Podcasts about i luv

Panda Bubbing Under May 2024 [The top songs that just missed the Panda Top20] TOMORROWS HITS TODAY “Jamming” Bob Marley & The Wailers, FISHER (FISHER rework) “I Luv it” Camila Cabello, Playboi Carti  “MASC” Doja Cat ft Teezo Touchdown  “Hypno Therapy” Niel Degas & Ricardo Geldres  “Precision” Big Sean  “Happier” The Blessed Madonna ft Clementine Douglas “Sippin Yak” Cloonee  “Eyes Closed” Imagine Dragons  “Thank You (Not so Bad)” Dimitri Vegas & Like Mike, Tiësto, Dido, W&W (Ape Rave Club)   “Truth or Dare” Tyla  “EAT THE BASS” John Summit  Panda Top 20 What's HOT in the Strip Clubs? If you're listening on a platform that lets you leave stars or reviews PLEASE leave us a good one. Thanks, Danny & Ilan Learn more about your ad choices. Visit megaphone.fm/adchoices

Panda Bubbing Under May 2024 [The top songs that just missed the Panda Top20] TOMORROWS HITS TODAY “Jamming” Bob Marley & The Wailers, FISHER (FISHER rework) “I Luv it” Camila Cabello, Playboi Carti  “MASC” Doja Cat ft Teezo Touchdown  “Hypno Therapy” Niel Degas & Ricardo Geldres  “Precision” Big Sean  “Happier” The Blessed Madonna ft Clementine Douglas “Sippin Yak” Cloonee  “Eyes Closed” Imagine Dragons  “Thank You (Not so Bad)” Dimitri Vegas & Like Mike, Tiësto, Dido, W&W (Ape Rave Club)   “Truth or Dare” Tyla  “EAT THE BASS” John Summit  Panda Top 20 What's HOT in the Strip Clubs? If you're listening on a platform that lets you leave stars or reviews PLEASE leave us a good one. Thanks, Danny & Ilan Learn more about your ad choices. Visit megaphone.fm/adchoices

New investigation, Jimmy Butler and Camila Cabello new friends? Is she teasing a new single, "I Luv it?" Merab Dvalishvili to serve as UFC 299 backup for Sean O'Malley vs. Marlon Vera. Free agent TE and former FIU Panther Jonnu Smith visited with Miami Dolphins yesterday and Adam Schefter reports they are in contract negotiations. Tyreek Hill tells "The Pivot" that he's mad at Rick Ross for streaming his house on fire instead of helping. Marcos tries to read in between Tyreek Hills words of rebuilding off this past season... what does he want from Tua Tagovailoa? Tyreek wants Tua to be more vocal. Marcos stops his yapping and gives us a "Mix Bag!" Intangibles D.Wade... Dean Wade, Aaron Rodgers thinks he could play 4 more years, Dak Prescott defends "Cowboys Culture"... feels attacked, 

Living a life of vacay is more than just touring the world and having vacations. What lessons do you learn from every country and city you visit? And how well do you pass these lessons? Nicole Brewer is a freelance travel writer with 13 years of experience. Originally from Detroit, Nicole has traveled through many countries, creating blog posts about beautiful places and things. She is the founder of I Luv 2 Globe Trot, an author, influencer, and public speaker. Nicole fondly calls herself "a teacher during the day and a writer at night". Join us in this episode as Nicole takes us through life as a travel writer and an English teacher in a foreign country. In this episode, you will learn about: (00:55) Nicole's transit from Detroit to South Korea. (05:45) Nicole's journey to becoming a travel writer. (10:33) The opportunities opened to her as a teacher abroad. (12:02) Nicole's motivation to keep up with what she does. (14:12) How to get started as an English teacher abroad without experience. (16:30) The benefits of teaching abroad (18:25) The challenges involved in having a life of vacation. (22:07) How Nicole met her spouse. (25:00) What the future holds for her. (27:05) Nicole's advice to people looking at traveling and living their dreams. Notable Quotes. (10:45) "One thing about being a teacher and an expert is that you step out in faith." (11:28) "We can create our destiny at the end of the day. I am living beyond the dreams I have for myself before moving abroad." (19:17) "You definitely need to have a thick skin living in different places abroad." (25:32) "The dream is to make the side hustle the full-time job, to be able to travel the world, write, blog, and be an influencer." (28:25) "Do your research, step out in faith and go." Recommended books Order a copy of Nicole's book! "A Guide To Landing An English Teaching Job Abroad" Connect with Nicole Brewer Website/blog: www.iluv2globetrot.com Twitter/Instagram: @ Nicole.iluv2globetrot Facebook: @ I Luv 2 Globe Trot. Support the show. Website: https://www.lifesavacay.com/ Facebook: https://www.facebook.com/LifesAVacay Instagram: https://www.instagram.com/lifes_a_vacy --- Send in a voice message: https://podcasters.spotify.com/pod/show/lifesavacay/message

Everyone knows the modern seriakl killers...pish posh! they were mere amatuers to the ones that came from the historical aristocracy! This Episode we discuss the Vampire Duchess Elizebeth Bathory and the French military madman Guy De RAILLES!!! Saul doesnt really research this sort of thing...true crime kinda scares him(hes so innocent) but I LUV this shit!!! Lets get into it,nerds!! --- Send in a voice message: https://anchor.fm/unresearchedpodcast/message

Part 1 was just a warm up to this second half of The Hip Hop Advocates Show. Mic Ruiz goes in depth of what made turn to music full time and he does his thing on the #hqny stage on our Show N Prove segment performing "I Luv" of his most recent EP album "Love Kills" which is the recommended Album of the Week. Were here to make sure the audience knows there is alot more talent out there they do not know about and its our job and pleasure to bring it for you to see. Learn more about your ad choices. Visit megaphone.fm/adchoices

For Episode #3 of Music Swap, Rich and Jack discuss the albums "Jubilee" by Japanese Breakfast and "The Moon and Antarctica" by Modest Mouse. Will these albums be winners with the person they were selected for? Listen and find out! (⚠️ Trigger Warning ⚠️ for mentions/discussion of suicide from about 28:30 to 34:00) For song chat, Rich takes on a song from Xiu Xiu, "I Luv the Valley OH!" This episode contains excerpts from the songs "Back Again" by Jaymes and "Call Me" by JJ BlueFlame. Both songs are licensed for use through Tripple Scoop Music.

Experimental art-pop and noize band Xiu Xiu's single "Rumpus Room" found me on a particular low day in early 2021. I remember puttng it on, cranking the volume up and jumping around like a sugar-ed up toddler in a boucy castle. There's hints that the song is about more serious things but in that moment I needed joy and bouce—and that's what I found. Jamie Stewart began Xiu Xiu 20 years ago. The band has seen many configurations and different members. For the last decade, Xiu Xiu's been a duo of Stewart with Angela Seo. Xiu Xiu's music is often confronting either thematically or in the noize elements that Jamie employs. Diving into it, is its own reward. Their latest is OH NO, an album of duets. It features Sharon Van Etten, Angus Andrew from Australian band, Liars, Twin Shadow, Owen Pallett and LA's First Wave punk pioneer, Alice Bag.Many thanks for making this possible — Thank you Jamie for all the noize, madness, mayhem and beauty. And that infectious laugh. To Kill Rock Stars for use of "I Luv The Valley OH" and "Apple For A Brain." And to Polyvinyl for use of all other songs. To Catherine Herrick from Motor Mouth Media for media support.Songs Featured: "Rumpus Room," "I Luv the Valley OH," "I Luv Abortion," "Apple For A Brain," "Honey Suckle," "Sad Mezcalita," "Saint Dymphna," "I Dream Of Someone Else Entirely," "Antz," and "Bottle of Rum."To share your thoughts on this episode, email: celine.teoblockey@undertheradarmag.com See acast.com/privacy for privacy and opt-out information.

It's still day 28 of the trip and in this episode I'm sat in Winnie's shop, "I Luv me most" Boutique in Kendal. Sheltered out of the rain and surrounded by all the joy of Winnie's shop. We have an incredible chat talking about: - All about Winnie's shop - Setting up the Iluvmemost shop - Winnie's journey into owning her own business - About how Winnie likes to spend her time in the outdoors, and the importance of it - Getting into swimming, and all the stories from how Winnie learned to swim. - Van trips and taking the van round Scotland - And all the big life questions. Find Winnie at: https://www.instagram.com/winniepoaty/ https://winniepoaty.com/ Find out more at https://www.extraordinaryordinarywomxn.co https://www.instagram.com/extraordinaryordinaryyou/ And if you are looking to support the podcast find out more at https://www.extraordinaryordinarywomxn.co/support Music is by Broke for Free xxx

Truly hope you enjoy and are inspired by this week’s episode with Nicole. In this chapter, Nicole takes us way back to when she first decided to move to South Korea, the challenges she experienced leading up to her decision to leave, and how important … The post Chapter 85-Nicole of I Luv 2 Globe Trot appeared first on Black Women Travel Podcast.

It's time someone spoke up. This aggression will not stand. We are looking at you Cinnamon Toast Crunch. Now don't get me wrong. I LUV me some Cinnadust. I dust my coffee with it. But this cereal needs to be corrected. They literally eat one another. Walking Dead Style. So, we here at Hunter & Cush are asking to bring back the Cinnamon Toast Crunch bakers. Hi! Mom!

