Podcast appearances and mentions of dawn fm

Abel Tesfaye's last outing as The Weeknd, allegedly, caps a magnificent modern pop trilogy. It may be a little more diluted than After Hours, or Dawn FM due to its incredible length but it still showcases a the most thematically fascinating modern pop star and his peerless voice, melody and production.

Linktree: https://linktr.ee/AnalyticIn this segment of Notorious Mass Effect, Analytic Dreamz delves deep into The Weeknd's latest and potentially final album under his iconic stage name, 'Hurry Up Tomorrow.' Released on January 31, 2025, through XO and Republic Records, the album was initially planned for an earlier release but postponed due to the LA wildfires, with The Weeknd contributing $1 million to aid relief efforts. This album concludes a trilogy that began with 'After Hours' in 2020 and continued with 'Dawn FM' in 2022. 'Hurry Up Tomorrow' features collaborations with artists like Justice, Anitta, Florence + The Machine, Travis Scott, Future, Playboi Carti, Lana Del Rey, and Giorgio Moroder on tracks that explore new musical territories. Notably, the much-anticipated "Dancing in the Flames" did not make it to the final cut.The Weeknd has described this project as his farewell to the persona he's mastered, signaling a shift towards new creative ventures. Alongside the album, a psychological thriller film of the same name, starring The Weeknd, Jenna Ortega, and Barry Keoghan, is set for release on May 16. The segment also covers promotional events including a NYC Pop-Up Experience with Spotify and a Hot Topic Takeover in Las Vegas with exclusive merch. Additionally, proceeds from the track "Take Me Back to LA" are being donated to the LA Regional Food Bank. Analytic Dreamz explores whether 'Hurry Up Tomorrow' truly marks the end of The Weeknd or just a transformation into something new, reflecting on his legacy of blending music, film, and immersive storytelling.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Linktree: https://linktr.ee/AnalyticIn this segment of Notorious Mass Effect, Analytic Dreamz delves deep into The Weeknd's latest and potentially final album under his iconic stage name, 'Hurry Up Tomorrow.' Released on January 31, 2025, through XO and Republic Records, the album was initially planned for an earlier release but postponed due to the LA wildfires, with The Weeknd contributing $1 million to aid relief efforts. This album concludes a trilogy that began with 'After Hours' in 2020 and continued with 'Dawn FM' in 2022. 'Hurry Up Tomorrow' features collaborations with artists like Justice, Anitta, Florence + The Machine, Travis Scott, Future, Playboi Carti, Lana Del Rey, and Giorgio Moroder on tracks that explore new musical territories. Notably, the much-anticipated "Dancing in the Flames" did not make it to the final cut.The Weeknd has described this project as his farewell to the persona he's mastered, signaling a shift towards new creative ventures. Alongside the album, a psychological thriller film of the same name, starring The Weeknd, Jenna Ortega, and Barry Keoghan, is set for release on May 16. The segment also covers promotional events including a NYC Pop-Up Experience with Spotify and a Hot Topic Takeover in Las Vegas with exclusive merch. Additionally, proceeds from the track "Take Me Back to LA" are being donated to the LA Regional Food Bank. Analytic Dreamz explores whether 'Hurry Up Tomorrow' truly marks the end of The Weeknd or just a transformation into something new, reflecting on his legacy of blending music, film, and immersive storytelling.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Linktree: https://linktr.ee/AnalyticIn this segment of Notorious Mass Effect, Analytic Dreamz delves deep into The Weeknd's latest and potentially final album under his iconic stage name, 'Hurry Up Tomorrow.' Released on January 31, 2025, through XO and Republic Records, the album was initially planned for an earlier release but postponed due to the LA wildfires, with The Weeknd contributing $1 million to aid relief efforts. This album concludes a trilogy that began with 'After Hours' in 2020 and continued with 'Dawn FM' in 2022. 'Hurry Up Tomorrow' features collaborations with artists like Justice, Anitta, Florence + The Machine, Travis Scott, Future, Playboi Carti, Lana Del Rey, and Giorgio Moroder on tracks that explore new musical territories. Notably, the much-anticipated "Dancing in the Flames" did not make it to the final cut.The Weeknd has described this project as his farewell to the persona he's mastered, signaling a shift towards new creative ventures. Alongside the album, a psychological thriller film of the same name, starring The Weeknd, Jenna Ortega, and Barry Keoghan, is set for release on May 16. The segment also covers promotional events including a NYC Pop-Up Experience with Spotify and a Hot Topic Takeover in Las Vegas with exclusive merch. Additionally, proceeds from the track "Take Me Back to LA" are being donated to the LA Regional Food Bank. Analytic Dreamz explores whether 'Hurry Up Tomorrow' truly marks the end of The Weeknd or just a transformation into something new, reflecting on his legacy of blending music, film, and immersive storytelling.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Linktree: https://linktr.ee/AnalyticIn this segment of Notorious Mass Effect, Analytic Dreamz delves deep into The Weeknd's latest and potentially final album under his iconic stage name, 'Hurry Up Tomorrow.' Released on January 31, 2025, through XO and Republic Records, the album was initially planned for an earlier release but postponed due to the LA wildfires, with The Weeknd contributing $1 million to aid relief efforts. This album concludes a trilogy that began with 'After Hours' in 2020 and continued with 'Dawn FM' in 2022. 'Hurry Up Tomorrow' features collaborations with artists like Justice, Anitta, Florence + The Machine, Travis Scott, Future, Playboi Carti, Lana Del Rey, and Giorgio Moroder on tracks that explore new musical territories. Notably, the much-anticipated "Dancing in the Flames" did not make it to the final cut.The Weeknd has described this project as his farewell to the persona he's mastered, signaling a shift towards new creative ventures. Alongside the album, a psychological thriller film of the same name, starring The Weeknd, Jenna Ortega, and Barry Keoghan, is set for release on May 16. The segment also covers promotional events including a NYC Pop-Up Experience with Spotify and a Hot Topic Takeover in Las Vegas with exclusive merch. Additionally, proceeds from the track "Take Me Back to LA" are being donated to the LA Regional Food Bank. Analytic Dreamz explores whether 'Hurry Up Tomorrow' truly marks the end of The Weeknd or just a transformation into something new, reflecting on his legacy of blending music, film, and immersive storytelling.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Linktree: https://linktr.ee/AnalyticIn this segment of Notorious Mass Effect, Analytic Dreamz delves deep into The Weeknd's latest and potentially final album under his iconic stage name, 'Hurry Up Tomorrow.' Released on January 31, 2025, through XO and Republic Records, the album was initially planned for an earlier release but postponed due to the LA wildfires, with The Weeknd contributing $1 million to aid relief efforts. This album concludes a trilogy that began with 'After Hours' in 2020 and continued with 'Dawn FM' in 2022. 'Hurry Up Tomorrow' features collaborations with artists like Justice, Anitta, Florence + The Machine, Travis Scott, Future, Playboi Carti, Lana Del Rey, and Giorgio Moroder on tracks that explore new musical territories. Notably, the much-anticipated "Dancing in the Flames" did not make it to the final cut.The Weeknd has described this project as his farewell to the persona he's mastered, signaling a shift towards new creative ventures. Alongside the album, a psychological thriller film of the same name, starring The Weeknd, Jenna Ortega, and Barry Keoghan, is set for release on May 16. The segment also covers promotional events including a NYC Pop-Up Experience with Spotify and a Hot Topic Takeover in Las Vegas with exclusive merch. Additionally, proceeds from the track "Take Me Back to LA" are being donated to the LA Regional Food Bank. Analytic Dreamz explores whether 'Hurry Up Tomorrow' truly marks the end of The Weeknd or just a transformation into something new, reflecting on his legacy of blending music, film, and immersive storytelling.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Linktree: https://linktr.ee/AnalyticIn this segment of Notorious Mass Effect, Analytic Dreamz delves deep into The Weeknd's latest and potentially final album under his iconic stage name, 'Hurry Up Tomorrow.' Released on January 31, 2025, through XO and Republic Records, the album was initially planned for an earlier release but postponed due to the LA wildfires, with The Weeknd contributing $1 million to aid relief efforts. This album concludes a trilogy that began with 'After Hours' in 2020 and continued with 'Dawn FM' in 2022. 'Hurry Up Tomorrow' features collaborations with artists like Justice, Anitta, Florence + The Machine, Travis Scott, Future, Playboi Carti, Lana Del Rey, and Giorgio Moroder on tracks that explore new musical territories. Notably, the much-anticipated "Dancing in the Flames" did not make it to the final cut.The Weeknd has described this project as his farewell to the persona he's mastered, signaling a shift towards new creative ventures. Alongside the album, a psychological thriller film of the same name, starring The Weeknd, Jenna Ortega, and Barry Keoghan, is set for release on May 16. The segment also covers promotional events including a NYC Pop-Up Experience with Spotify and a Hot Topic Takeover in Las Vegas with exclusive merch. Additionally, proceeds from the track "Take Me Back to LA" are being donated to the LA Regional Food Bank. Analytic Dreamz explores whether 'Hurry Up Tomorrow' truly marks the end of The Weeknd or just a transformation into something new, reflecting on his legacy of blending music, film, and immersive storytelling.