know, Spotify I still think is a very good company. I think it has a lot of work to do, but it's growing at a good clip and I think they have good people there. But when you are a streaming stock and you're facing really a once-in-a-generation kind of environment with very bad inflation you know, crazy, I was about to say unemployment, but unemployment is not that bad. It's just a very strange time in the market and a very strange macroeconomic climate. And you're seeing good companies have very difficult times with their stock prices. You know, Universal Music Group is down. But the market is down overall and Universal's not going to escape the just general downturn of the market. That's saying something because Universal is the biggest music company out there holding up market share very well has a big share of the top 10, any given time, big artists. But you can't correlate stock market performance with company performance just perfectly. It's a very strange time in the macroeconomic climate right now. [00:41:23] Dan Runcie: Yeah. The interesting thing with the major record label stocks, and even some of these other companies that, yeah, even though they may not be streaming services themselves, when streaming makes up such a high percentage of the overall revenue for this entire industry, then Spotify's stock is in many ways going to be at least somewhat correlated to what we see with Universal given the fact that these companies have equity in each other, they're so dependent on each other, so a lot of that is given. You mentioned Live Nation earlier, and I think that their stock is interesting, too, because even though it isn't directly tied to streaming, that stock had hit record highs in the middle of the pandemic when there were no shows going on. So that just spoke to how much of a disconnect there was if you looked at how the company was actually doing in 2020 and even in 2021 when there were nowhere near as many shows as they had had in 2019, but they now are actually being able to realize more of that revenue. But the stock has adjusted in a lot of ways since. So there is a bit of this disconnect. I think there was just a good amount of excitement as well about what's happening in music as an investment class. Specifically, you looked at all of the catalog sales and the booms that happen thanks to the low-interest rates, and they're no longer low anymore. So you're also seeing that play a factor in, and you've also heard some of the acquirers of those catalogs expressing a bit of disappointment that the returns aren't quite what they thought the returns were going to be as well. So some of those things, I think, Brought some of the temperament and a lot of the companies that are in your index down to, I don't want to say necessarily down to earth, because I think there's still plenty of room for growth for a lot of them, but it's clear that we've moved past that era of the pandemic when things were just high for the pure speculation of where it could be in a few years.[00:43:15] Glenn Peoples: Yeah, I think the honeymoon is over for a lot of music stocks. You know, music as an asset class was really attractive. And, you know, look, just the fact that Universal is public and Warner is public once again, and there are numerous streaming services from Tencent Music and Cloud Music in China to Anghami and Spotify and Deezer. There's a lot of music companies that are publicly traded right now and that says a lot about music as an asset, as a segment, set aside the problems it's had in the last year. So music companies had a great 2020 and 2021, and it's been downhill since then. But the fact that there are a lot of publicly traded music companies right now, and so much investor interest in music catalogs like you mentioned, I think says a lot about music as an asset class, music as an investment in general. Look, five years ago, how many publicly traded music companies were there? I mean, Spotify has been public for about five years. Pandora was before it was bought by Sirius. You know, but you didn't have Tencent, you didn't have Cloud Music, you didn't have Anghami, you didn't have Deezer, you didn't have Reservoir Media, or Believe. Warner was private. Universal was private. So the fact that Wall Street has taken a liking to music, I think says a lot despite what the stock prices say right now. [00:44:40] Dan Runcie: Yeah, I agree. The fact that this wasn't even possible, just shows what's happened. And a lot of companies, even outside of music, are starting to have money at least level back off now that the pandemic is over, now that the quarantine highs for a lot of these stocks are over. I'm interested to see where did things go from here, because I still believe that there's a ton of potential in each of these companies if the expectations and if the investors expectations of the market are where they need to be. I still think that