Almost 40 years ago, D.C. rockers Bad Brains played First Avenue with two Minnesotan openers: Sweet Taste of Afrika and Husker Du. While Husker Du are relatively well-known today, Sweet Taste of Afrika are all but forgotten. Meanwhile, Bad Brains are world-famous, but their hurtful behavior has flown under the radar. In this episode, we tease out the complicated relationship between the three bands on the bill, their genres, and their identities. [Songs sampled: Bad Brains - "Banned In DC," Husker Du - "Pink Turns To Blue," Sweet Taste of Afrika, "Children Of The Nile," Gully Boys - "New Song No. 2," The Smokes - "2 I Luv"]

Sept. 27, 1982: Bad Brains/Sweet Taste of Afrika/Husker Du Almost 40 years ago, D.C. rockers Bad Brains played First Avenue with two Minnesotan openers: Sweet Taste of Afrika and Husker Du. While Husker Du are relatively well-known today, Sweet Taste of Afrika are all but forgotten. Meanwhile, Bad Brains are world-famous, but their hurtful behavior has flown under the radar. In this episode, we tease out the complicated relationship between the three bands on the bill, their genres, and their identities. This is the third episode of The Current Rewind's "10 Pivotal Days at First Avenue" season. If you missed the first two episodes, catch up below. • April 3, 1970 (The day it all began)• Nov. 28-29, 1979 (The days that told the future) Transcript of The Current Rewind season 2, episode 3: "Sept. 27, 1982" [Bad Brains' "Banned In DC"] Cecilia Johnson VO: D.C. rockers Bad Brains are among the best-known hardcore bands in history. They're famous for their live shows. Imagine a scene like this: [volume inches up] Cecilia Johnson VO: Lead singer H.R. is flailing, his voice curdled from screaming, and drummer Earl Hudson rides the cymbals hard. A song later, the band dips into reggae. The kids who were moshing just a minute ago are now letting their shoulders slump, swaying from side to side, until Dr. Know fires up the guitar again, and the audience churns back into a pit. Maybe you've experienced this in person, maybe you've just heard about it...but whatever's the case, for a lot of people, Bad Brains are one of the only Black rock bands they've heard of. Let's talk some more about that. [Icetep's "Hive Sound"] Cecilia Johnson VO: [over theme] I'm Cecilia Johnson, and this is The Current Rewind, the show putting music's unsung stories on the map. For our second season, we're exploring the history of First Avenue, the downtown Minneapolis venue that has become one of the Twin Cities' – and the country's – greatest clubs. [Icetep's "Hive Sound" crescendos, plays for several seconds, and fades down] Cecilia Johnson VO: So far, we've seen First Avenue evolve from the Depot to Uncle Sam's to Sam's. For this episode, we'll jump ahead to 1982, when Bad Brains, Sweet Taste of Afrika, and Hüsker Dü shared the Mainroom stage. We set out to tell a story about one of the most revered bands in punk music. But we ended up learning a lesson: that while representation is definitely necessary, if you treat individuals' identities as their virtues, you can actually allow them less humanity – and excuse the harm that they've done. Honestly, this episode presented a lot of challenges, and we want to let you in on them as we tell this story. So let's do that. I'm super excited to introduce our guest host for this episode. She runs the show Rock and Roll Over at the University of Minnesota's Radio K and her name is Zoë Challenger. She's definitely one of our youngest guest hosts this season, but I can already tell she has a ton of talent and wisdom to share with the world. Here she is. [rewind sound effect] Zoë Challenger VO: I'm Zoë Challenger. Being a Twin Cities native, I am embarrassed to say that my first concert at First Avenue was when Noname came to town in January of 2019. I was 19 years old, and I went alone. While I grew up with a desire for musical exploration, I did not grow up in a musical household by any means. I told my parents I was going with a friend, when in reality, I couldn't find anyone to go with me. So I draped my mother's elegant hand-me-down wool coat over my plaid skirt, crop top, and tattered stockings. I let the material confidence override any underlying social anxieties. As an only child, I've never been afraid of being alone, but walking into a venue by myself brought up new feelings. Since that night, I found myself at the First Avenue Mainroom or the 7th St Entry nearly once a week until the coronavirus pandemic hit the nation. Most of the time I would arrive alone, but over time, I would find myself running into more and more familiar faces at any given show. Maneuvering the block of 7th Street and Hennepin Avenue will always be an act of muscle memory. Over the last 50 years, First Avenue has hosted a variety of big names, but the early 1980s were jam-packed. From 1982-84, the calendar swerved from funk to punk to New Wave, with acts ranging from talkbox legends Zapp & Roger, to Minnesotan rockers the Replacements, to Bow Wow Wow, the band behind "I Want Candy." That's not to mention Prince, U2, Ray Charles, and a then-unknown Wynton Marsalis. But if you were to look through the 1980s First Ave band files that are now housed at the Minnesota Historical Society, you'd struggle to find a particular category of artists: well-known Black American rockers. The Minnesota music community has a lot of excuses for this, the most common one being, "There weren't that many Black rock bands to book." It's true that funk and soul were much more popular among Black Americans, especially those raised in the church. But it's too easy to say that Black rock wasn't a thing. In fact, according to those band files, rock-adjacent bands War, Ipso Facto, and Defunkt played First Avenue in the early '80s. But aside from the Historical Society files, those shows hardly left a paper trail, whether in microfilm archives or the internet. Which brings us to an issue at the heart of this story: which legacies last and which fade away. The story of Bad Brains is fairly well-established. The D.C. group originally banded together in the 1970s as a jazz fusion ensemble called Mind Power. After going to a Bob Marley concert and hearing the Ramones' song "Bad Brain," they were influenced enough to change not only their name but also their sound, ending up with a mix of punk rock and reggae. At this point, a pattern was beginning to form with Black musicians who dove into punk music; they were often eclectic in their genre-molding and evolution. In Minneapolis, local punk bands who'd been performing at bars like Duffy's and the Longhorn had a new room to fill: the 7th St Entry, a small space off the side of the First Avenue Mainroom. Steve McClellan: And there was just, say, we got this empty room. It's a storage area. Zoë Challenger VO: Around the same time as he opened the Entry, general manager Steve McClellan hired Chrissie Dunlap, who ended up booking the space. Chrissie Dunlap: I started out just 100 percent Steve's assistant: You know, his desk (and office generally) was just filled up with contracts, riders, promo material, you know, label stuff, cassette tapes everywhere. And I would go in there and just try to prioritize things – tell him, "This needs to be signed, this, you gotta do this." And then I would just sorta take the promo material and start promoting shows. And as time went on, a lot of that detailed stuff ended up leaving Steve's desk and [moving] over to my desk. The bands would start calling, looking for gigs, and, you know, I started out giving the info to Steve and kinda working on him with it, but he was busy doing the real talent buying, and I was there during the day more when the phone rang and people stopped by with cassettes and stuff. So I just kinda, little by little, picked it up. Zoë Challenger VO: One of the bands Chrissie would book – a lot – were Hüsker Dü, the St. Paul punk group who opened for Bad Brains at First Avenue. But that's not a huge surprise; in the '80s, they were playing upwards of 60 shows a year. Hüsker Dü guitarist Bob Mould wanted to tell us all about this era, but right when we were producing this episode, he was actually called for jury duty. While Bob did his civic duty, we grabbed a clip from the audiobook of his memoir, See A Little Light: The Trail of Rage and Melody. Bob Mould: We started the spring tour in the Midwest, with our four-year anniversary gig at First Avenue in Minneapolis. First Avenue was originally a bus depot in downtown Minneapolis. It became a nightclub in 1970, and 7th St Entry was the coat check before becoming its own 300-capacity music room. First Avenue had been a cornerstone of the Midwest rock scene for years, and to play the 1,200-capacity main room was the goal of many a Midwest musician. Zoë Challenger VO: Along with Bob, bassist Greg Norton and drummer/songwriter Grant Hart recorded their debut album Land Speed Record at the Entry in '81, and they released it via New Alliance in January 1982. Bob Mould: The band always played with purpose – there wasn't a lot of goofing around in the live shows. On the faster material, Greg would start jumping in the air or do scissor kicks. I typically wore a grave, glowering expression, digging deep into my guitar when not singing. Grant was behind the kit, looking much like Animal from the Muppet Show band, except with longer hair and bare feet. We were young and inexperienced, but we had tons of energy and were able to create a solid wall of sound. Zoë Challenger VO: In selecting this show as one of First Avenue's pivotal nights, we were excited to focus on the positive, celebrating punk heroes Hüsker Dü and Bad Brains on one bill. But it didn't turn out to be that easy. Bob Mould: There was a loose network, which we often discovered by chance, where like-minded bands would share a stage and the hometown band would offer accommodations to the traveling band. In return, when that band came to your town, you would reciprocate. Sometimes you'd run into a band that didn't understand or appreciate the idea. When Bad Brains stayed with Grant and his parents, they took Grant's pot and left behind an antigay note. Some gratitude. But once people caught the drift of those bands, they were usually shunned, and eventually they faded away. Zoë Challenger VO: Bob and Grant's sexualities were open secrets in the Minneapolis punk scene. Bob would come out as gay in a Spin article in 1994, and Grant is on record talking about his bisexuality around that time. Bob and Grant wanted to avoid becoming pigeonholed for their identities. But when you consider the scope of their experiences – and how scary the AIDS crisis was – their angry, frenetic catalog takes on new meaning. [Hüsker Dü's "Pink Turns To Blue"] Bob Mould: Gays in the hardcore punk scene were much like gays in the military. If the military says, "Don't ask, don't tell," the hardcore punk collary was, "Don't advertise, don't worry." If someone made a disparaging remark about gays, I would simply say, "That's not cool," or, "You're so ignorant." It was a way of making my feelings known without broadcasting my sexuality. Generally, there was no more homophobia in the hardcore scene than anywhere else in America, although as 1981 progressed, the media began reporting on the "gay cancer," and homophobia escalated throughout the country. Numberwise, the hardcore scene didn't seem any more or less populated by homosexuals than most major cities were. Then again, the scene attracted the margin walkers, the folks who were outside the norms of society, so maybe there was a slightly higher ratio of gays to straights. Zoë Challenger VO: According to several sources, Grant wasn't the only person Bad Brains mistreated. Lori Barbero, who drummed and sang in Babes in Toyland, remembers similar behavior toward Randy "Biscuit" Turner of Texas punk quartet the Big Boys. Lori Barbero: Think they did the same thing to one of the guys from the Big Boys down in Austin, Texas, because he was gay. And I heard kinda the same story. And it's like then don't – if you know they're gay, why would you even stay at their house? Zoë Challenger VO: In Finding Joseph I: An Oral History of H.R. from Bad Brains, punk rock activist Mark Andersen also mentions the band's mistreatment of Biscuit. He echoes Bob Mould's thoughts on margin walkers: quote, "Weren't we all in the punk rock underground because we were all different, and because none of us felt like we really belonged out there?" In 1989, Bad Brains released the song "Don't Blow Bubbles," which guitarist Dr. Know described as an "angry warning to homosexuals." One chorus goes, quote, "Don't blow no bubbles and we can stop the AIDS/ Don't blow no spikes/ Don't blow no fudge buns/ Ask Jah and he'll make the change." By this point, 100,000 cases of HIV/AIDS had been reported in the U.S., and the public health crisis would get much worse before the government approved the first antiretroviral drugs in 1995. It's shocking to hear H.R. cite "P.M.A" – Bad Brains catchphrase "Positive Mental Attitude" – in the same song as he encourages, as a fundamentalist