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Linktree: https://linktr.ee/AnalyticIn this segment of Notorious Mass Effect, Analytic Dreamz delves deep into The Weeknd's latest and potentially final album under his iconic stage name, 'Hurry Up Tomorrow.' Released on January 31, 2025, through XO and Republic Records, the album was initially planned for an earlier release but postponed due to the LA wildfires, with The Weeknd contributing $1 million to aid relief efforts. This album concludes a trilogy that began with 'After Hours' in 2020 and continued with 'Dawn FM' in 2022. 'Hurry Up Tomorrow' features collaborations with artists like Justice, Anitta, Florence + The Machine, Travis Scott, Future, Playboi Carti, Lana Del Rey, and Giorgio Moroder on tracks that explore new musical territories. Notably, the much-anticipated "Dancing in the Flames" did not make it to the final cut.The Weeknd has described this project as his farewell to the persona he's mastered, signaling a shift towards new creative ventures. Alongside the album, a psychological thriller film of the same name, starring The Weeknd, Jenna Ortega, and Barry Keoghan, is set for release on May 16. The segment also covers promotional events including a NYC Pop-Up Experience with Spotify and a Hot Topic Takeover in Las Vegas with exclusive merch. Additionally, proceeds from the track "Take Me Back to LA" are being donated to the LA Regional Food Bank. Analytic Dreamz explores whether 'Hurry Up Tomorrow' truly marks the end of The Weeknd or just a transformation into something new, reflecting on his legacy of blending music, film, and immersive storytelling.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Linktree: https://linktr.ee/AnalyticIn this segment of Notorious Mass Effect, Analytic Dreamz delves deep into The Weeknd's latest and potentially final album under his iconic stage name, 'Hurry Up Tomorrow.' Released on January 31, 2025, through XO and Republic Records, the album was initially planned for an earlier release but postponed due to the LA wildfires, with The Weeknd contributing $1 million to aid relief efforts. This album concludes a trilogy that began with 'After Hours' in 2020 and continued with 'Dawn FM' in 2022. 'Hurry Up Tomorrow' features collaborations with artists like Justice, Anitta, Florence + The Machine, Travis Scott, Future, Playboi Carti, Lana Del Rey, and Giorgio Moroder on tracks that explore new musical territories. Notably, the much-anticipated "Dancing in the Flames" did not make it to the final cut.The Weeknd has described this project as his farewell to the persona he's mastered, signaling a shift towards new creative ventures. Alongside the album, a psychological thriller film of the same name, starring The Weeknd, Jenna Ortega, and Barry Keoghan, is set for release on May 16. The segment also covers promotional events including a NYC Pop-Up Experience with Spotify and a Hot Topic Takeover in Las Vegas with exclusive merch. Additionally, proceeds from the track "Take Me Back to LA" are being donated to the LA Regional Food Bank. Analytic Dreamz explores whether 'Hurry Up Tomorrow' truly marks the end of The Weeknd or just a transformation into something new, reflecting on his legacy of blending music, film, and immersive storytelling.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Linktree: https://linktr.ee/AnalyticIn this segment of Notorious Mass Effect, Analytic Dreamz delves deep into The Weeknd's latest and potentially final album under his iconic stage name, 'Hurry Up Tomorrow.' Released on January 31, 2025, through XO and Republic Records, the album was initially planned for an earlier release but postponed due to the LA wildfires, with The Weeknd contributing $1 million to aid relief efforts. This album concludes a trilogy that began with 'After Hours' in 2020 and continued with 'Dawn FM' in 2022. 'Hurry Up Tomorrow' features collaborations with artists like Justice, Anitta, Florence + The Machine, Travis Scott, Future, Playboi Carti, Lana Del Rey, and Giorgio Moroder on tracks that explore new musical territories. Notably, the much-anticipated "Dancing in the Flames" did not make it to the final cut.The Weeknd has described this project as his farewell to the persona he's mastered, signaling a shift towards new creative ventures. Alongside the album, a psychological thriller film of the same name, starring The Weeknd, Jenna Ortega, and Barry Keoghan, is set for release on May 16. The segment also covers promotional events including a NYC Pop-Up Experience with Spotify and a Hot Topic Takeover in Las Vegas with exclusive merch. Additionally, proceeds from the track "Take Me Back to LA" are being donated to the LA Regional Food Bank. Analytic Dreamz explores whether 'Hurry Up Tomorrow' truly marks the end of The Weeknd or just a transformation into something new, reflecting on his legacy of blending music, film, and immersive storytelling.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Linktree: https://linktr.ee/AnalyticIn this segment of Notorious Mass Effect, Analytic Dreamz delves deep into The Weeknd's latest and potentially final album under his iconic stage name, 'Hurry Up Tomorrow.' Released on January 31, 2025, through XO and Republic Records, the album was initially planned for an earlier release but postponed due to the LA wildfires, with The Weeknd contributing $1 million to aid relief efforts. This album concludes a trilogy that began with 'After Hours' in 2020 and continued with 'Dawn FM' in 2022. 'Hurry Up Tomorrow' features collaborations with artists like Justice, Anitta, Florence + The Machine, Travis Scott, Future, Playboi Carti, Lana Del Rey, and Giorgio Moroder on tracks that explore new musical territories. Notably, the much-anticipated "Dancing in the Flames" did not make it to the final cut.The Weeknd has described this project as his farewell to the persona he's mastered, signaling a shift towards new creative ventures. Alongside the album, a psychological thriller film of the same name, starring The Weeknd, Jenna Ortega, and Barry Keoghan, is set for release on May 16. The segment also covers promotional events including a NYC Pop-Up Experience with Spotify and a Hot Topic Takeover in Las Vegas with exclusive merch. Additionally, proceeds from the track "Take Me Back to LA" are being donated to the LA Regional Food Bank. Analytic Dreamz explores whether 'Hurry Up Tomorrow' truly marks the end of The Weeknd or just a transformation into something new, reflecting on his legacy of blending music, film, and immersive storytelling.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Linktree: https://linktr.ee/AnalyticIn this segment of Notorious Mass Effect, Analytic Dreamz delves deep into The Weeknd's latest and potentially final album under his iconic stage name, 'Hurry Up Tomorrow.' Released on January 31, 2025, through XO and Republic Records, the album was initially planned for an earlier release but postponed due to the LA wildfires, with The Weeknd contributing $1 million to aid relief efforts. This album concludes a trilogy that began with 'After Hours' in 2020 and continued with 'Dawn FM' in 2022. 'Hurry Up Tomorrow' features collaborations with artists like Justice, Anitta, Florence + The Machine, Travis Scott, Future, Playboi Carti, Lana Del Rey, and Giorgio Moroder on tracks that explore new musical territories. Notably, the much-anticipated "Dancing in the Flames" did not make it to the final cut. The Weeknd has described this project as his farewell to the persona he's mastered, signaling a shift towards new creative ventures. Alongside the album, a psychological thriller film of the same name, starring The Weeknd, Jenna Ortega, and Barry Keoghan, is set for release on May 16. The segment also covers promotional events including a NYC Pop-Up Experience with Spotify and a Hot Topic Takeover in Las Vegas with exclusive merch. Additionally, proceeds from the track "Take Me Back to LA" are being donated to the LA Regional Food Bank. Analytic Dreamz explores whether 'Hurry Up Tomorrow' truly marks the end of The Weeknd or just a transformation into something new, reflecting on his legacy of blending music, film, and immersive storytelling.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The Weeknd a annoncé que la sortie de son nouvel album, Hurry Up Tomorrow, était reportée au 31 janvier 2025. Initialement prévu pour le 24 janvier, ce décalage s'explique par les incendies dévastateurs qui touchent actuellement Los Angeles. L'artiste a également annulé son concert au Rose Bowl de Pasadena, qui devait se tenir le 25 janvier. Sur Instagram, The Weeknd a exprimé son soutien et sa solidarité envers les habitants des régions touchées, rappelant l'importance de se concentrer sur les efforts de reconstruction et d'aide aux communautés affectées. Hurry Up Tomorrow marquera le troisième chapitre de la trilogie initiée avec After Hours en 2020 et poursuivie avec Dawn FM en 2022. Pour patienter, les fans peuvent déjà découvrir trois extraits de l'album : Dancing in the Flames, Timeless et Sao Paulo. • La suite sur https://www.radiomelodie.com/podcasts/12786-the-weeknd-annule-un-concert-et-repousse-la-sortie-de-son-album.html