music is a hot and a popular asset class, especially for investors. But is it 30 x value? Is it 30 x multiples for some of these catalogs that just bring 'em to certain valuations, or does it need to be more level? Because I do think that there's still plenty of value if those multiples and a lot of those things are where they should be. And even thinking about whether it's live entertainment or streaming in general, I think there's still plenty of room for growth. There's still a lot of opportunities there, but it's just being able to get a clear idea on, what is the actual TAM? What is the actual total addressable market for these areas? And I think if anything, you saw that challenge happen with a lot of the discourse around Netflix and what the future is there, you started to saw things drop right around they had, you know, around 220 million subscribers. I think Spotify was likely asking similar questions, too, and I still think there's growth, you know, for the right price there's always going to be something, but what that price would be and how many people are willing to pay for it, knowing that, of course, if it's a paid product, you're not going to hit all 8 billion people in the world. But there is some actual number out there. So I think the more clarity that there is on that, and of course that's part of the game to figure that out, but the closer that you can get to what that actually is, the more that investors can make sound decisions. [00:46:25] Glenn Peoples: Yeah. You know, as we're talking now, there's a lot going on. We're a couple of hours away from Spotify releasing third-quarter earnings, which will, I'm not sure how much that'll say, look, that's backward-looking, but the company will take the opportunity to talk about a lot of things investors and analysts are curious about. Yesterday Apple announced it was raising prices for Apple Music and Apple TV Plus, and the Apple bundle. And YouTube premium prices went up as well, I believe, for the family plan only. And what do we see today? What we see Universal shares went up almost 12% and closed. They're trading the Netherlands, so that's already closed. In the middle of the day, Warner Music was up 7% to 8% at its best. Believe was up. Hipgnosis shares were up about, and those closed, that trades in London. That closed up about 8% I think. So investors, I think, get the news that they've really been waiting for, that prices are finally going to go up. You know, Netflix has raised prices. Pricing in streaming video on demand is a lot more flexible than it is for music and music prices have barely budged in over a decade, and executives have been saying for months and for years that prices will go up. But they haven't. [00:47:45] Dan Runcie: Why do think it took this long? [00:47:47] Glenn Peoples: Well, I think, companies were much more concerned about growing the market than maximizing revenue per customer. Is it more important to get the customer in the door or to charge more per customers is the question, and I think that they've been much more concerned about building the customer base and building relationships. And then at some point, it's a timing issue. When do you raise price? When can you do it without turning people off? And I think what we see these days with inflation is what it is, is companies might feel a little more emboldened to just raise price and think they can get away with it. Name one price that's not up in the last year. Except music streaming, it seems like everything else is up. And so somebody had to be, you know, first to do it and YouTube and Apple did it, which could embolden Spotify to do it finally. And I think my impression of Universal's shares going up almost 12% is that they think Spotify's going to raise prices as well. That doesn't seem like a bump just from Apple. That seems like a bump from broad price increases across the board.[00:48:51] Dan Runcie: Yeah, I would agree. I think that it's going to happen and the reason why I think it probably hasn't happened until this point I was talking to Will Page about this, who is a former chief economist at Spotify. And his perspective on it was that the difference, and it was mine as well, the difference between why a company like Netflix would continue to increase prices but Spotify hasn't a bit in line with the type of content that you're getting. In a lot of ways, Spotify and Apple are offering a lot of the same thing. Sure. I know Spotify has its podcasting, Apple has its podcasting and non-music audio, and we'll talk about that in a second. But I think when they're all offering the same thing, then there's a bit more pressure to try to offer price discounts and bundles and stuff like that as opposed to Netflix or some of those companies offering differentiated content. So you're more buying into something that you're going to get on Netflix that you can't get on Hulu or on Disney Plus, or on HBO Max or one of the other services. So I feel like there's a factor of it there. And I remember a few years ago there was some tests about it and some discussions where in Europe they were exploring what. 12.99 would look like, or maybe it was 13.99. But I didn't hear anything necessarily come definitive from that. Maybe it was 11.99, but there was some price increase that they were exploring in Europe. So it feels like it's inevitable that Spotify will join in and yeah, if your price is going to increase 10%, then your stock price will likely increase around 10% as well.