Rastafarian, that non-straights pray the gay away. In 2007, bassist Darryl Jenifer addressed the band's past worldview with some remorse, saying, quote, "Damn right, I was a homophobe! [...] You have to grow to be wise." As more details about Bad Brains' homophobia came to light, the Current Rewind team weren't feeling too good about focusing this episode on such a disappointing group. So we turned to the third band on that night's line-up: Sweet Taste of Afrika. Before learning about the show, I had never heard of that band before, and neither had our producer, Cecilia Johnson. But we were excited to learn that they're from the Twin Cities. Joe Shalita: So I came to the Twin Cities in the '80s and I've been in – you know – participating in the music and art industry all that time. Zoë Challenger VO: This is Joe Shalita, Sweet Taste of Afrika's lead guitarist and the man the Twin Cities Daily Planet has called "the face of African music in the Twin Cities." He grew up in Uganda and moved to Minneapolis in 1979. Joe Shalita: When you grow up in Africa, you have – music is a big part of our culture – people are tilling the garden, they're always using music to till the garden or till the land. Whether they're chopping trees down, they're gonna be singing along. [Shalita laughs] Zoë Challenger VO: And when he got to Minneapolis, he found a small but strong African music scene. Joe Shalita: In those days, really, there were a whole lot of live bands, live groups of almost every genre, but Simba was the original roots-reggae band in the Twin Cities. And then there was the calypso band, which was Shangoya with the late great Peter Nelson. Then there was Sweet Taste of Afrika, which was our band, which performed strictly African music. [Sweet Taste of Afrika's "Children of the Nile"] Joe Shalita: Hassan [Omari] was our lead singer, and then there was Mr. Robert Mpambara who was on bass. He's still in the Twin Cities. I was on lead guitar and also singing, and then there was Mr. David Mutebi from Uganda also. Mr. Mpambara was from Uganda; I was from Uganda; Mr. Mutebi from Uganda. So the Ugandans dominated the band. [Shalita laughs] He played rhythm guitar. And then we had native Minnesotans who played. We had the late Paul McGee on percussion [and] Mr. Ben Hill on drums. Zoë Challenger VO: In 1980, the band helped organize an event called Afro Fest. But most of the time, they had to rely on white bookers to let them onstage. Joe Shalita: We were really stubborn, because getting into First Avenue was not easy. And I know personally, I kept harassing Mr. McClellan – Steve McClellan – and I'm sure he got tired of listening to my voice – "Is that Joe Shalita calling again?" [Shalita laughs] Steve, wherever you're listening – it's true, because I kept bugging him all the time, said, "You gotta give me a chance! Come on, man. How many times do you have an African band on your stage?" And then, fortunately, First Avenue started having these big African stars coming in to grace the stage. They had, like, Tabu Ley Rochereau was like one of the superstars of Africa [who] came to First Avenue, and I think that opened their eyes, too, to say, "Ok." I was young in those days. But eventually they let us open for some artists – Bad Brains being one of them. Zoë Challenger VO: Sweet Taste of Afrika spent a little time in the studio, but to Shalita's knowledge, none of their music was ever released to the public. Joe Shalita: There are some YouTube videos of Sweet Taste of Afrika. Have you seen them? Cecilia Johnson: I have seen them! They're so good! Joe Shalita: I know! I was skinny, with a huge Afro. [Shalita laughs] I think David and Hassan may have some recordings, but I don't have any myself. I just look at those ones on YouTube and marvel at the quality of the sound and musicianship. I was like, "What?" [Shalita laughs] Zoë Challenger VO: According to Joe, the band had some creative differences, and they broke up in 1982. Joe found work as a roadie, then learned a little sound engineering, then formed his own band, Shalita, which lasted until 1999. He rarely performs these days, but he's planning to retire in a few years, and he dreams of returning to music. Joe Shalita: Art doesn't have an age limit. That's a good thing about art. Zoë Challenger VO: After learning about Sweet Taste of Afrika, we got to thinking about the Black rock artists who work in the Twin Cities today. Some are relatively well-known, having placed in "best new band" polls or opened for bigger acts. But sooo many of them have never been in the spotlight. And as we've learned while relying on microfilm and internet archives this season, the press has the power to preserve artists' legacy. So we decided to talk back to this narrative. Our producer Cecilia met up with a few Minnesota Black rockers – Matt Slater and Himes Alexander of the Smokes, plus Nadi McGill of Gully Boys – and asked them, what musicians inspire you? What constitutes a good legacy? What do you love about rock music? Nadi McGill: Um, I feel pure joy. It's like I can feel the oxytocin rushing through my body. It feels really good. Zoë Challenger VO: Nadi drums and sings in the Minneapolis rock band Gully Boys – who've performed in the First Avenue Mainroom and many times in the Entry. [Gully Boys' "New Song No. 2"] Nadi McGill: I'd always wanted to drum. My mom said no when I was a child, of course. A past partner was a very good drummer, and he had two [or] three drum kits, so I just sat down at one of the drum sets he had set up at his house and just started playing. Cecilia Johnson: What do you think of when you hear somebody talking about rock, or like, what is rock to you? What do you feel when you're listening? Nadi McGill: Everyone's playing their own instrument, like that's – the sound you hear is the sound that is being put out, and I think that's really cool. I think that's a really awesome aspect of rock. Zoë Challenger VO: Although they're a young artist, Nadi is already thinking about legacy. Nadi McGill: I will always be loud about what I believe in, and I'm always willing to be corrected, and I just want to be known and remembered as someone who used whatever platform that I had to make Minneapolis a better and safer place. For all people, but mostly femmes – fat femmes, femmes of color – in whatever space they choose to occupy... Every opportunity that we have, I try to encourage femmes to join a band, and then I specifically make a point to encourage Black femmes to join the band, because I feel like there is a lot of gatekeeping, and there is a lot of tokenization that happens, which is very annoying. I think the best way to kinda combat that tokenism and gatekeeping is to just be loud about it, and rock music is a great way to be loud about it. And you kinda just make your own space. Zoë Challenger VO: Nadi says they've taken inspiration from other Black rockers. Nadi McGill: I was obsessed with this band called Dance Gavin Dance when I was younger. I really was into pop punk music and a little bit of emo music, and Dance Gavin Dance I loved, and then I found out their guitarist was a Black musician, and I was even more in love, because it's very rare for me to see anyone who looked like me, not only in the crowd at the shows that I would love to go to, but on stage. Also, The Smokes locally? Two Black amazing punk rockers. And my favorite is that Matthew, the drummer rocks an Afro while he's playing. They sing about racial experiences that they've had. And then I appreciate that they're transplants as well. They're not even from here, but they kinda came here, and they were like what's up, like we are here to rock. So that's amazing. Cecilia Johnson: [laughing] We are here to rock. Nadi McGill: Honestly, like they really did. I remember I saw them for the first time. It was, like, maybe a week or two weeks after they had moved here, and I was like, "Welcome! Welcome, let's do this," like, "Y'all came like riding on the pavement 100 miles per hour," and I was so stoked to have them here. [The Smokes' "2 I Luv" (demo)] Himes Alexander: Black pride is something that's difficult for a lot of people to swallow, but is inevitable as you look at the influence that Black culture has had on American society, especially. Zoë Challenger VO: That's Himes Alexander of the Smokes, a two-piece garage/punk/indie/soul band who've been performing together for about five years. Himes and his cousin Matt Slater grew up in Spokane, Washington and moved to the Twin Cities in 2017. They've learned from many Black artists around the world. Matt Slater: This is a really broad one to start with, but I really love Fela Kuti. I've always loved Fela Kuti for lots of reasons. I've got like a soft spot for funk, and he was like a – just comes off as like this African king to me. And then jumps around musically so freely, like, just like feels the spirit of the music. And it was like, oh my god. This music is so Black, so free, and so it like captures his voice so well that like even now I hear it and it just like it makes you feel good, inspires to actually say something – say something real, and it doesn't have to be like a downer. Himes Alexander: I'd like to talk about a collective like Odd Future who has a bunch of different bands, a bunch of different projects coming out of the same collective, and there's a wide range of eclectic taste when it comes to all of that. You know, Steve Lacy is doing some sort of indie thing. The Internet is electronic R&B or – and even goes outside of that, and [Earl] Sweatshirt and Tyler the Creator are enigmatic, like you can't really hold them down to one thing. Matt Slater: And then there was the drummer from – god, why can't I – Himes Alexander: Yellowcard? Matt Slater: Yeah, the drummer from Yellowcard. Who cares about Yellowcard? [The Smokes laugh] The drummer from Yellowcard was this Black dude with dreads, and it was like hell yeah, I wanna do that. I literally – I was like I didn't even like their music. I was just like yes, cool. Zoë Challenger VO: The Smokes have brought up several musicians who made an impact on them. For me, Whitney Houston, Nina Simone, and Janis Joplin have probably been my biggest musical influences. Years after Houston's death, her friend Robyn Crawford told The Guardian about their queer past, saying, quote, "Our friendship was intimate on all levels." Both Simone and Joplin also held relationships with both men and women. And going back to the beginnings of rock and roll, artists like Sister Rosetta Tharpe, Big Mama Thornton, and Little Richard experimented not only with instruments and genre, but also with their sexualities. Many beacons of musical creativity have occupied many different identities – there is no "prime" or perfect human being, whatever H.R. or anyone else might say. Like it or not, Bad Brains are part of rock history. It's true that their actions were garbage. But it's also true that they inspired members of Fishbone, Rage Against the Machine, ho99o9, and many more groups to make rock music. They played First Avenue during a complicated and sometimes tense time in the club's history, with respect to race. Many of the Black bands who played there were not supported by press, radio play, or strong ticket sales, and community members noticed. In fact, one of the people who would've been paying attention was Prince. Cecilia Johnson VO: Thank you, Zoë. In 1983, the year after the Bad Brains show, Prince would take the First Avenue stage to change the club – and music history – forever. As we'll see in our next episode, the artist who catapulted First Ave from a well-known local rock club to an international destination was a genre-fluid Black rocker. And that was no coincidence. [Icetep's "Hive Sound"] Cecilia Johnson VO: This episode of The Current Rewind was hosted by Zoë Challenger and me, Cecilia Johnson. I produced this episode, with research and consulting by Taylor Seaberg. Marisa Morseth is our research assistant, and Jay Gabler is our editor. Our theme music is the song "Hive Sound" by Icetep. This episode was mixed by Johnny Vince Evans. Thank you to Brett Baldwin, Rick Carlson, Matthew Gallaway, Dirim Onyeneho, Jackie Renzetti, David Safar, and Jesse Wiza for additional support. If you'd like to learn more about Hüsker Dü, check out The Current's five-part podcast Do You Remember. If you enjoyed this episode, please rate and review our show on Apple Podcasts, or tell a fellow music fan it's out there. To get in touch, please send an email to rewind@thecurrent.org. To find a transcript of this episode, go to thecurrent.org/rewind. And thanks for rolling with these mid-season changes. We have one more episode hosted by Mark Wheat next week, and after that, we'll share a bonus episode about his personal connection to First Avenue. I miss him already, and I know you might, too. The Current Rewind is made possible in part by the Minnesota Legacy Amendment's Arts and Cultural Heritage Fund. It is a production of Minnesota Public Radio's The Current. The Current Rewind goes to First Avenue Rock and Roll Book Club: Bob Mould's 'See a Little Light'