In this episode, we are joined by local-ish musician Feralcat. He gave us The Weeknd's 2022 album, Dawn FM. We had a blast diving into this one, going off on too many tangents about Childish Gambino and Jim Carrey, and finding out The Weeknd is a pretty kinky dude. We also briefly touch on the teaser announcement for the 3rd installment in the new Weeknd trilogy; providing our speculations.

Ya know what? Who needs a Dawn FM part 2 anyways? It's been 2 years and we still can't be bothered to edit it, so it's time to move on to a new album. We didn't even edit this one. That's why it got released so fast (One Eon later).

Linktree: https://linktr.ee/Analytic** Is The Weeknd's next chapter already written? ** Analytic Dreamz dives deep into the cryptic clues hinting at a potential album trilogy, dissecting the evolution from "After Hours" to "Dawn FM" and what lies ahead. Unravel the symbolism behind a mysterious white question mark and explore fan theories like the aptly-named "After Life." Join the conversation as we speculate on the sound, themes, and title of The Weeknd's next musical masterpiece. Blast off with Analytic Dreamz and prepare for sonic revelations!Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Evan and Amanda review "Dawn FM" by The Weeknd. Enjoy your bonus! Find us on Instagram and Threads: @worstpodonmars We're on Facebook! The Worst Podcast on Mars Send us an email! worstpodonmars@gmail.com

We had the pleasure of interviewing Hunter Blair Ambrose over Zoom video!LA-based singer, songwriter, and instrumentalist, Hunter Blair Ambrose, has released her single “Runaway,” today. Co-written by Hunter, “Runaway” is a dance-pop track written from the perspective of someone letting go of their past traumas and regrets to start anew. The title “Runaway” refers to running away from one's past, but also running away from the vulnerability that new experiences and love forces us into. Hunter elaborates; “I recently made a huge change in my life, moving cross country from New York to Los Angeles, and this song is fully inspired by that. Taking a chance on a new chapter, being afraid of all the possibilities of starting your life over. I know that moving across the country meant I'd have a fresh start when it comes to everything, new relationships, new friendships, new work opportunities, a new beginning.”“Runaway” features an emotive vocal performance with danceable, electric production that echoes a retro 1980s synth pop influence with modern touches. “Runaway” showcases Hunter's innate ability to craft personal narratives into a synth-pop 1980's inspired hybrid. She sonically drew inspiration from The Weeknd's album Dawn FM, but also synth-pop songs with 1980s production influences from artists like Majid Jordan, Zara Larsson, and SG Lewis. “Runaway” has a four on the floor dance beat, with an explosive chorus inspired by melodies and vocal stylings from Lady Gaga and Ariana Grande. Additionally, the single's lyrics tell the story of someone losing themselves in music as an escape, but also fearing what could happen if they open themselves up to love again. Hailing from New York, and currently residing in Los Angeles, Hunter Blair Ambrose began to display a profound love for the performing arts from her earliest years, starting at just 5 years old. What started as singing and studying music, turned into formal vocal lessons, piano training, and continuing to study music and theater through grade school, high school, and college. Hunter's professional career in pop began at 17 years old under the mentorship of Grammy Award-winning producer, Narada Michael Walden. After recording and co-writing her first tracks as a solo artist with Narada from 2013-2014, Hunter attended the Berklee College of Music. While studying there, she met several producers, writers, and engineers, eventually forming a core team to create her first studio EP and album Scorpio Rising (2020) and Scorpio Season (2021). The lead single, “November” went on to become a viral hit and featured an interpolated sample of Lady Gaga's 2010 hit “Alejandro.” Inspired by the likes of Charli XCX, Dua Lipa, Lady Gaga, The Weeknd, Ariana Grande, Rosalia, Rihanna; Hunter relates to artists who put an effort into stylized content that correlates with their art. Blending illustrious production with often visceral lyrics to bring her audience into her artistic universe; Hunter is known for her powerful vocals, vast range, and provocative visuals to her artistry. “As I've moved through my life, I have amassed various life experiences and have gained many new artistic influences which all come together to affect my songwriting and style of music I create. As I've evolved as a human being, so has my art. With every release, I reflect where I am at any present moment in time through my music.” - Hunter Blair AmbroseWe want to hear from you! Please email Hello@BringinitBackwards.com. www.BringinitBackwards.com#podcast #interview #bringinbackpod #HunterBlairAmbrose #NewMusic #ZoomListen & Subscribe to BiBhttps://www.bringinitbackwards.com/follow/ Follow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpodThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4972373/advertisement

Analytic | Twitter, Instagram, TikTok, Twitch | LinktreeThe Weeknd has released Live at SoFi Stadium, a 31-track live album connected to his recent HBO concert film of the same name. The material covers most of his biggest hits and includes a guest appearance from Ty Dolla $ign on “Oh Nah.” Check it out below.The Live at SoFi Stadium film arrived after Abel Tesfaye wrapped his extensive world tour in support of last year's Dawn FM. Outside of music, Tesfaye has been working on a new feature film and The Idol, an HBO show with Euphoria's Sam Levinson. Rolling Stone recently reported that The Idol's debut on HBO has been repeatedly delayed by changes to scripts and other parts of the production process, attracting criticism from some of the project's crew members. Tesfaye responded on Instagram by posting a clip from The Idol where he rebuffed the magazine in character. The Idol does not yet have a release date.source: The Weeknd Releases New Album Live at SoFi Stadium: Listen (msn.com)Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Recent rumors are going around that model Kendall Jenner and musician Bad Bunny may be a new couple. The pair were seen out and about in Beverly Hills over the weekend on a double date with Justin and Hailey Bieber at a restaurant. According to People, a source says the pair are "spending time together." Nickelodeon series “Zoey 101” is setting gears for a reunion with the upcoming reboot titled “Zoey 102”. Jamie Lynn Spears has returned to star in Paramount+ film reboot Zoey 102, which reunited her with many of her original Zoey 101 costars. The reboot will follow Zoey Brooks played by Spears and is expected to premiere on Paramount+ later on this year. Actor Austin Butler, recently nominated for an Oscar for his performance in “Elvis”, had humble beginnings as he starred in “Zoey 101” during the show's fourth season. Speaking of reboots, DreamWorks' “How to Train Your Dragon” is set for a live-action remake hitting theaters in 2025. Disney's “Lilo and Stitch” is returning in a different way and actor/producer Zach Galifianakis is already confirmed to star in the remake. Guest host Rosaura Montes discusses everything film in her segment “Going to the Movies with Rosie”. Premiering February 25 on HBO and HBO Max, “Live at SoFi Stadium” was filmed during the artist's first United States leg of his “After Hours Til Dawn Tour '' and features The Weeknd performing his hit tracks from both After Hours and Dawn FM. The concert special promises to bring “fans up-close with a special intimate concert performance” and has been “cinematically captured to bring viewers on stage and in the audience,” according to HBO. Host: Kadie Gurley Guest Host: Rosaura Montes Edited by: Andy Nguyen

Writer and producer Anupa Mistry joins Pop Pantheon to dissect the career of the most enigmatic pop superstar of his generation, The Weeknd. Anupa and DJ Louie discuss The Weeknd's genre-obliterating early mixtapes, which helped to redefine the contours of R&B in the 2010s, and his studio debut, 2013's Kiss Land. They also walk through his string of massive successes, from his breakthrough sophomore album, 2015's Beauty Behind the Madness, 2016 follow-up Starboy, 2020's revelatory After Hours, his 2021 Super Bowl performance, and most recent effort, last year's Dawn FM. Read Anupa's 2015 profile of The Weeknd in PitchforkJoin Pop Pantheon: All Access, Our New Patreon Channel, for Exclusive Content and More!!Shop Merch in Pop Pantheon's Store!Come See Louie DJ @ Gorgeous Gorgeous in DTLA, 2/10Check out Pop Pantheon's The Weeknd Essentials Playlist on SpotifyFollow DJ Louie XIV on InstagramFollow DJ Louie XIV on TwitterFollow Pop Pantheon on InstagramFollow Pop Pantheon on TwitterFollow Anupa Mistry on Instagram

Whoody is back for a music break down plus more. Her Loss vs Mr. Moral. The soundtrack to our lives from 2022 and what to expect from 2023. The Weekend to Freddie Gibbs, & the music that has us in a chokehold and amplifies our emotional rollercoaster that is life. I JUDGE THE ART NOT THE ARTIST. Every relationships expectations & benefits. Validation & reassurance, gratefulness & assumptions in romantic and platonic relations...Contact: dearlybelovedspod@gmail.comsolo.to/hatch

Numerous topics and going with the flow on an episode full of music topics, news and opinions. Much more things to be talked about other than the news of A$AP Rocky and Rihanna, along with new music from Canadian greats in Tory Lanez, but more focused on The Weeknd

There were some MAJOR highlights on the Fitzy & Wippa show in 2022 and one of them was the boys interview with Hollywood superstar Jim Carrey. Jim revealed what it was like to work with The Weeknd on his Dawn FM album and also reminisced on what it was like to meet Robin Williams. See omnystudio.com/listener for privacy information.

Syndicate 23 presents the 6th Annual Audioface Awards! Thanks for listening this year, we appreciate listening with you. Award categories and nominees are listed below: “FROM DUSK TO DAWN” BEST MUGSHOT AWARD:SLIM JXMMISpotemGottem Kodak Black Mystikal WORST MUSIC ON FLAT SCORCHED EARTH, NUKED HAWAII, NO QUID PRO QUO, BLEACH INJECTION,RIPPED SKULL DIAMOND,FTX TRADING LTD. BAHAMAS 2022:“God Did” by DJ Khaled“Mainstream Sellout” by Machine Gun Kelly"Palaces" by Flume BEST INDIE ALBUM“Ants From Up There” by Black Country, New Road“DECIDE” by Djo“Skinty Fia” by Fontaines D.C.“Wet Leg” self titled “Ugly Season” by Perfume Genius “Big Time” by Angel Olsen“And In The Darkness, Hearts Aglow” by Weyes Blood BEST ELECTRONIC ALBUM“Fragments” by Bonobo“Actual Life 3” by Fred Again..“Paradise Again” by Swedish House Mafia “Cherry” by Daphni “Fossora” by Björk“RENAISSANCE” by Beyoncé“Funk Wav Bounces Vol. 2” by Calvin Harris MAINSTREAM AWARD (BEST OVERPLAYED SONG)“Moth to a Flame” by Swedish House Mafia and The Weeknd“Rich Flex” by Drake & 21 Savage “As it Was” by Harry Styles“Break My Soul” by Beyoncé “Titi Me Pregunto” by Bad Bunny“Unholy” by Sam Smith & Kim Petras“The Loneliest Time” by Carly Rae Jepsen RETURN TO FORM AWARDPhoenixBROCKHAMPTONSpoon BEST POP ALBUM“Un Verano Sin Ti” by Bad Bunny“MOTOMAMI ”by ROSALÍA“Multitude” by Stromae“Midnights” by Taylor Swift“Hold the Girl” by Rina Sawayama“Harry’s House” by Harry Styles“Crash” by Charli XCX BEST NEO-POP ALBUM“SMITHEREENS” by Joji “Gemini Rights” by Steve Lacy“You Can’t Kill Me” by 070 Shake“WASTELAND” by Brent Faiyaz“Caprisongs” by FKA Twigs“Serpentina” by BANKS“Dawn FM” by The Weeknd THE “DON’T FUCKING SLEEP” AWARD FOR BEST NEW ARTISTFred Again..Nova TwinsCMATWet LegWill Cherry SONG OF THE YEAR“Jungle” by Fred Again.. “Cash in Cash Out” by Pharell, 21 Savage, Tyler the Creator “Looking At Your Pager” by KH“DESPECHÁ” by ROSALÍA “About Damn Time” by Lizzo THE "SOFT A" AWARD FOR IDIOCY IN MUSIC Kodak Black for Florida Panthers f***Damon Albarn “Taylor Swift doesn’t write her own music”Ye for Speedrunning Divorce and getting his wife SketedAdam Levine for sextsRick Ross for not paying his workers THE AUDIENCEFACE AWARD“ULTRAVIOLET” by Will Cherry “Renaissance” by Beyoncé“Drill Music in Zion” by Lupe Fiasco“Midnights” by Taylor Swift“Mr. Morale and the Big Steppers” by Kendrick Lamar“Black Radio III” by Robert Glasper“Serpentina” by BANKS BEST RAP/TRAP ALBUM“GHETTOS GODS” by EARTHGANG “Mr Morale and the Big Steppers” by Kendrick Lamar“It’s Almost Dry” by Pusha T“Melt My Eyez See Your Future” by Denzel Curry"$oul $old $eparately” by Freddie Gibbs“Cheat C