[00:50:22] Glenn Peoples: Yeah, that makes sense. Most people look at how much revenue a company takes in every month. ARPU, average revenue per user, Spotify considers a metric lifetime value. And so it's not focused solely on price. Price plays into lifetime value, but so does churn rate, and the family plan is something that is reduced churn rate. As churn goes down, lifetime value goes up. I mean, for a subscription business, what you don't want are people coming in and out and churning in and churning out and taking time off or just leaving the subscription service for good. So if you cut down churn rate, the value goes up, and that's more value to creators. That's more value to publishers, to record labels, and to Spotify without raising price. If you can work on lifetime value without having to raise price, that might be the low-hanging fruit that you do in the meantime before you consider raising prices. And now it appears like everybody's to the point where they say, okay, now we can raise prices.[00:51:22] Dan Runcie: Right. Yeah. I think the fact that we're here says a lot. So we'll continue to see, and I'm sure that the next price increase after this probably won't take this long if this is the one that got us here. The thing with Spotify though, is I'm sure we'll see what investors feel more broadly about the company's strategy because non-music, audio and podcasting specifically has been part of its big bet on how it can have better margins, how it can just essentially make more money and have something that they can continue to grow. But there's been a lot of pushback. There's been a lot of canceled shows and studios, and some of that's standard for the industry. But some of it also feels like there's more and more question marks on, okay, they've spent billions on this. Is this going to work? Is this going to take off the way that they expect it to? What's your current take on the future outlook for Spotify's non-music audio strategy? [00:52:16] Glenn Peoples: I think it's a good strategy. You build up a platform starting with music. You attract hundreds of thousands of users and then you turn it into an audio platform that's not just music and you introduce spoken word content. I think it's going to take quite a few years. So I think expecting changes, you know, we're only two years into some of their acquisitions for podcast studios and for platforms such as Megaphone. I know investors might not want to wait five years, but it's going to take a while. And, you know, long-term Spotify thinks that they can get some pretty good margins out of podcasts, margins that exceed what they get from music. They think that they can get the math when I look at audiobook margins, they bought an audiobook distributor called Findaway. And I think as retailer and distributor, Spotify gets about 60% of sales. Audiobook download margins are pretty good and that's about double what they're going to get for music. How much business is out there for audiobooks? Yeah, I mean, right now probably not that much, but over time I'm sure they can build it into something much more considerable. And, you know, if it's 60% gross margin, that's really good. You're not going to get that in music. You can build a platform based on music, but then eventually you got to go looking elsewhere for margins. And so I think it can work out for Spotify, it's just going to take a while and some people might not have much patience. I get that. But it's going to take a while. [00:53:41] Dan Runcie: It's something I've thought a lot about because I understand that podcasting itself is something where the audience takes time to build. You want to be able to see these shows grow over time. But I also think that so much of their biggest growth has come from acquiring shows that are already popular. And I know they've made big acquisitions, whether as with Gimlet or with The Ringer, or they have the exclusive deal with, or the licensing deal with Joe Rogan. But how many others of those are out there that they haven't necessarily had? Are there going to be more in-house ones that can build up? Because I feel like one of the challenges I've seen with the strategy is that they've had a lot of money spent on getting these big-name celebrities to then have shows where they have other big-name celebrities as