It's never been easier for artists to release music and find an audience in any corner of the world. Likewise, it's never been more difficult for artists to break through the noise. The Internet and streaming services have created a double-edged sword for rising artists. To discuss this, Tatiano Cirisano joined me on the show. Tati is a music analyst at MIDiA Research and a former reporter at Billboard.Tati released a research piece a few weeks ago that argues the music industry is oversaturated and fragmented — more than ever before. This shift has created a new class system for artists.In Group 1 are artists that reached prominence pre-streaming in a less cluttered marketplace (e.g. Beyonce or AC/DC). Class 2 consists of artists who rose in parallel with the proliferation of streaming. Drake and Taylor Swift fall into this category. And then there's the Class 3, that includes newer artists, who try to cultivate audiences in today's hyper-competitive landscape against the other two groups. Tati believes the trend line for the music industry's fragmentation is clearly pointing up. To understand how we got here, why it matters, and how it redefines success, you'll want to listen to our interview. Here's our biggest talking points: [3:11] Why consumption is now fragmented[8:41] Music superstars losing their reach[10:55] Modern artists valuing fame less than prior generations[13:24] Benefits to fragmentation[14:48] Updated benchmark for artist success[16:50] Active vs. passive listening[18:53] Music industry is still tied to album sales[25:34] Artists segmenting audiences by platform[30:18] Trap of taking users off native platforms[32:59] Content is becoming more important than the creator[37:35] YouTube and other potential outlier platforms for audience-building You can read Tati's full report here: https://midiaresearch.com/blog/music-is-not-a-level-playing-field-it-is-a-field-of-all-levelsListen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Tatiana Cirisano, @tatianacirisano  Sponsors: MoonPay is the leader in web3 infrastructure. They have partnered with Timbaland, Snoop Dogg, and many more. To learn more, visit moonpay.com/trapital Enjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapital Trapital 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: Fame is actually really low on the list of priorities of artists today. And whether that's because they don't really want it or because they just don't think it's achievable is kind of another layer to that, but the top two things are earning a sustainable income and achieving recognition within their scene. Artists' definitions of success are changing, but I don't know if the music industry is really catching onto that or really supporting that because the music business is a hits business and record labels are trying to create superstars and drive culture.[00:00:38] 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. [00:00:58] Dan Runcie: Today's conversation is all about why the stars of today cannot be compared to the stars of yesterday in the music industry. And when I'm talking about yesterday, I'm not talking about 20, 30 years ago. I'm talking about three, four, even five years ago. The era that Drake and even a Post Malone and some of these other artists came up in cannot be compared to what's happening with the artist today and that's as it relates to streaming, as it relates to TikTok, and all the ways that things are fragmented in the creator economy. And it was great to be joined by Tatiana Cirisano. She is a music industry analyst at MIDiA Research, where she has written some insightful pieces and breakdowns on this topic in a whole lot more. We talked about the impacts and the current landscape of the streaming era, what it looks like for artists that are prioritizing their growth and perfecting what they can do on one platform as opposed to spreading it on others. We also talked about some of the trade-offs and some of the challenges for artists in the creator economy and a whole lot more. She does some great research on this topic. So definitely check out the work she does at MIDiA Research if you haven't yet, here's our conversation. Hope you enjoy it. All right, today, we are joined by music industry analyst, Tati Cirisano, who is going to help us solve all of the music industry problems today. Are you ready? [00:02:22] Tatiana Cirisano: One can hope. I'll do my best. [00:02:25] Dan Runcie: So what sparked this conversation was a really insightful piece that you had put out recently through MIDiA Research, and this was about the different levels of artists and where they are specifically in the streaming era. And you had this really good breakdown on how you had the artists that were already established in the streaming era such as your AC/DCs or your Beyoncés, they were established before streaming became a thing. You had the artists that were, folks like your Drakes or even your Taylor Swifts that rose while streaming was really huge. And then you have your artists today. Could you talk a little bit about how that differentiation between those groups impacts success and what achieving success looks like today?[00:03:11] Tatiana Cirisano: Yeah, no, absolutely. And I'll kind of back up a little bit to what is underlying all of that, which is just the fragmentation of consumption. And that's something that we study a lot at MIDiA, and it basically means that, you know, with people able to, through streaming, access all the music they could ever want to and listen at any time that they want to, and also with these increasingly sophisticated algorithms kind of pushing people to niches. It follows that there's kind of less mainstream moments or mainstream stars and more of these stars just for individuals and their communities or their niches. And I think that's something that we've all kind of experienced at some point, like, maybe there's an artist that you're obsessed with and all of your friends love, and you mention it to a friend that is in another circle and they're like, who's that? I mean, I get that reaction. I've gotten that reaction talking about Bad Bunny before, and he is the top streamed artist in the world. So I think we've all had like this anecdotal experience of you think that something is mainstream, but it's not as mainstream as you think it is and that is the fragmentation at work. So this is happening on a really, really accelerated scale now. Just because of how everything is online and on demand and because of these algorithms. So we're in this situation where the artists that are competing today are in a much more oversaturated and fragmented landscape where it's a lot harder to have a mainstream impact than the artists that were even chasing success three years ago, five years ago, ten years ago. So the way that I had kind of broken it down, and I think you could actually break it down way further, which I think we're going to talk about is yeah, the artists that came up before all of this, pre-streaming, really, which are the AC/DCs, even a little bit of like the Beyoncés, and because they built their fan bases at a time before everything was so fragmented and cluttered, they're still, like, building on that today. They're still kind of riding that wave. And then you have the artists who came up kind of in the beginning of streaming and before all the second-order impacts happened. So basically streaming did democratize the playing field. It did make it so that way more artists could find their audiences. And there were all these benefits at the beginning, and artists like Drake, and Taylor Swift, and Ed Sheeran really benefited from that. But now we're at a point where streaming has also contributed to this really oversaturated landscape, this really fragmented landscape. And it's only getting more and more so every year. And so the artists that are competing in that landscape now face really, really unique challenges, yet they're still competing in the same field as the Drakes, as the Beyoncés, as the AC/DCs. So because so much of this change has happened in just, like, 5 or 10 years, we're in a situation where the artists of today have very, very different challenges than, I think, even the artists of 2020, like, the pace of fragmentation is just insane. And I have data on that too, that I can share. [00:06:00]Dan Runcie: Yeah. It would be great to dig more into that 'cause you've mentioned in 2020. I look back on that year, especially, maybe the year leading into that, Billie Eilish was someone that was being talked about more and more, and she, of course, ended up sweeping the Grammys that year. But even when she came up, things are even more different now than back then, to your point. [00:06:20] Tatiana Cirisano: Yeah. I really like the data that BPI pulls on this in their, I think it's called All About the Music. They have this annual report, and they look at, this is only in the UK, but they look at what percentage of total annual audio streams go towards the top 100 tracks? So, like, how much the hits are dominating basically? And that percentage has halved, more than halved, in the past 5 years. So you see that, like, we still have superstars, but their impact is just kind of lessening. And more, more consumption is going towards sort of like the mid-tier of artists, but it's spread across them. So it's just harder and harder to kind of have an impact. So, yeah, I think Billie Eilish is, it's funny, I feel like she's such a tough one because I try to use her as examples all the time, and I'm always like, but she is the exception to every rule because she is, like, such a talent. And, you know, I feel like it's hard to use her as an example in things, but I do think that she even came up in a much less cluttered space. I think that was like, more like 2017, 2018 pre- TikTok. And that's actually another division that I would make, like yes, because of TikTok, the app itself, but also because of the fragmentation that it kind of has fostered and that other platforms are now following the footsteps of.[00:07:38] Dan Runcie: It's interesting because the BPI data is essentially telling us that a superstar has around half the reach that they may be once did, or half of that footprint that they did. And it's one of those things where, of course, there's that cultural aspect of wanting to feel like something is big enough, so that, yeah, you're not asking your friends about Bad Bunny. And even though he's a global superstar, people still don't know who he is, but is this necessarily an issue as it relates to artists? Because a lot of it does reflect on the expectations that someone may have for their career, so I wonder has the industry itself adapted to the expectations, right? I think a lot of folks understand that no one is necessarily going to have that 1960s Beatlemania level of fame, or even 1980s, Michael Jackson level of fame. But do you feel like people have come around to the fact that no one is going to have 2015 Drake or 2014 Taylor Swift level of fame? Do you feel like that has sunk in yet? [00:08:41] Tatiana Cirisano: That's a really good question. That's a really, really good question because so much of this is about, like, how we define success in the first place, right? So at MIDiA, we do these surveys of creators where one of the questions we ask every year is what is your definition of success? And we're finding that, while in the past, the music industry was very much associated with, like, fame and fortune, and like, that was kind of, like, what you're going after as an artist. Fame is actually really low on the list of priorities of artists today. It's the last thing. And whether that's because they don't really want it or because they just don't think it's achievable is kind of another layer to that that I'm not sure the answer to, but the top two things that they choose are earning a sustainable income and achieving recognition within their scene. And I think that's why so many artists are sort of enticed by the creator economy model because that's what you're doing, right? You're earning a sustainable living from, you know, your biggest fans or the people that are recognizing you within your scene. There's a lot of problematic things about the creator economy and maybe that's for another episode, but like, I think that what I'm trying to say is I think that artists' definitions of success are changing, but I don't know if the music industry is really catching onto that or really supporting that because the music business is a hits business and record labels are trying to create superstars and drive culture. And if the mainstream is almost nonexistent these days, like how do you do that? I do think that the sort of silver lining to it is that these sort of like more niche communities behind these, like, smaller stars are more engaged anyways. So it's like, do you want this, like, are you trying to go after this passive majority that, you know, maybe isn't ever going to be that engaged with your music, or would you rather go from a bottom-up approach and kind of find your audience, your niche, and builds from there. And I think that that can be really, really powerful, and we're kind of entering this age of like cult stars rather than superstars in that sense. I forget what you even. Ask me that launch beyond this rant. [00:10:52] Dan Runcie: That was good though. [00:10:54] Tatiana Cirisano: Those are my thoughts on success.[00:10:55] Dan Runcie: Yeah. I feel like that was relevant though that, 'cause cult stars is a great way to capture this because I think shadowing back to the first thing that you said fab and fortune were so linked from the legacy of the music industry. And in many ways, they were linked that you couldn't really achieve one without the other. There was no one that was making 10 million a year from music as an artist that people really didn't know about to a certain level in terms of their take-home pay, not in terms of, you know, the money that they're generating, but today it's completely different. And of course, yeah, we mentioned how someone like Bad Bunny may be unknown to those outside of the circles. But I think we see this even more so because it's easier to achieve some of those fortunes without that same level of fame. I look at someone like Russ who, you know, he shares his TuneCore receipts and how, I forget whatever number he is pulling in, whether it's 6 figures a week or a month, or however much he's getting there, but he's clearly showing that he can pull in millions. And I mean, Russ, his music doesn't hit my circles, and if anything, the more news I hear about Russ is more related to his earnings and how he manages as an independent artist, not necessarily his music itself. And I think that speaks to me not necessarily being in that cult itself, right? But I still think that there is a space and opportunity for those artists that clearly want the fame and the fortune. You know, if you want to be able to perform in an arena and sell it out and gross, however many millions or, you know, doing the same thing in stadiums, you do have to likely follow a lot of the same traditional things from that path level, but still, even fame from that perspective doesn't hit the same way that it did. So it's a really fascinating time, and yeah, I think a lot of it does go back to both artists' expectations and the industry expectations, if the industry and the artists still have these dreams of thinking that artists can reach the levels of fame that artists did even 6, 7 years ago, then that's where people should probably be taking, 'cause I've had this conversation with so many people and they'll mention examples like, oh, well look at BTS. Oh, well look at Bad Bunny. Oh, well look at so and so, and I do think that there's something to be said for just the global aspect of the fame is just how music is reaching in different areas, and maybe that probably reflects that the people that are closest to that global superstar level, maybe just because of how saturated the US is, they're more likely to come from elsewhere, but who knows? [00:13:24] Tatiana Cirisano: Yeah, no. And there's also, like, a lot of benefits to this fragmentation, right? Like I feel like I, the way I'm talking about this is very like doom and gloom. but it's also very beneficial to, like, the middle tier and long tail of artists that, you know, they're actually able to have audiences. The tricky thing though is that it's still so hard to break through. It's such a fascinating conversation to have because whenever we present this data on fragmentation and our thinking around it, the question from labels is always like, okay, but how do we drive culture? How do we create those moments? How do we make something mainstream? And I think there's an opportunity to kind of, like, labels are really top heavy, right? They're focusing on like the top three artists in their roster, making them superstars, and I feel like there's maybe an opportunity to spread resources more evenly across the middle and create those kind of cult stars that we were just talking about. So I think it is about changing your definition of success. I just don't know, you know, if the music industry wants to. But I might have to, I don't know. [00:14:22] Dan Runcie: Yeah, because to your point, it could be potentially even more profitable to reflect the current playing field and invest in the people that have these niches, and knowing that even though it's not going to reach everyone if this person is reaching their tribe of people, then they can double down on that. And it could probably end up being even more successful, you investing all your resources to sell you know, three artists on your roster telling that they can be the next Drake.[00:14:48] Tatiana Cirisano: Yeah, no, and talking about this is reminding me too of I think we both wrote about the Gunna and The Weeknd album release week, like, whenever that was, time is flying. I think that was like earlier in the year. And how, even though the weekend is like objectively a household name, a bigger star, Gunna had this more engaged niche fan base that, you know, latched onto this P phenomenon and it ended up vaulting him maybe into the mainstream. 'cause the album debuted at number one. So it's like, which of those scenarios is success? You know, like the P phenomenon that happened, so many people didn't even know that that was going on. It totally bypassed, like, the majority of the population, right? But for the target audience, it felt mainstream. And I think that that's like, what's so different about this current moment is that something can feel mainstream to that circle, but totally bypass the rest of the population. [00:15:42] Dan Runcie: Yeah. And there's so many factors at play in that that gets into this broader question that I've been thinking a lot about in terms of what does the closest thing we have to a benchmark for success look like, right? Because someone could easily look at that weekend that The Weeknd releases Dawn FM, and Gunna releases his album and Gunna outsells him, and then someone can think, oh, well, look at Gunna, you know, already selling more than the guy that performed at the Super Bowl. But if you look at it another way, The Weeknd is selling out stadiums right now and one of a handful of artists that can do that. And I love Gunna, I think he's had a great rise in everything, but he's nowhere near being able to sell out that much, at least in terms of where he is in his career right now. He could get there someday, but he's not there right now. So I feel like even that makes me wonder, okay, is streaming itself as a predictor for concert tickets or other things becoming harder to inform what it is really reflecting, or is that just its own individual metric that we are looking at? [00:16:50] Tatiana Cirisano: Yeah, I think it is becoming harder to use stream counts as a metric for fandom and for culture because I think those things are building off of streaming platforms. Like, fandom is building on, you know, TikTok or Twitch or wherever, whereas streaming is a lot more of a passive activity. So that's another thing is like, I feel like we need new metrics and one of them is, like, active versus passive listening, which is something that's kind of hard to track. How do you do that as a streaming platform? So yeah, I think streams don't always equal fans and that's becoming more and more true. It's just, it's a lot harder to discern. [00:17:31] Dan Runcie: Yeah. And that goes back into this broader question of the Billboard 200 and how it's trying to both combine streams, and pure album sales, and all these things to get to these numbers that we have. And it's becoming tougher and tougher to use that as a metric of what success is. If anything, these things are more reflecting, marketing budgets than they are popularity of the actual underlying music. And although the marketing was always tied with it, this is another thing that's separating further and further. And it reminds me of something that I know that MIDiA has talked about often in terms of measuring the success for these superstars when they do release albums. Remember Mark had that breakdown about Adele and how it should be, how her album for 30, we can't even compare what she had done when 25 came out in 2015, different era. She did pure CD sales and you could do that in 2015. You can't do that now. Although I think that vinyls have brought back an interesting conversation with some of this, but still it's difficult to do that, and it's making me think again because you had something similar when we looked at Beyoncé and I don't think you can necessarily compare Renaissance's numbers to Lemonade or the self-titled album before that. And we're going to have this conversation again when Taylor Swift's Midnight album comes out in a couple of months.[00:18:53]Tatiana Cirisano: No, it's so true. And I actually, I had that exact conversation with someone recently about, you know, the Billboard 200 and the Hot 100 and how it's not necessarily measuring, there's a lot of places that get left out from that count in terms of how people are consuming music. Like, I think so much of listening is happening and the fandom around it is happening off platform these days or off DSPs. It's happening like on TikTok and all these other spaces, in games, you know, wherever. And I don't know if we're accurately measuring that. I also don't think that, like I said, we're measuring so much, you know, active versus passive listening and these sort of segments of fans on streaming. Like, streaming kind of equates everyone as the same consumer, right, whether you're a super fan or whether you just press play on a playlist and sit back, you're still paying the same. You're still kind of equated as the same thing. So the question is how should we measure success today? Or how should we measure cultural impact? It's so hard 'cause I think in a lot of ways it goes beyond music. Like, if you're an artist who has really had a cultural impact, that impact is transcending music anyway, and that's kind of what it means to be like an icon or to be a cultural icon in that way. So I don't know. It's a really tough not to crack. Like, a lot of these things are qualitative, right? Like, how do you measure the cultural impact that something has? And I don't think that it necessarily parallels with commercial success. Like, you can have something that had a, a huge cultural impact for a certain group, but didn't really hit the charts or change the way that people think about making music, but didn't really hit consumers the same way. So now I'm just ranting and rambling.