guests and things like that. And a lot of that is antithetical to what's made so much of podcasting be effective for a lot of folks. And sometimes it works well, but a lot of times it doesn't. And it's content. You do have to make some bets, but I'm interested to see how many more of those wins that are going to be out there for them, because that's the piece that at least gives you some bump 'cause at least we've seen the numbers and successes from the popular acquisitions, the shows that they've had. It's the in-house development where I think by nature there is a natural, whether it's just the likelihood of success of you're starting anything new, not everything is going to take off, but the real success metric will be, okay, two, three years from now, we're there Spotify originals that are at the top of the charts and are creating and demanding that audience the same way that some of these other shows, whether it's outside of the network or some of the ones that they've acquired are able to do?[00:55:23] Glenn Peoples: Yeah, it looks to me like they have kind of a three-prong attack where they spend mightily for somebody like Joe Rogan and that's not going to last forever. That licensing deal will be up, I don't know, maybe next year. And what do they renew or do they go spend a lot of money on somebody else? I mean, Joe Rogan brings 'em a lot of a lot of listeners I'd wager. So they have a very small number of really big shows, and then they have a lot of in-house shows with Parcast, The Ringer, Gimlet, and they can go acquire some other ones. And then they have a lot of DIY stuff. And then you get into the long tail. And this is where I think there's a lot of potential to monetize listening just like there would be in music. They bought a platform called Anchor. That's a podcast creation and distribution. Megaphone rather, is more the distribution tool. And so they have the infrastructure in place to let people create shows, distribute shows, and now they can monetize those shows. Now, do advertisers want to monetize or advertise against, you know, podcasts nobody's heard of. Not sure exactly how that's going to work. You might be not getting good advertising dollars on some of the shows, but to the extent that you can monetize the long tail podcast, Spotify is building that. And if anybody ca

Trevor Noah: We have caught and compromised to a permanent end of Daily Show hosting duties, Trevor Noah.Skankfest: Skankfest is NIGH! The boys will be there and they are going over the schedule.Milly: We get a call from a rapper/interviewer and in true Jim and Them fashion that is what the rest of the episode becomes.GRIT!, DETROIT LIONS!, HARD KNOCKS!, JIM AND JEFF!, WE GOT HIM!, TREVOR NOAH!, THE DAILY SHOW!, JOHN CENA!, VICTORY!, SAMANTHA BEE!, 7 AND DONE!, PATREON!, JIMTERVENTION!, LIVE PODCASTS!, NO LOADS REFUSED!, PIMPED OUT CUM DUMP!, ETHICS!, BOTTOM!, BLOCKED!, LEGION OF SKANKS!, SKANKFEST!, SMODCAST!, HARMONTOWN!, NBA 2K22!, ELLISMANIA!, GET TO BE YOU!, NAKED ROAST!, KARAOKE!, TUESDAYS WITH STORIES!, SHANE GILLIS!, MARK NORMAND!, BASTARD RADIO!, TIM DILLON!, MATT AND SHANE!, CREEK CAVE!, THE BONFIRE!, ROBERT KELLEY!, JIM NORTON!, JOE LIST!, CROWD WORK!, BIG JAY!, THE HIP HOP SHOW!, CRACK AMICO!, DAVE ATTELL!, STONER DADS!, JOE DEROSA!, THRILL ME!, TJ MILLER!, MILLY!, MILSON COBY!, RAPPER!, INTERVIEWS!, FUNERAL!, GREAT UNCLE!, ELVIS!, DIED ON THE TOILET!, WIFE!, BOYFRIEND!, NO JUDGEMENT!, FLORIDA!, PETIE PABLO!, NORTH CAROLINA!, RAISE UP!, STREAMER!, YOUTUBE!, ANGLE!, STALLING!, WOODSTOCK 99!, LIMP BIZKIT!, KORN!, BEATS!, TRACKS!, SOUNDCLOUD!, FLUFFASAUCE!, CRITICAL RACE THEORY!, SYSTEMIC OPPRESSION!, JEWS!, ROLLING YOUR R'S!, CHURCH!, SPIRITUAL!, CHIPMUNK VOICES!, CRAZY FROG!, CURVEBALLS!, FAVORITE RAPPER!, FABO!, STITCHES!, PLAYLIST!, SMOKE WEED!, PEEP!, EMO!, SPANKING!, BELT!, SPATULA!, THEME PARKS!, HALLOWEEN HORROR NIGHTS!, AIRBNB!, EXPENSIVE!, SETTING THE SCENE!, WORK WORK WORK!, RIHANNA!, THE WEEKND!, 2 BEDROOMS!, PANDA!, DESIIGNER!, CLUB!, HOTLINE BLING!, CAN'T FEEL MY FACE!, ROAD HEAD!, JIMMY EAT WORLD!, THE MIDDLE!, BODY BUILDERS!You can find the videos from this episode at our Discord RIGHT HERE!

Jump in with Carlos Juico and Gavin Ruta on episode 75 of Jumpers Jump. This episode we discuss: the Richard Ramirez story, the crazy frog Mandela effect, crazy apps that got deleted, the bucket list Mandela effect, influencers being the new cult leaders, Carlos' tattoo story, being motivated to succeed and much more! Look for Every Man Jack at Target, Walmart, Amazon, or everymanjack.com Match with your dedicated therapist today at talkspace.com, and use promo code JUMPERS during sign-up to get $100 off your first month Follow the podcast: @JumpersPodcast Follow Carlos: @CarlosJuico Follow Gavin: @GavinRutaa Check out the podcast on YouTube: https://bit.ly/JumpersJumpYT Learn more about your ad choices. Visit podcastchoices.com/adchoices