[00:20:34] Dan Runcie: Let's explore this a bit though. [00:20:36] Tatiana Cirisano: It's tough. [00:20:37] Dan Runcie: Let's explore a bit though because you brought up this point about active versus passive listening. So if I'm understanding you correctly, even if we started there, active listening is Gunna's album's coming out, I'm a Gunna fan, it's midnight. I want to press play and hear this album on Friday morning. [00:20:55] Tatiana Cirisano: That would be a great metric to know is, right, and I guess we have first-day streams as kind of an indicator. [00:21:01] Dan Runcie: But I guess you're saying, that's different from passive listening, which may be it's Friday. I just want to put RapCaviar on and then boom, RapCaviar has eight tracks that are going to be in the first 20 tracks that I just play as I'm going to work or something.[00:21:17] Tatiana Cirisano: Right. Exactly. And I think that's where it's more and more difficult to know, and it would be really helpful information for artists to have as well because if you're going to go this route that we've been talking about of, you know, finding your niche and finding your biggest fans and sort of going from a bottom-up approach in this fragmented environment, trying to become a cult star, you need to know who your most active listeners are, and I think that's really hard for artists to know today. [00:21:43] Dan Runcie: I think part of the other challenge, too, with any type of metric is that the music industry itself is still tied to album sales. So anything that can translate back to that will always be there. So even if streams is how majority of music consumption is happening, as it relates to chart performance, it's always going to be challenging from that perspective because I feel like the resurgence of vinyl brings back an opportunity to push these things. I look at how well Harry Styles' album had performed, but a majority of the sales from that album was because of the vinyl that he had that was sold with it. But given all the shortages, how much of Harry Styles' performance is based on the pure demand that he had, which I know, obviously, he sold them. But because of how high his number is relative to, let's say some other artists that are signed to Sony and Columbia, what if they had the same type of inventory? I think that I had similar questions thinking about whether it was a Beyoncé or even a Kendrick Lamar. If they had the amount of vinyl inventory that he had, would it be a completely different discussion? I feel like the two of them maybe had around 300,000 or so first-week album sales, Harry Styles was over half a million. But if we were to still give them all the same inventory on that perspective, what that would look like? So there's all these ways that when you look at the data, it's telling you completely different things, but people are still just responding to the top line revenue number, and it brings us back into this whole thing that we just talked about with Gunna versus The Weeknd where it's like, okay. Yep, these numbers may tell you something, but when you really dig in, it's something completely different. So it becomes a mess to try to quantify. [00:23:37]Tatiana Cirisano: Yeah, exactly. You hit the nail on the head.[00:23:39] Dan Runcie: Yeah, because the comparison I've always had as a joke is like let's say that the music industry was still stuck on trying to measure everything by DVD and VHS sales, right? So they had some amalgamation of some calculation that had whatever percentage of streams that you had on Netflix that was weighted with this, plus how many VHS sales you had, plus how many DVD sales, and this gives you a DVD equivalent unit. If you presented that metric to someone, someone would be like, that is the most ridiculous thing I've ever heard in my life. [00:24:13] Tatiana Cirisano: Right, right. [00:24:13] Dan Runcie: They would laugh at you out of the door, but that's what we've normalized in the music at this time.[00:24:19] Tatiana Cirisano: That's what we're doing. Isn't that just a metaphor for so much? Yeah, it's true. I also think it goes back to exactly what you're saying about, maybe these charts are more indicating the marketing budget and you know, how they decided about bundles or we're going to sell vinyl or whatever we're going to do to try to make it to the top of the charts. And I wonder what these charts would look like weighted differently, or we are talking about fragmentation. It's so fascinating to look at, you know, the charts across different platforms and see that they're totally different. So I do wonder a lot, like what are we actually measuring when we're looking at, you know, the Hot 100 or the Billboard 200.[00:24:57] Dan Runcie: Great question and great segue, too, 'cause I wanted to chat with you about this, how you look at a lot of these platform charts, especially the non-digital streaming providers and the artists who are on the top look completely different. You even see this a little bit with some of the DSPs as well, where some of the artists on top of your Amazon and Apple music may look a little different from what you see on Spotify. What's your take on that overall and do you think that artists themselves should be keeping this in mind when they are focusing or when they are thinking about how best to build an audience? [00:25:34] Tatiana Cirisano: Yeah, no. I mean, I think that it's just another really apparent reflection of the fragmentation that's happening. And I think it does make sense knowing all this as an artist to rather than try and dominate every platform, which is next to impossible, trying to kind of find where you fit in and dominate there. And that is sort of like that bottom-up approach, but from a platform perspective, and also might, like, reduce the feeling from artists that they need to be, you know, popular everywhere and they need to be churning out content on every platform and all that. I think the risk though, is that, especially when we're talking about non-DSP, there's artists that maybe have the most followers on TikTok, but they're not being followed for their music. They're being followed 'cause they make funny videos or their song has the most uses because it's become a joke that people are sharing around and not as many people are streaming it offline. So I think it is a good idea as an artist to maybe figure out what platform fits you best, but you also need to understand, like, the particular sort of idiosyncrasies of each of those platforms. I also think, I think you've written about this a lot like segmenting your audience across platforms as a strategy. And I think that's another way that you can kind of use this information as an artist if you know that you have an audience on one platform that is looking for this specific thing and another, that's looking for another, why not, you know, release your full album on Spotify, but you know, the deluxe edition only on Patreon for your biggest supporters or something like that. Or even, there's this indie artist mxmtoon, who I think is a really interesting example of like a modern-day sort of artist slash creator where she has a presence on pretty much every platform. YouTube, she has a podcast, she's on TikTok, she has like a Discord, I think. But every single one of those is used for something totally different. And she has audiences that kind of funnel through all of them. But YouTube is where she does ukulele tutorials and, like, TikTok is where she does Q and As, and the Discord is where the true fans go to congregate. And that's also a path that may be unsustainable for a lot of artists, and I don't like, I'm not trying to suggest that everyone should be on every platform, you know, there are eight octopus arms, like doing all the things. I think that's one of the, like, things that's problematic about the creator economy, but, but yeah, I do think that it's really valuable for artists to understand this fragmentation and how it plays out on different platforms because I do think there are ways to navigate that and kind of use it to your advantage. [00:28:07] Dan Runcie: There's definitely a benefit to focus here. And this, as you mentioned, spans beyond artists. It does look at everyone that is a creator. And maybe just for clarity for the folks listening, when we're talking about DSPs, we're specifically talking about the ones that a lot of people are paying monthly subscriptions to, so your Spotify, Amazon, Apple music. When we're talking about non- DSPs, we're talking about the place where you could still hear music and artists can still build platforms, but they're not in the same type of way as the other. So we're talking about TikTok, we're also talking about YouTube and maybe some of the other platforms there, although YouTube does have some hybrid tendencies there, but to level set that piece of it. I do think that focus helps a lot because I look at someone like an NBA YoungBoy and how he's been able to just blow up and dominate on YouTube. That takes time of really understanding the algorithm, understanding what works here, and just given how big the platform is that did help him grow and have traction on Apple music, on Spotify, and on other places. So I've heard a lot of people refer to this 80-20 rule. That's a lot of content creators, which I think could be helpful for artists as well, where if there was a platform that you're focusing 80% of your time to try to focus on and just understand, especially if there's an advantage there where others that are in your niche, maybe aren't necessarily doing as much. And then you're still having your feet in the others to just understand what those opportunities could look like. I feel like that type of approach could work well because that's how you get to the levels of, you mentioned the independent artists who essentially tailored so much of the content for each area. And while there's a lot that benefits there, obviously, it isn't completely scalable, but I feel like that's how you get to these things. And we've seen other examples of how people have just focused on a particular platform or just doubled down the risk of that. Of course, when we can talk about this in a minute, is that you do relinquish a lot of your power to any decision that that platform does make, especially if you're relying on so much of it for your business when you necessarily own anything underneath that. So there's definitely trade-offs, but there's benefits too. [00:30:18] Tatiana Cirisano: Yeah, no, that's a huge issue there. Which we'll get, yeah, we'll get into more of that, that stuff in a minute, but this approach of like focusing on a platform also means that you're seeing these non- DSP platforms as a form of consumption in their own right, rather than just using them as a funnel to streaming, which I think is like a trap that the music industry has kind of fallen into is, oh, make something go viral on TikTok and then push everybody to Spotify. And it's like, if the fandom and the culture and a lot of consumption is happening on TikTok, you're leaving that on the table when you're pushing people to Spotify. And you know, I think that there's a lot to be gleaned there, and we should start thinking about these platforms as their own consumption platforms in their own right.[00:30:58] Dan Runcie: Yeah. As a content creator myself, I've heard a lot of people use that analogy of give, give, give, give, give, and then ask. So it's not like you're just going there and asking and trying to transport folks over. You're still making some enough effort to make sure that you're connecting authentically with the folks on the platform, but you still know that when there was time for an ask, you're thoughtful about how you're doing, and you're not doing it all the time because trying to take people off the platform, especially TikTok, which has grown in so many ways because of passive engagement, it's even harder. [00:31:31] Tatiana Cirisano: Yeah, yeah, no, I think this is something that you wanted to get into anyway, but just, like, the objectives of the platform and the creator are totally different because the platform has the best-case scenario when there is all this passive viewing and people are just scrolling endlessly and they're spending a lot of time on the platform, but that's not the best case scenario for the creator. So the audience and the platform get all the benefit. And the creator kind of falls to the wayside. And I think that's a big issue that we're seeing in the creator economy. [00:31:57] Dan Runcie: Yeah. And this is a big issue that I know that people have had about Web 2.0 more broadly and just how this can be improved. The challenge I've seen though is that any type of platform I've seen that does try to be more creator-focused and doesn't try to do the same things that marginalize the content that the creators make, a lot of those platforms struggle to gain traction, or they're only used in these niche type of ways. So it creates a bit of this double-edged sword where the creators themselves feel like, well, if I focus on the platforms that are solely built to cater to me and prioritize me over the content, then it's going to be hard to get the users there because it isn't designed in a way to keep the users engaged, just thinking about the extent that the more popular platforms do and more popular platforms are the ones that prioritize the content over the creators. So it's one of these unfortunate situations that has continued on and on, and that's why we're at the point we are now.[00:32:59] Tatiana Cirisano: Yeah, I think that we do see that happen more often than not. And before we even got to this point where content is becoming more important that the creator, which I could talk about in a minute the objectives are just totally, like I said, misaligned, like the platforms need scale. They need to monetize. All of the combined audiences of these individual creators. But the creators are looking more so for fan bases and engaged followers than they are looking for, you know, these passive audiences. So it actually, I think a lot of the struggles that creators are having with these platforms sort of echo issues that artists have had with streaming platforms in really interesting ways. Because it's similar to how like rights holders, like labels are monetizing scale of being able to own all of the songs and therefore all of the audiences of dozens, if not hundreds of artists, but those artists individually will never have enough scale to earn a meaningful income from streaming. And I think the same sort of thing is playing out with creators now where the platform is getting all the benefit because they get the combination of all these audiences and it's best for them. If people are just mindlessly scrolling, whereas creators have just totally different objectives and a different way of earning money. And then the current algorithm, or like the one that everyone's trying to kind of copy, which is TikTok, is making matters worse because there's no need to even actually follow anyone or, you know, really engage that much with the platform because you're going to be served content that is tailor-made for you regardless. So we're kind of teaching people with that kind of discovery-focused feed, not to actually follow individuals and more to just expect this constant flow of content. And again, going back to the parallels with streaming, it's interesting how we went from a few years ago, talking about TikTok as this amazing democratizing force to now talking about how well, yeah, it's democratized 'cause everybody can post anything, but it's impossible for anyone to get heard. We've gone through the same trajectory with streaming where, 5 years ago, we were all saying, oh, my God, streaming is great. It's democratized the industry. And in many ways it has, but now we're seeing all these second-order impacts where it's really, really hard for anyone to break through the noise, and it's really, really hard for anyone to earn meaningful income, so, yeah. [00:35:14] Dan Runcie: The pattern is clear. You laid it out perfectly. [00:35:17] Tatiana Cirisano: It's crazy. [00:35:17] Dan Runcie: And one thing about TikTok, everyone talks about how quick it is to grow a following, how favorable the algorithm is when you start off, and all those things are intentional. It is the easiest platform to be able to gain tens of thousands of followers and even more, but it's the hardest to be able to translate those followers into actual fans because it's more likely that they are going to be passive folks that are engaging versus active ones. And we're going to see more and more of that, especially given to goals to try to expand into so many other places, and then additionally, every other app trying to copy what TikTok is doing, because they see that being the norm. And now that that's what they see as the standard operating procedure for how to keep people's attention and engagement, everyone is trying to have their own version of that.[00:36:09] Tatiana Cirisano: Yeah, you know, and I think that people do have an appetite for, like, wanting to follow individuals. I mean, that's what everything has been based on up until now. And people were annoyed when Meta changed its algorithm and said, it's all going to be discovery-focused now because you go to Instagram to see updates from your friends and people that you follow, not to just get this feed of things that you've people you've never heard of. So I think that there is still, like, an appetite for that. And there's sort of a chance to recalibrate and allow more ways to actually follow creators and not just make it all about each individual piece of content. But I think that we're kind of in a critical window right now to preserve that. And I don't know if we're talking about this enough. Yeah, it's just the situation, like to kind of bring it back to artists is really difficult because you need every individual thing that you post to do well. It's not enough to just have one thing, draw someone in because they might not even follow you from there. And they're just consistently scrolling and getting more and more content. So there's just this endless churn of content happening. And it's just, yeah, it's benefiting audiences and it's benefiting platforms, but it's not benefiting creators. [00:37:18] Dan Runcie: The need to preserve is there, as you mentioned, and we talked a lot about some of the platforms that have made it challenging. Are there ready that stand out to you that you're like, okay, they are at least making an effort or do you feel like there's more opportunity there relative to some of the other platforms that exist?[00:37:35] Tatiana Cirisano: Yeah. I do think that YouTube could be an exception to the rule with this. I think that it's a really interesting company because when you think about it, they kind of were the original creator economy company and kind of are seemingly doubling down on that now. I think that it's great how there's sort of this network between YouTube shorts, YouTube music, YouTube, and that's sort of what I think is missing, but won't be for long from TikTok is that you have to switch to a different platform to listen to the music, which is why if ByteDance, you know, release Resso worldwide or make this TikTok music app, it might become crazy powerful, but, yeah, I think YouTube does have this focus on channels and following people. And I think a lot of creators have been able to build sustainable incomes there. But I do worry that the impact of all these other platforms kind of teaching people not to follow and not to follow individuals and channels is going to have an impact, but I think YouTube has a lot of potential. [00:38:35] Dan Runcie: Yeah, I think so, too. It definitely is the platform, bad thing has the most ability to offer this just given the full complexity of whether or not you're an artist, you're someone that's creating any type of thing that has video, you're probably going to be on there. I also do think about platforms like SoundCloud, Audiomack, and Tidal as well because...[00:38:55] Tatiana Cirisano: A hundred percent.[00:38:56] Dan Runcie: ... even though they may not necessarily fit into the same buckets as some of the others we mentioned, I do think that the things they've tried to do, whether it's with SoundCloud's fan-powered royalties or with Tidal's user-centric base model, which is similar, or even what Audiomack has done with its supporters program, allowing people to say, Hey, this is the person that I want to give my money to. If there's extra money at the end of the year, this is the person I want to have a badge on and want to be able to share that with the profile, they keep the connection there. They're willing to share who are particular artists' followers and fans are, which is something that most of the other DSPs don't allow to happen. So I do think that they are more unique opportunities. And also, I would say tracing back to the last thing we talked about, a place where a lot of artists, if they are trying to build up a fan base on a particular platform could be an interesting angle to prove, because I do think there is a certain type of fan and artist that thrives on each of those platforms individually, just given the brand there, everything else. So those are the ones that I keep an eye out for, the same way that we saw NBA YoungBoy and others rise up. SoundCloud, of course, had its SoundCloud rap era and there's still artists coming out there. And of course, Tidal, I think, just given its origins will always have deep roots within hip-hop culture. So I'm always keeping an eye out for those.[00:40:18] Tatiana Cirisano: A hundred percent. No, I'm glad you brought up Audiomack and SoundCloud. Those are two companies that, I mean, we worked with SoundCloud on a user-centric royalties white paper that was really just eye-opening with all of this. And I do think that there are opportunities to, going back to what we were saying about being able to actually segment your fans on streaming and see who are your biggest supporters and not have everyone just equated into the same bucket. I think what Audiomack is doing is really smart because those support badges are also a way for people to express themselves. If you have that in your profile, you know, it says something about who you are. And I think there's a lot more opportunities to bring music and self-expression closer together 'cause I think that streaming has kind of pulled them apart a little bit by sort of equating everyone. So yeah, I think those are really good examples and really promising.[00:41:04] Dan Runcie: So there you have it. We solved it. I think in this conversation, we solved it all. [00:41:10] Tatiana Cirisano: There we go. We can all go home. Class is dismissed. [00:41:13] Dan Runcie: This is great. Tati, thanks for sharing your insights and some of the highlights of the research you've done on this space. Excited to see what you have coming up next, especially now that things are ramping back up for the industry. So for the folks listening, where can they stay tuned to keep up with the latest research that you have coming out? [00:41:32] Tatiana Cirisano: Yeah. You can go to MIDiAResearch.com, where we have a blog that I write on often. Those posts are free. So even if you're not a client, you can read them. And I also wanted to mention that I'll be talking more about this exact topic at Stan Con in New York on October 5th, which is Denisha, who I think she had an episode with you recently, right, Dan. If you heard that episode, it's her conference, so I'll be there talking more about fandom and fragmentation. So looking forward to that and thank you so much for having me. [00:41:59] Dan Runcie: Of course, great minds coming together. I'm glad you're going to that. That's awesome. Thank you.[00:42:03] Dan Runcie: If you enjoyed this podcast, go ahead and share it with a friend. Copy the link, text it to a friend, post it in your group chat, post it in your Slack groups, wherever you and your people talk, spread the word. That's how Trapital continues to grow and continues to reach the right people. And while you're at it, if you use Apple podcast, go ahead, rate the podcast. Give it a high rating and leave a review. Tell people why you liked the podcast. That helps more people discover the show. Thank you in advance. Talk to you next week.Advertising Inquiries: https://redcircle.com/brands

Ash brings back his first guests to discuss where they have been, pick up where they left off, the ideal Bachelor Party, the last time we were together, and experiencing The Weeknd concert.Support the show

The Weeknd confirmed he's tapped Summer Walker for a remix of “Best Friend,” which will be released this Friday. The superstar took to Twitter on Wednesday (Aug. 3) to commend Walker for what she did on a remix of the record, which was originally featured on his Billboard 200 No. 2 album Dawn FM that he released at the top of the year. “She f—ing CRUSHED it,” he wrote in response to a Weeknd News Twitter account saying the remix was coming this week, while responding to Pop Base, “she carried.” soruce: The Weeknd & Summer Walker Teaming Up for ‘Best Friend' Remix (yahoo.com) --- Support this podcast: https://anchor.fm/masseffect/support

In this week's episode, the bums discuss The Weekend's highly anticipated album "Dawn FM." With an 80s vibe and a thematical radio theme, Anton and Matthew talk out what they enjoyed from the album and what they didn't quite enjoy. Listen to learn more and follow @2bums1album on Instagram to join the club and stay connected! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

We are back with a new episode after a few weeks off. We decided to make our return with an album retrospective of one of Danny's favorite albums that has come out so far this year, The Weeknd's Dawn FM.

Very interesting album from The Weeknd, where I feel Dawn FM falls short is; I feel like there could've been more progression from this album then the previous album. Alot of the songs sound similar to the last album when it comes to production and overall feel! My official Rating is a 6.5/10

DAWN FM IS TOP 2 AND NOT 2 --- Send in a voice message: https://anchor.fm/auhshay-luis-sanchez/message Support this podcast: https://anchor.fm/auhshay-luis-sanchez/support

You know what they say, distance makes the heart grow fonder! This week Lizzie and Max are back and dishing about the latest updates on Julia Fox, the Euphoria Season 2 finale, Britney Spears' new book deal, Jake Gyllenhaal remembering this fall it all too well, the Oscar noms + SAG Awards, Kylie Jenner's pregnancy, and much much more. For this week's much-anticipated episode, Lizzie and Max dive into Dawn FM, the fifth studio album by Spinner's Club alumn The Weeknd. The duo touches on the evolution of The Weeknd's sound, the artist's recent concert livestream, the album's collaborators, and if there's a hidden topic tying the songs together beyond the purgatory radio concept.

This week, we're submitting to one of the year's biggest synth-pop surprises - The Weeknd's 5th studio album 'Dawn FM'! Also discussed is Foxes' new album THE KICK including its ability to evoke familiar e·mo·tions, and leak culture surrounding some of our favorite girls like Charli XCX, Carly Rae Jepsen, Dagny, Betty Who, Dua Lipa, MARINA, Lady Gaga, and Katy Perry! AT THE SPA: DOJA CAT (Celebrity Skin), ST. LUCIA (Rocket On My Feet), LUCIUS (White Lies), THYLA (Making My Way Through the Skyline), DOVE CAMERON (Boyfriend), and ALY & AJ (Way Way Back).

This week we're joined by our pals Jimjam and Joe to break down our thoughts on the newest project from The Weeknd, "Dawn FM!" 

Welcome to The Dull Roar. Timestamps: 2021 music highlights-6:30 January releases-15:54 Drip Season 4Ever & Dawn FM reviews-49:00 Most anticipated projects of 2022-1:04:03 Songs Featured: “Blunts 'N Cruisers” - Berrymane “Real Real”- Nana feat. Kent Jamz “Vision” - Earl Sweatshirt feat. Zelooperz)

Baby momma drama wit YeShane's fantasy football league beefStill anti group chat Chasing 30Boo'd up and how people react to relationsJeff's tweetsprotecting our energySeparating real life from the MetaverseFandueling and gambling habitsWorking in mid west winter weatherEuphoriaThe Book of Boba FettLokiX-MenPlenty of sports talk ABHenry Ford ll High Vs. Shrine Catholic Date night in LCA (Detroit Pistons)Toxic ball players (Westbrook)CLB's wit hot sauceLiving with roommatesLandlord's sneaky lil tricksPaper plates in an air fryer "I used to suck dick for crack!"- Bob SagetCordae x Naomi Metaverse talklove at first sight type shitChildhood trauma'sPorn addictionR.I.P. to the Palace of Auburn HillsFuture, past, & present of this podcast...https://www.instagram.com/shizzyshane216/https://www.instagram.com/jeffshanks/https://www.tiktok.com/@thedearlybelovedspodcast

LLLLLLLLLLETS GET READYYY TO RUUUUMMMMMMMBLLLEEEEEEEE!!! Here it is. The ultimate showdown. Kanye West VS... Weird Skinny White Guys! Other topics of discussion include: Gurgling piss, Novak Djokovic, Tennis, Marvel's Eternals, Speed Racer (2008), Speed (1994), Fractured, Mouth Dreams, and Dawn FM. --- Send in a voice message: https://podcasters.spotify.com/pod/show/cory-and-brandon/message Support this podcast: https://podcasters.spotify.com/pod/show/cory-and-brandon/support

Welcome to episode 36 of the ControllerCast! Today's episode is dedicated to a review of The Weeknd's new album: Dawn FM Review starts at 22 minutes! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

For much of his life, Robert Finley's musical talent was a buried treasure, but with "Sharecropper's Son" he made one of the best albums of 2021. Hosts Jim DeRogatis and Greg Kot talk with Finley about his unconventional path to a music career. They also revisit their 2008 conversation with the late director Peter Bogdanovich about his Tom Petty documentary film. Plus, the hosts review new albums from Turnstile, The Weeknd and Neil Young. Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lURecord a Voice Memo: https://bit.ly/2RyD5Ah Featured Songs:Robert Finley, "Sharecropper's Son," Sharecropper's Son, Easy Eye Sound, 2021The Weeknd, "Gasoline," Dawn FM, Republic, 2022The Weeknd, "Less Than Zero," Dawn FM, Republic, 2022The Weeknd, "Out of Time," Dawn FM, Republic, 2022The Weeknd, "Take My Breath," Dawn FM, Republic, 2022Neil Young and Crazy Horse, "Heading West," Barn, Reprise, 2021Neil Young and Crazy Horse, "Human Race," Barn, Reprise, 2021Neil Young and Crazy Horse, "They Might Be Lost," Barn, Reprise, 2021Turnstile, "Don't Play," Glow On, Roadrunner, 2021Turnstile, "Blackout," Glow On, Roadrunner, 2021Turnstile, "Underwater Boi," Glow On, Roadrunner, 2021Turnstile and Blood Orange, "Alien Love Call," Glow On, Roadrunner, 2021Turnstile, "T.L.C. (Turnstile Love Connection)," Glow On, Roadrunner, 2021Tom Petty, "Runnin' Down A Dream," Full Moon Fever, MCA, 1989Tom Petty, "I Won't Back Down," Full Moon Fever, MCA, 1989Robert Finley, "Souled Out On You," Sharecropper's Son, Easy Eye Sound, 2021Robert Finley, "Country Boy," Sharecropper's Son, Easy Eye Sound, 2021Robert Finley, "Starting To See," Sharecropper's Son, Easy Eye Sound, 2021Adia Victoria, "Mean-Hearted Woman," A Southern Gothic, Atlantic, 2021

In this episode we talk about the Weeknd's new album Dawn FM, Disney's new movie Encanto, Spider-man: No way home. SPOILER ALERT. Enjoy the conversation. Follow us on Instagram and let us know what you guys think about the topics we discussed. @Livinlovely.kb @onlythegoodthings.kv @brenda.bee27

(05:20) Dream Toronto collaborations(41:45) She put Drake's condom where??(50:10) Weeknd's DAWN FM review(1:09:00) Should men stop doing podcasts?(1:34:45) The Genius of Kanye WestJoin our Patreon and support the podcast!:patreon.com/extragravyshowHosts: Marlon (@thatdudemcfly) Norm (@thebignormshow) Alicia Ace West (@aliciaacewest)Rate & Review us! #ExtraGravyComment on Soundcloud!: goo.gl/itTKxLTwitter: @ExtraGravyShow twitter.com/extragravyshowAdvertising Inquiries: https://redcircle.com/brands See acast.com/privacy for privacy and opt-out information.

Welcome back to the Wire 2 Wire Podcast! In this episode, Yusuf reviews and shares his thoughts on The Weeknd's latest album Dawn FM. He also shares his perspective and important takeaways from the situation involving Antonio Brown and the Tampa Bay Buccaneers. Thank you for listening. Be sure to share and subscribe! Yusuf's Books - www.vaultpublications.com/books Instagram: @Yusuf_AOfficial https://anchor.fm/vault-media-publications/support --- Support this podcast: https://anchor.fm/vault-media-publications/support

Be sure to leave a review on Apple Podcasts and share with your friends! Welcome back to The Ready Player Lift Podcast! On this week's episode, we give a shout out to those who fell off already with their New Year's Goals. We are here to remind you to keep checking in and keep showing up. Don't give up so easily... We also talk about how E3 is going virtual this year, but to make up for that, we're throwing out an invitation to all of our listeners to come down to Vegas in December to do a Ready Player Lift Podcast Meetup! As we get closer to the event, we'll share more details but we think it will be really cool to meet some of our supporters and party out in Vegas. To wrap the show, we give our thoughts on the new Weeknd album "Dawn FM". We love it. What did you think about it? Thank you for checking out the show and as always we can't wait to create more content for you next time. Let's go! Support Ready Player Lift by contributing to their Tip Jar: https://tips.pinecast.com/jar/ready-player-lift Find out more at https://ready-player-lift.pinecast.co This podcast is powered by Pinecast.

Lock in! The Steelers are IN the playoffs baby! Q starts the pod by letting you all know just how excited he is that his team is now in the postseason (1:01). Q then makes sure to hits all the pressure points this week with the third episode of Season 2. He shares an interesting story that has been taking over the "timeline" (6:04). But after that, Q dives deep into the Reddit streets once again to give his unwanted opinion on society as a whole (13:02). Lastly, Q is back on his music ish and this week he decides to talk about The Weeknd and his new album, Dawn FM (22:46)

The guys review the latest album from The Weeknd, Dawn FM.

Follow Along as I go in depth about The Weeknd's New album that is a certified banger!!!

-Dumbf** of the week: Patricia Cornwall, arrested for fighting with elderly man on Delta flight to Atlanta -Fan of the week: Betty White, may she rest in peace -Ghislaine Maxwell is guilty on 5-6 counts, thanks Greg Grovey for the hard work -Boba Fett episode 1 --What's new in music? The Weeknd is dropping Dawn FM this Friday Eminem drop 450K on Bored Ape NFT that resembles him Omarion dropped a PSA that he isn't a Covid Variant Ye is working on Donda 2 and went on a date with Julia Fox Our top 5 albums of 2021 Our top 5 TV Shows/Movies of 2021 --Sports Antonio Brown saga continues Dropped single “Pit Not The Palace” Big Ben last game at Heinz Stadium Fantasy Football Update Michigan gets spanked by Georgia, Cinci gets spanked by Bama Klay Thompson will make his return Sunday vs the Cavs RIP John Madden, Best Madden memories -Dean's fact of the week: BuzzFeed -Who's Horny of the Week?: person who asked Billie Eilish on instagram “Do you be squirtin or you on the cream team?”