LINDSAY LUV, labeled the “DJ to the Stars”by MTV and a “Turntable Goddess” by Victoria’s Secret, is a celebrity DJ, Music Supervisor, Influencer and WSET Certified Sommelier with a devoted following. Luv made a name for herself by spinning the hottest nightclubs, private events and star-studded parties in NYC before relocating to Los Angeles and becoming one of the most sought-after names across the industry and around the world. Lindsay Luv is favored in fashion, beauty, lifestyle and celebrity circles: some of her top clients include Bentley, Chanel, Twitter, Equinox, Spice Girls, Guess, Valentino, Paramount, Rachel Zoe, Naked Cashmere, CBS, WhoWhatWear, Refinery29, Rodeo Drive, The Emmys, Victoria's Secret, Express, Maybelline, Kim Crawford Wines and Elle to name a few. @lindsayluv (Instagram) Website: www.lindsayluv.com This podcast series is hosted by Patricia Kathleen and Wilde Agency Media. This series is a platform for women, female-identified, & non-binary individuals to share their professional stories and personal narrative as it relates to their story. This podcast is designed to hold a space for all individuals to learn from their counterparts regardless of age, status, or industry.  TRANSCRIPTION *Please note, this is an automated transcription please excuse any typos or errors   [00:00:00] In this episode, I had the opportunity to speak with DJ, music supervisor, influencer Soma Yei and digital media strategist Lindsay Luv key points addressed where Lindsay's career that has spanned over a decade in the music industry, serving as a DJ to some of the most elite venues around the world. We also looked at Lindsay's roles as a music supervisor, Influencer Somaiya and her most recent endeavor as a digital media strategist or for some of the most famous names in Hollywood. Stay tuned for my chat with Lindsay Luv.   [00:00:37] Hi, my name is Patricia Kathleen, and this podcast series contains interviews I conduct with women. Female identified and non binary individuals regarding their professional stories and personal narrative. This podcast is designed to hold a space for all individuals to learn from their counterparts regardless of age status. For industry, we aim to contribute to the evolving global dialog surrounding underrepresented figures in all industries across the USA and abroad. If you're enjoying this podcast, be sure to check out our subsequent series that dove deep into specific areas such as Vegan life, fasting and roundtable topics. They can be found via our Web site. Patricia Kathleen .COM, where you can also join our newsletter. You can also subscribe to all of our series on iTunes, Spotify, Stitcher, Pod Bean and YouTube. Thanks for listening. Now let's start the conversation.   [00:01:35] Hi, everyone, and welcome back. I'm your host, Patricia. And today I am sitting down with Lindsay Luv.   [00:01:41] She is a DJ, music supervisor, influencer, suddenly a and a digital media strategy. Sir, you can locate more about her and what she's doing at w w w dot. Lindsay Luv dot com. That is l i n d s a y l u v dot com. Welcome, Lindsay.   [00:02:01] Hi. Nice to. Nice to see you guys.   [00:02:04] Absolutely. I'm excited to have you one. And we were talking pre production and I was telling you that you're a first DJ.   [00:02:10] We've spoken to over 220 women, female identified non binary individuals for the series. And we finally have our first DJ on. So I cannot wait to pepper you with all the questions for everyone listening and who may be new to our series. I mean, first, I'm going to offer you a bio on Lindsay before I start peppering her with questions. But prior to that, a roadmap for today's podcast. You can follow along the trajectory in which we form our inquiry out of. We'll first look at Lindsay's academic and professional background that kind of brought her to her current endeavors of being a DJ, a music supervisor, influencer, and most recently, the digital media strategist, as well as a solmi, a demo unpack what being all of those things means to her and her life. And we'll get into some of the industry specifics, kind of based along what a lot of our audience members have asked in regards to Los Angeles and the New York scenes in music and how it pertains to DJs and kind of just some basic questions as a novice that I have, as well as maybe some music particulars that she read us in on. And then we'll look at goals and plans that Lindsay may have over the next one to three years. They did digital media strategizing and position that she's reaching recently embarked on. We'll wrap everything up with advice that she has for those of you who are looking to contact her, maybe emulate some of her success, things of that nature. So as promised, prior to peppering her with questions, a quick bio on Lindsay Lindsay Luv label the DJ to the stars by MTV and a turntable goddess by Victoria's Secret is a celebrity DJ, music supervisor, influencer and WECT certified Somaiya with a devout and a devout following Luv made a name for herself by spinning the hottest nightclubs, private events and star studded parties in New York City before relocating to Los Angeles and becoming one of the most sought after names across the industry and around the world. Lindsay Luv is favored in fashion, beauty, lifestyle and celebrity circles. Some of her top clients include Bentley, Chanel, Twitter, Equinox, Spice Girls, Gas, Valentino, Paramount, Rachael Zo Naked Cashmere, CBS Who What Where Refinery29, Rodeo Drive, the Emmys, Victoria's Secret Express, Maybelline, Kim Crawford Wines and Elle, to name a few. So that's a massive list. Lindsay, I Luv that. It's so exciting and I expect nothing less. I'm so am so excited to kind of climb into everything that you've done in your past with DJing and stuff. But before we get to that, can you drop everyone that's listening into kind of a brief overview of what your academic background and early professional life was prior to your current endeavors?   [00:04:50] Yes, I grew up in Boston, so I grew up on the East Coast and both my parents were educators. They both worked in the public Boston public schools and then the high schools, you know, suburban high schools and so forth. They actually worked on a Navajo reservation before that. So I spent a lot of time visiting there as well, which is. Yeah, which is really cool. But I grew up in Boston, suburbs of Boston. I went to school there. And then I went to first I went to Miami University of Ohio. I decided I wanted to get out of Boston, try something completely different. So I went for a year to Miami University of Ohio, and then I kind of missed home, which I wasn't expecting. And I ended up transferring to UMass Amherst and I graduated high honors from UMass Anvers. And then I went on to take I finished my last year of college with an internship at Comedy Central in New York City. So I finished I was at Comedy Central because I originally want to work in comedy and sketch comedy. Right. So big transition. But that was where I kind of started out everything.   [00:05:50] It's still a rowdy scene, though. They both feel very rowdy. Rae comedy writing and the ones that I know, the comedy writers that I know are based out of L.A. and stand up comedians alike. Still, it's very comparable to like the music scene as far as things are moving very quickly and nightly, even in the corporate like I was at comedy, such which is a very corporate company.   [00:06:09] But, you know, the disposition of the people coming through all day is definitely really kind of wild. So I was there during the first season of Chappelle's Show and some of the nine one one some of the big show was really a cool time to be calm.   [00:06:21] Yeah. I don't think there's a bad time, but that sounds like an epic time. Chappelle's Show really changed the industry. I'm wondering, so how did you do the transition? How what was the great switch into.   [00:06:34] Yeah. So when I was finishing up my internship at comedy, I kind of I've always been a big music nerd. I mean, growing up, I was. My parents are both super hippies. I went to Woodstock and all that. I grew up with, like, incredible records. My vinyl collection today is everything they've collected through their lives. So I have this, like, unbelievable collection of all the best. You know, the Grateful Dead and the Bruce Springsteen and Neil Young and all that. So I grew up in a music household. So for me, music had always been a threat in my life. And as I was finishing the comedy thing, I kind of did an internal look and was like, what do I really want to be doing? And I realized that music was calling to me. And there was a job posting for a music development director at what? A company that's still around called The Orchard. They do. They basically do all the digital music, you know, on Apple, Apple Music and all that. They do a lot of cataloging for all kinds of artists, independent all the way up. So I went in there and I was this super young girl and I kind of went in and I just said I went in for a secretary job and I kind of sold them on the idea that they really should hire me to be their kind of music development director, going dance festivals and conferences and so on, and connecting with new talent and kind of weeding out some amazing musicians and things to get involved in the catalog.   [00:07:46] And while I was there, the owners of the orchard at the time were also working with the band called The Raven Ettes, which were a huge rock band on Columbia Records. And I said, how can I get involved with you guys helping kind of grow that as well. So then I was kind of putting myself both on the corporate side of my day job and then kind of injecting myself into essentially their management team for this this big growing rock band. And that was kind of where it started. And I actually am still close friends with that band stay. They played at my wedding. And it was just kind of this amazing kind of introduction on both sides, the talent side and then the corporate side of the music industry right away.   [00:08:26] Do you find that you're. I mean, so did a lot of your techniques in which you started offering the industry start to change within, like the natural evolution of what you were doing?   [00:08:35] When I first started at the orchard, it was about seeds still. So that gives you any idea? It was really crazy because right at that time, they were trying to they were just starting to try and get all of the artists, because, remember, a lot of these people are independent artists. So it wasn't like the Lady Gaga of the world. It was like these very kind of artists. So they were trying to get them to get all of their music digital. So they were trying to get them to get their C.D. placed online. And it was right when Apple Music was opening up to letting like a full catalog of anybody get their music on Apple, because remember, originally it was just Apple was choosing which artists kind of could be on Apple. So this is when it was opening up to everybody. So our job went from essentially just getting artists and their C.D. or whatever it was to getting all these people to transition into the new era of digital music. So I really was kind of at the forefront of watching that entire thing unfold. It was it was really interesting trying to get people to understand it's not that you have to give up your C.D. or whatever it is that we have to get you on line two. And what a great world that can be and how it can reach so many more people. And then, you know, it's singles and a whole new world of how music runs kind of.   [00:09:41] Absolutely. And deals for the artists their whole lives change with the different record deals and things like that attached to it. So where did it when did you start becoming a DJ? Like, when did you start getting your feet wet with that?   [00:09:53] So I from that job, I moved into another job where I worked for a big music marketing agency. They had lots of major clients from like liquor brands to Kosofsky, Socky and all these different lifestyle brands. And they wanted to start a music based kind of marketing program. So essentially, I got hired. It was a company based in Chicago. I was in New York armed to kind of create music events throughout New York City, around up and coming artists, not people who have necessarily already completely exploded, but more of the people right under them that we're like right on the cusp of full kind of exclosure or what we thought at the time. Some of those people went on to be huge. Some of that you never heard of again. But I'll I'll take you through just a few quick ones. At the time, I was booking artists that now here are some of the ones, you know, Chromeo Justice Future Islands. You know, there was a bunch of these artists that were just kind of like starting out. So I was essentially reaching out, trying to find cool independent artists to create events around to tie in with these brands. So essentially brand marketing through music in New York City. So it was an epic job. I have to tell you, it was maybe my very favorite job of all time. It went on for a while. And what happened was I connected with some really great DJs while I was doing this, including the late D.J. AM, who was a massive club DJ. He's huge in the L.A. scene. He was he kind of got famous for being engaged to Nicole Richie, but he was like a very revered DJ. He ended up. Plane crash. I'm sure you heard about all the things that happened to him, but he became a friend of mine. And what was happening, and this is how I got started DJing, is I was sending him a lot of music that I was finding all these independent artists. I was. Collecting through my jobs, I would say here, check this band out, check this band out there from Toronto or whatever, and he'd say, this is great. And then one day he turned to me, said, you know, you know a lot about music. Have you ever considered DJ? I said, oh, my gosh, that sounds crazy. I'm such like a business girl. I can't even imagine trying to take on a talent job. And at one point, my company that I have been working for folded. So they ended some major funding situation. And I was looking for a new job in New York City. I was looking for that new corporate job. It was very neat. So it was very hard to find. And I'll never forget, I went into interview advice one day for a job with them doing music marketing. And I stood outside in the snow after the snow was coming down. I said, you know what? Screw it. I'm just going to try it. I'm just going to go get the equipment that my friend D.J. Am said. I'm going to call my friends who own a nightclub. I'm going to ask me if I can go practice during the day when the club is closed. And I'm just going to teach myself how to DJ. I'm going to get to use my Vinals and I'm going to learn the proper way and I'm going to do it. And there was like very few female teachers at this time. It was like this was over 10 years is like 12 years ago. So there was female DJs, but they were like few and far between. And I've always been somebody that likes to take on industries that are not necessarily known for being super female oriented. I'm just that person I like to take, I guess like I like to take a challenge. And so I say, you know, I'm just going to try it. And so I went everyday with my headphones at my stuff and I'd sit there trying to learn how to DJ. And in the middle of this club, with nobody in it, in the middle of the day, while waiting to hear if I got this corporate job, which I didn't end up getting at the time I was interviewing for all these corporate jobs. I started building up kind of momentum around my DJing. The club said, Would you like to take a night? You got to do everything. You've got a DJ. You got your people to come out. And it started to just parrello and poni and snowball from there into where I am today. So we kind of just kind of just took over. And eventually I just said, you know what, I'm paying my bills and I'm making more money doing this than I did in the corporate world. So let's just keep going. My parents said, hey, you'll figure it out, you're gonna be moving home. So I worked my butt off. Really.   [00:13:44] There were times when I want to climb into it now because there's I think there's a lot of misconceptions. And you just alluded to one and I don't know the current climate, but I do know as of like five years ago.   [00:13:54] Well, I think that I do know of a couple in L.A. right now. They're still doing it. But when people hear a DJ, there's first of all that the position has transitioned a great deal just with tech. You know, and what people are employing there is completely different, you know, and a certain individual autonomous tracks, all sorts of things. But before we get into some of the specifics, the actual job, as you just kind of mentioned, of D.J. was supposed to it back in the day, like they did a lot of their own marketing for the club for the night that they were doing DJing on both coasts. Yeah. So you really had to train yourself up in advertising. Word of mouth. How did you start doing that for yourself back in the early days as opposed to how it's done? Now, it seems like social media and a lot of things like that will take place. But back before, social media was like the go to for which club to head, you know, how were you doing that?   [00:14:47] That's so true. So, I mean, social media was still existed. It was probably more like MySpace and Facebook and MySpace was very music oriented. So I actually had a really incredible profile. I probably I would say I was the most quote unquote, you know, MySpace famous in the sense that I had a lot of eyes on them. And I think a lot of that had to do with all my work and music and being such a music friendly profile. You went on it? I had a playlist playing, you know, so it was very conducive to that world. But so that was very helpful. But the big thing was I just injected myself into the scene. I live downtown. I lived in New York, downtown, and I just injected myself. And part of this is just being super young, super single and just kind of going out and talking to people and seeing what was out there. But I essentially just injected myself deep into the scene of getting the word out. I made my own fliers. I would call the clubs and say, I need you to do this, this. And the other thing I was doing everything from start to finish. I was calling all my friends, texting my friends with the fliers. It was like a no holds barred kind of self campaign. I mean, I was barely getting paid any money, but I just kind of kept my head straight. I didn't focus on money, which I think is important. I think when you start out, there's this conception today that you're supposed to go from zero to one hundred overnight and it's OK to just start at zero and kind of just, you know, work your way up. And I mean, I had to do a lot of work to make the money to pay the bills because, you know, it wasn't what it had to move home. But I was working overtime trying to get my little bits of money working, maybe sometimes three gigs in one night. I mean, I would go from one club, play like a two hour set, march over to another club, play a two hour set, because, you know, New York's open so late. So I was, you know, staying up, you know, and drinking Red Bull to stay awake because of. So tired and I never drink what I DJ really sorry. I was very focused and it's a lot of work. It was a lot of work.   [00:16:41] Did you develop a persona early on or is that something that came later? You know, persona is kind of blew up. I feel like in the arts, in the early author, it became like this Daft Punk, even though they're not DJs, this kind of like, you know, full on costume. But I grew into that. Did you have your own persona when you began?   [00:16:58] I feel like I did because I was of the era that there were DJ names. It wasn't just like your classic actual given name. Right. That's why I'm still Lindsay Luv. Sometimes I look at my go, God, this is kind of corny being ones you Luv still, but it's just who I am. You know, I mean, maybe not my personal home, but it's who I am as a as a brand at this point. Yeah. My DJ friend, DJ A.M. actually gave me that name. That was kind of how it worked. Is that another DJ? What kind of name? You know. So I just went with it and it's stock and it just it just made sense. I was just always really friendly and talking to people. And I guess that was kind of what it was. It kind of rhymed. Lindsey Luv. It was L.L.. A lot of people call me L.L. still, so I just went with it.   [00:17:40] Did it correspond at all with the style that you played in? And also, did your style change per venue?   [00:17:46] Did you kind of morph into the venue you were going into or did they expect you to bring the Lindsay Luv style that touch you so well on everything in my career?   [00:17:54] So I would say, like, you know, some DJs are just they're known for one thing, like when you think of TSA or you think of house music. Right. Or you think of like, you know, some people, they're like really known for their technical skills. They scratch like crazy. You know, you going to flash or somebody is like really famous scratchers, OK? For me, it was that would I would still say is my greatest asset as a DJ is my understanding of how to place the right to soundtrack, my set around the room and around an event and around the people there and around the mood and the moment and the time of day. And I still do that today. So it's really for me. I've never used a setlist. So I go into every gig and I just go with I feel it out as I go. So sometimes just to be super focused because I'm trying to think of the next song of what what makes sense, which to me makes it so that it's never stale. Said you never hear the same set over and over and over again. But yeah, I feel like that's been a huge part of my career, why I've gotten such traction with so many different types of clients and clubs.   [00:18:56] Yeah. And that kind of drops into one of the greats ask questions. And according to Google Analytics that I was we were my team was looking at to see kind of what the ethos of the entire Internet was asking DJs.   [00:19:08] And one of them was and if given a choice to play a song that, you know, we'll make the crowd go crazy or play a song that you like, that will get a lukewarm reaction, which would you play? And I'm guessing it's the crowd or would you at some point choose you?   [00:19:24] I feel like I do a little bit of both. I am I have to say that I have never fully. I don't want to say kowtow to just like the mainstream, because I feel like that would just make me feel bored, honestly. I love to interject music that people aren't expecting or I Luv to surprise people by, like, jumping from a song that they Love, like that, that, you know, that Justin Bieber track that's really hot right now would then do a crazy remix of it and mix it into maybe like an old school prince song and then move it back into like AC DC and then bring it back to something current, you know, like Chromeo or whatever. So that's kind of been my thing. So, like, I kind of feel like what I do well is touching on everybody's needs a little bit. And you can't be a complete people pleaser in any job. You know, you're always gonna make somebody want something else and whatnot. But for me, I like to just run the gamut and kind of surprise people and surprise himself. So, yeah, it's cool.   [00:20:25] I would say, well, I'm starting from you know, you mentioned your beginning story. I'm just going to your friends club and getting practice. But I'm curious. Do you have. Did did you have any mentors in the beginning?   [00:20:35] Aside from yourself and in a lonely club? And also, do you have inspirations still that you draw from?   [00:20:42] Yeah. So that was actually and still is one of the hardest parts. So teaching is such a solo career in so many ways. It's not like you have like a squad of I mean, other DJs are there to, like, mentor you. A lot of the time I feel like DJ A.M. was the first person who kind of took a chance on me in the sense of like, you know, really giving me that kind of boost to go after it. And more importantly, he gave me a bunch of like tips and tools, but he lived in California. I lived in New York. So it was kind of a remote mentorship in that way. There were few male DJs that helped me out in the very beginning. I would ask them for advice or things. But I have to tell you, I actually think one of the hardest things was I started getting a lot of gigs, especially ones that other people might have wanted. It's very competitive. And so what happened was, especially with the male DJs. A lot of them chalk it up to, oh, they're just hired her because it's a novelty. Right. Which now, 12 years later, not so novelty anymore. Right. I've been doing it for twelve years. So it was a bit of that feeling of like, you know, there was a lot of like competition. And so what happened was sometimes you feel like as a talent, you almost get stuck. It was like you got to this point where you're getting this work, but you're too scared to then go backwards and ask for help. Is any help that it looks like weakness, like I've got to this point, but I don't know how to do this. So was a lot of like self teaching, self navigating, sometimes even the very beginning, kind of fake it till you make it like just figure out as you go and get better. And it was like people were watching me kind of learn as I went. But if the music's good, that is the most important thing and you can't teach that. So I always had a great ear for great music and I feel like that's why I was able to thrive even when other skills weren't quite there. And even today, I would say there's things I could learn that I never really felt comfortable asking help for. I never went to a DJ school, which might have been helpful. The time it was very like. Novelty, it wasn't something that a lot of people did. So I kind of just got like, all right. I got to teach myself.   [00:22:43] So I just sit there with those listening over and over.   [00:22:46] It's crazy. Plus, those kinds of things change. I mean, that industry has changed so much, Cheena, that education. It seems like everyone, regardless of what's going you have or haven't had and have to educate regularly taken seriously, too.   [00:22:59] That was another really big thing. As a female, I wanted to make sure that I learned properly, properly. So that's why I was really big on using vinyl and then vinyl. What's with the computer programs and all that? I already had like one thing against me almost being like a female DJ that they were gonna say always this a gimmick or whatever. So I was like dead set on. Let me do this the proper way. I'm going to show up to the basketball court with a basketball instead of a tennis ball. I'm going to make sure that I am like, yeah, you know, showing them that I know what I'm doing.   [00:23:27] What's been your greatest whom and what or whom has been your greatest inspiration to date?   [00:23:33] Woo!   [00:23:37] You know, from a personal standpoint, I feel like obviously the artists that I worked with, the DJ and the raven that's watching people that I cared about that and they all really started from humble beginnings. And a lot of ways, you know, they all really put in the work and put in the time. So that was on a personal level, very inspiring on a kind of broader scale. I actually remotely was in the same scene as Lady Gaga. So she kind of ran circles in kind of the same circles as me in New York City. We were not like friends by any means, but I kind of saw her from inception almost all the way through to the point that we actually played together at the Victoria's Secret fashion show in Paris. And we talked and we you know, we connected. I was very friendly with her. She's godmother to a of trumpet players, kids. And we had a lot of like six degrees of separation. And she was also I'm a I'm Italian and she's Italian. She's from Italian American family. And she's just kind of always had this very all guard kind of New York scene, New York kid running around New York vibe to her. And I felt like I really connected on that level. I really understood that. Obviously, she went on to be much bigger than me, but I felt like watching her. She's been so honest about a lot of her struggles personally and professionally. She's been a great voice for the people. She's been such a strong and powerful woman. She keeps reinventing herself. So for me, professionally, I feel like watching Lady Gaga is great. And also she's a Luvly person. She's just a nice person. So I Luv seeing good people thrive.   [00:25:11] Absolutely. Me too. And I feel like the documentary kind of got to some of that that you just never saw even she had. She does have a very authentic air.   [00:25:20] But I do think that that centric. But that's kind of what makes her you know, it makes every artist that right.   [00:25:28] Yeah. And do you have any preparatory mash ups or remakes? Is that you use or do you kind of just function in a realm of other.   [00:25:35] OK. So there was I feel like I kind of drew a line in the sand at one point in my career. I feel like there's different types of DJs. And this is where it got interesting because at the time it seemed like it was just club DJs, right. Club DJs or like people like. Yes. Who produced music. And then they play it like a DJ live. OK. So there's like two types of DJ. DJ A.M. was essentially a club DJ. It's not that he never did any personal productions, but he was famous for playing other people's music, mashed up, mixed up, remixed live in clubs. I was the most interested in that. And at the time, it made sense for me to be in the club scene. And at the time I started trying to do some production of remixes. But to me, production, being a music producer or even just for remixes is a very different world than like live club DJ. Afghan remixes for a few clients, including the Raven Ettes on which was with Colombia, which was a great opportunity. I said to myself, you know, where do I see myself? Down the road. I always knew I wanted a family and I didn't want to be like, you know, doing the festivals when I was older and being on the road all the time, never being with my kids. I kind of drew a line in the sand at some point. I said, you know, there's this great world of corporate DJ gigs, meaning like with brands, fashion brands. And that was kind of who was gravitating to me. And I was gravitating towards. They Luvd that I could dress up. I Luvd what they were balut together. It was kind of interesting marketing for me, bringing back my marketing roots. So at some point I said, where am I? Where am I going? Where do I want to be? And I kind of started to transition out of the club scene, which I felt like was essential to get me kind of the notability as a DJ or what. But I started moving into, you know, more of the corporate DJ world, which became bigger money quality over quantity. I'll put it like that. It was like less gigs throughout. The mother wasn't working every night at a nightclub. I wasn't working till 4:00 in the morning. I'd be working from seven to 10, you know, for like a Chanel or whoever it is. And that kind of became I knew my new normal and that led into music, supervision and all these other kind of behind the scenes work. So I moved away from production.   [00:27:38] OK, where do you get your songs? Where do you get the exposure? Where do you where do you go? What do you listen to?   [00:27:45] I spend hours online reading blogs, music blogs. I'll do the general Apple Music and just see what's like what's hot. And then I'll do the all the intricate music blogs. I will spend a lot of time just downloading like a million remixes of each song I like. And then I literally listen through them and delete all the ones I don't like, so I could raid the best of the best. I know if there's a song like Yummy by Justin Bieber, which sometimes I'm like, oh God, you know, I'll sit there and I'll download all the remixes of that and then I will delete all the ones I don't like until I find these like, perfect remixes to me that make the song that much better. And so that's kind of how I do it. I just kind of sit there and try and find all the best, best new music. And then I obviously have a crazy catalog of all the old stuff. I've been DJ for 12 years, so I don't even want to know. I've had to get like terabytes.   [00:28:34] Yeah. Absolutely.   [00:28:38] For sure. Do you? I'm wondering throughout the past.   [00:28:41] I can't decide which one I think would be more applicable towards having an agent. Have you ever had an agent who has ever been prescribed for you to have an agent? And if so, in which endeavor the club scene or more now the corporate?   [00:28:52] Actually, interesting. So I had a lot of meetings early on with D.J. specific agents in New York City. And sometimes it was like I wasn't enough of whatever they wanted. And sometimes it was like I felt like they were trying to put me in the wrong zone, like I was trying to tell them this is where I want to head. And they were like, well, this is what we do. And the two weren't working. So I was the first to say, like, I'm not interested. The hardest part for me is that I started on the business side and the corporate side. So I really understood the prescription of being kind of a talent management agency, marketing, all of that. So I made it very hard for me to work with certain people and let them kind of push me to the side and run the ship. It was like nobody knows my business better than I do. So one year of my career, I went with an influencer specific agency. They wanted somebody that and their a major agency. They rep huge people. They didn't have anybody that was music oriented. They really wanted a music person. So when I went with them, I was looking to get more things like headphone endorsement deals. I was trying to branch out to this whole new zone and I didn't really need help with the DJ. That was kind of like, I'm doing that. Now help me kind of get in music supervisor jobs and play listing for Spotify. And that's what I wanted to be doing. Being a hotel music supervisor, they didn't quite they didn't quite know how to wrap their head around it. And additionally, they were kind of, I don't say screwing up my DJ flow, but they didn't understand the DJ world. So together, the two were not symbiotic. And I eventually parted ways respectfully. Since then, I've talked to people and each time I feel like, you know what?   [00:30:32] I just at this point, 12 years and I feel like I get what I'm doing, but that doesn't mean I wouldn't. I always think if you don't know how to run your own business really effectively, there's nothing wrong in knowing when to ask for help and to know who's great at that. So I would be the first to say, if you feel like you can't manage it, absolutely reach out to somebody that seems like the right fit the cab.   [00:30:51] Nice. So I'm wondering and with getting into with a music supervisor, I'm hoping you can clarify a little bit of that role. You did just a little bit. You know, Spotify playlists tell music and curation management, things like that.   [00:31:04] But you can you can define that term even more.   [00:31:07] Yeah. So I originally I called a brand music supervision and it kind of morphed into a bunch of different name sounds, styling, sound design, music supervisor. What was happening is beyond just the playing live. There were so many moments. I call it like sound tracking moments. You know, even when my daughter was born, I had a playlist playing when she was born. So when I think of her birth, I think of her coming out to Rumble by Link Wray and then, like, Born to be wild. Like, that's how I see almost the birth. Right. And I feel like life is full of these moments or these these experiences and music the same way smell kind of set the stage in your memory and your sensory memory of what's going on. So what was happening is a lot of brands started reaching out and saying, like, can you help us soundtrack this moment or what?   [00:31:52] What not? I did it for a lot of hotel groups so I would help them with Spotify stations. You know, maybe people were going in their rooms and they wanted a chillout playlist or they're on a work trip. And so there would be in the room there, we would talk about, you know, I did it for the W hotels. Ian Schrager, public hotels. I was doing a bunch of different kind of play listing of different types of like chill out, you know, at the W or whatever for people to listen to when they were in the rooms or whatnot or working out. Then Equinox hired me in 2018, as there are Spotify music director. So I was essentially putting together all types of fitness playlists for them. So if somebody went on a machine, the goal? I don't know if they ever reach this goal because a lot obviously has happened. But was for you could take your phone and you could put it over like a fruit with a barcode and it would pull up the playlist and then there'd be playlists for running or for lifting or what not that I was curating for them in. And I've had a lot of these one off projects. I did it for major trade show in Vegas, all the music that was running through the trade show. So for all these fashion projects in Vegas, I was doing all their music that was running through the trade show and then some of their online marketing and then celebrity clients. I've actually had some celebrity clients where I literally curate music for them, for their fitness workouts. And so when I worked a lot with a Spice Girl, Mel be doing her fitness playlists in the past and other clients like that.   [00:33:18] So nice. Yeah. How did people find you or how do you feel? How do you connect with them without an agent. Is it. I mean, you've been in it so long. I feel like your art of mouth now, like a good, you know, source just happens.   [00:33:29] But in the beginning, did you just kind of search out certain industries or certain areas? Unity.   [00:33:36] I think that it's definitely I have to be honest. I'm like a crazy I would say I'm like a hustler, really. I really hustle my game. You know, I don't come from some of the people you see, like a lot of these celebrity DJs. And it's no fault to them. But they come from these, you know, their kids of famous parents or whatnot. So maybe they're already in the mix. And I come from two teachers from Boston. So there was nobody in my family who was remotely connected to this world. And from a young age, if you look at what it said in my high school yearbook, it's like everybody knew that I was going to go off and try and do something kind of wild. Right. That was always a given with with me. And it was I've always been just a crazy hustler in that way. I've always put myself out there and and tried to go after things. My biggest thing that I've given, and I'm sure this will go in the end advice is that you don't know until you ask. Now, there's a level of asking, but you you have to put ideas into the universe. And I know it's a secret, but you really do have to put stuff out there because a lot of times people just aren't thinking about it. I've literally pitch myself for most of the biggest things I've ever got in my entire career. I've told people you don't have you thought about having me for this? That the other thing and then they like somebody, they just sit with it and it percolates in their brain and they come back to you and they're like, huh? I never thought you'd be like, that's perfect. Yeah, we could be great. You know, that's when, like I would say, 80 percent of my success has been me just putting stuff out there to people because they're just not. People just aren't really thinking about you right now.   [00:35:04] I think that that's true for at least 90 percent of the people I've spoken with that have really not just broken in, but made tracks in their industry. So I think that that's absolutely true. I'm wondering how becoming an influencer and Assoli has kind of played into the influence. Are things kind of organic?   [00:35:21] I feel like, you know, once you become enough of that figure, that's influence that you're at. You're at these massive attended events. It seems natural that people would want you to kind of serve as their ambassador.   [00:35:32] Yeah. Can you speak more to that?   [00:35:35] It's that's been an interesting development because each each media, each platform is so different. So when you have huge success, like I had really big success on MySpace because it was so music oriented. It was actually harder for me to transition it to Instagram. You know, Instagram with this whole new world. And it was about these Flatley photos. And it was a totally different kind of world. So, you know, that took me some time to kind of figure out what how do I connect the dots here? This is now like I'm DJing with then, you know, OK, it's about me taking a photo of. I immediately realized I wanted to capture what I was doing versus making content just for Instagram. Now I do a little of both just to keep up with it, especially during obviously we're in a quarantine.   [00:36:18] So I'm really spending a lot of time creating content. But, you know, a lot of influencers are creating content for Instagram. I was kind of creating content around what I was already doing and trying to make it beautiful to look at and all the things. So, yeah, that that's been it's unfortunately the only part that's hard about it is that there's so much pressure to have your social media kind of be so grand and grandiose and amazing. People are getting gigs on some levels based off that. And, you know, that can be can be challenging. You have to keep up with it even when you're exhausted with it. You're just like, listen, I'm a great DJ, just hired me for my skills or whatever it is. You know, there's such a tie in now and the two are not separate. You have to, like, put so much work into all of the elements. I find that tough.   [00:37:05] It is. I mean, in the advent of the micro influencer being at the nexus of those crossroads, I will say that the word around the kids in Silicon Valley and know and Gen Y and Gen I following up on their heels, is that the kind of polished Cardassian instant moment that was so exhausting for everybody to keep up with is like out.   [00:37:26] It's all about the reality non filter photo, like the real real, which should lessen up on some of it. And also, I don't like what it did for public perception of those generations coming up. It was just as bad as the fashion magazines that had, you know, an anorexic little white girls my whole life. So I don't 100 percent agree there.   [00:37:46] You know, I had an intern that was a lot younger than me. And, you know, you would hear not just from Harvard, just there was this expectation that they had to go from zero to a hundred, that they should be Kylie and Gucci shoes. They should be wearing Gucci shoes when it was complete. They're living at home. It's completely unaffordable or whatever the situation is. You know, there was there was this expectation and not at a fault of theirs. There was this expectation that I have to get these things to match up to what's happening on online. And I felt like that pressure, like I never even was thinking about hoochie shoes, you know, when I was 19, you know, but there was this pressure to kind of like go from zero to a hundred. Career wise, fame wise, appearance wise, everything that pressure, especially as a mom of a daughter, you know, is is just is disturbing. And I try to keep my feet as authentic as. But, you know, it's even for me, it's challenging at times, you know?   [00:38:39] Yeah. I'd like to see a fall of it. It's also just transparency. It's not bringing us closer as humanity. To have a whole bunch of you know, I have plenty of beLuvd friends and colleagues and family members that put up hyper edited photos of reality that I'm like, girl, that's not you.   [00:38:54] I know. It's so it's fine.   [00:38:58] It's it's neither here nor there. I think it's just part of Americana iconography that's now headed in our rear view.   [00:39:03] Thank goodness. I want to turn towards your new digital media strategizing moment. You kind of dropped on me right before we started this, that that came into your life recently. And I'm like, oh, hot tip scoop. So let's climb into whatever you can tell us about that.   [00:39:17] So I I've done some consulting in the back end with clients on their social media. What's happened is because I'm running my own business and I haven't been with an agency, I've had to get up with the program all the time, understanding social media, understanding how to properly, like, manage my feed, went to post social calendars, getting verified on all the different elements of making your social media really fabulous. I've had to kind of understand for myself and what's happened between that and then all the jobs I've done over 12 years with all these major brands, I realized I have relationships so I could write to somebody at Twitter. And you're back in half an hour because of my relationship with them or somebody at Victoria's Secret or Chanel or Maybelline or whatnot. And so I said to myself, wow, you know, this massive Rolodex, I've all these personal relationships that have grown and built. And I said, you know, it's great for me at all, but that might be useful for one gig here and there, whatever I said. What if I took those relationships and found a way to monetize that for myself and also help other people connect and be the connector? And so so a friend of mine who is a big Hollywood publicist, Casey Kitchen, she reps a lot of she actually reps one of our good friends and actor Peter Falcinelli, who was in Twilight. Nurse Jackie and all these great greats, content and great movies and film. He kind of connected us. And then me and her just grew mutual respect. Long before this pandemic hit, we were talking about me helping her clients that she does traditional publicity for. She's doing all the, you know, Daily Mail or People magazine or, you know, the all the red carpet, all that stuff and all the big high end editorials. It was one of those things where she said, you know, why don't we kind of collaborate and help these people with their digital media strategy? A lot of her clients, as you know, as fitting and so and more of a freelance fashion. I have come on board officially her PR agency, she went solo was called Mark PR. It's based out of here in Hollywood. And I've come on board and more of a freelance aspect, but come on board as her digital media strategy director. And I am already I don't know if I can name the clients yet, but I'm working with some very, very top, high and verified clients helping them. I call it like the Ray Donovan of their social media. I'm like a fixer. I kind of come in and I help them. I feel all the things that maybe they're doing right.   [00:41:36] Somebody these people, they have amazing talent, amazing concept, but they don't necessarily know how to apply it to the platform that is Instagram, where that is Pinterest or that is Twitter. And I could put them in there and fix it up for them and help them understand how to better themselves. So it's a very good company.   [00:41:51] I mean, it sounds like there's you know, the clientele is similar to who it's been before. Just more specifics, the Ray Donovan social. So I like epic. I Luv it. That's fantastic. Well, Lindsey, we're running out of time.   [00:42:06] And I want to turn towards quickly a conversation that I've been having with everyone given, as you've mentioned earlier, the current climate of that covered 19 pandemic. And it's kind of allowed everyone to reassess. Even people who have like this virtual enterprise, you have a huge, prolific career based, a large part in this kind of performance oriented things. I know it must have had an impact on you, but I'm wondering if you've had a conversation with time for a conversation with yourself and moving forward as to how you might alter or start to edit what your life's work will be in the future based on what we're doing. Or are you kind of waiting until there's a return to normal and a vaccine and then going back out?   [00:42:45] So this has been such an amazingly interesting experience for me. Very challenging. Being a parent to a toddler during this quarantine is really hard because me and my husband, he has a job and I've kind of taken on this new job, plus all my other stuff that's still kind of existing. So we're bouncing back child care all day long and making sure that she gets the best of the best because we want her to still thrive during, you know, being a little bit more confined. So that's created a massive challenge that and the house and the cooking and all of it. However, like I said, I'm like always five steps ahead and I'm such a Hossler. So of course, I decide to take it on myself to really move forward. These were things, though, that I talked about doing for a while. And this kind of like gave me the push to take that rip the band. Off. And actually, it's I've been, I would say, kind of thriving in that way that I rip the Band-Aid off and I drove straight headfirst into all these new ventures that I've wanted to take on this digital media strategy. I've been studying more about why, and I just Luv wine. And I think there's something interesting there. Wine and music. They go well together. So, you know, there could be some interesting work there. And I'm I've always been the kind of person who I talk about stuff. But I also my husband says you need to pat yourself on the back because there's a lot of people say they want to be a star my age. But you actually signed up for the class and showed up and you took the test and you did it. And for me, it's kind of like that. I try and do that with the things on the most serious about. I get a lot of ideas, but what I'm actually really series on something I put in the work. And during this time I've taken every five minutes I've had to myself when my baby's napping or late at night after she goes to sleep and I sit there trying to, you know, get work done for my clients, for digital media strategy, because D.J. right now in the way we know it is on hold and it's like it's like a bike.   [00:44:37] You know, I can DJ.   [00:44:39] I can DJ any day till I'm 90 if people want me to. You never stop learning how to do a musical instrument or talent or not. Obviously, you have to refresh yourself. But, you know, so why not spend this time where I'm not being requested to DJ to really get the other stuff going and eventually kind of open up to everything again?   [00:44:59] That's awesome. And I want to wrap up with asking you when I ask all of my guests for this series, and it's me, mainly if someone walked up to you tomorrow maintaining a safe social distance and said it's a woman or female identified, non binary individual, pretty much anyone other than a straight man and said, listen, I'm getting ready to get into you.   [00:45:21] I think I'm just gonna take the plunge. I want to get into DJing. I've been in the music industry for a long time. I've kind of come at it from the business background. I think I just want to do this. I'm going to take the leap. What are the top three pieces of advice you would give that person, knowing what you know now?   [00:45:35] OK, number one, I would say don't overthink it. Just do. I think the big thing that holds a lot of people back is I mean, everybody knows this, but somebody you really have to say a lot. I think fear holds people back from trying things. They say when you look at like bloggers, for example, the biggest tendency for bloggers to start a blog and never finish. You have to keep going. You can't just start it and then just fall off because you're not seeing, like, you know, the overnight success. If you really care about it and you really Luv it, even if it's not your full time job, even if it's just something you do for your friends at a barbecue in the beginning, don't give up. Like, if that's something you really want, then just keep going and understand that each of those little things is a success in themselves. You did it. You bought the equipment you're teaching yourself or you're going to was class or whatever it is you played for a bunch of your friends. They liked it. That's enough. That's OK. And and, you know, even if that's as far as you ever take it or as far as it ever goes for you, it's still good to know that you gave it a shot. So that's first and foremost, you got to give it a shot. Secondly, I'd say I am a strong believer if you're gonna do something, do it properly. So whatever that means to you, it may not be the same way I saw DJing with learning with, you know, vinyl and this and that. But if you're gonna do something, give it give it its its purest form. Let yourself really learn what it means to be a DJ.   [00:46:57] Research DJs, watch DJs, listen to music, get get yourself immersed in it and whatever that means to you. It may not be the same to me, but immerse yourself in it and do a proper give it its full go. And then third, I would say don't be afraid to put yourself out there and ask for things you want. There is a proper level to do that. Obviously, if you're not getting the response you want, you have to have some kind of social know how when to pull back and to redirect or to go after something a little bit different or somebody a little different. But don't be scared to put yourself out there. Pete, you're only as good as the ideas that you have. Right. You have to put those ideas out to people and say, hey, I thought about myself in this way. How are you? Do you see it back and let them think about it and sell yourself because you're your own best cheerleader. Nobody's ever going to cheerlead for you the way you are going to, surely for yourself. So do it with a respectful understanding that it won't always get accepted. That's OK. You know, no one to pull back and no one to push.   [00:47:55] Nice. All right. I've got. Don't overthink it and just do it and give it a shot. Number two, if you're going to do it, do it properly, whatever that means to you. But make sure you research it and get it done properly.   [00:48:06] Number three, don't be afraid to ask for what you want. Got to put it out there and make sure you listen to the cues and love those as you're perfect. Very, very. New York. I have to say, it sounds very Pskov. Yeah, I love it.   [00:48:20] Well, Lindsay, thank you so much for giving us your time today. I know you're extremely busy and I appreciate all of your stupendous candor about the music industry and everything that you're doing.   [00:48:28] Thank you so much. And you're such a great leader, too. We love watching your podcast. Thank you for having me. It's a true honor to be on here. Thank you for that.   [00:48:36] Thank you. And for everyone listening, we've been talking with Lindsay Luv. You can find out more about her and all of her services on w w w dot. Lindsay Luv dot com.   [00:48:47] You can find my Instagram. It's just at Lindsay. Luv at Elyon dsa y o u v. And there I am.   [00:48:53] And until we speak again next time. Remember to stay in Luv with the world and always bet on yourself. Slaínte.  

Avsnitt 141! INSPELAT LIVE FRAMFÖR PUBLIK @ KULTURHUSET i STHLM 31/10-17Ingen, inte ens Sanna, verkade vilja podda med Hugo och Petter denna kväll, men många ville komma och lyssna. Hugo och Petter ägnar sig år konstkritik, undersöker bristande respekt för upphovsrätt i samtida euro-rap och bjuder in publiken att delta i succé-frågesporten "vem är jag? Bohagon??"VBDFRs publik visar sig vara mycket bättre än Spotifys algoritmer. Ett kul och intressant avsnitt även för dig som inte var på plats! S/O till Kulturhusets utställning "Folkmusik 2.0 - Svensk hiphop remixad" som visas fram till 28 januari 2018!Whatever?! xoxo Sånger från avsnittetMigos feat. Cardi B & Nicki Minaj - MotorsportKojo Funds feat. Abra Cadabra - Dun' TalkinToo Short - I'm a playa (Street version)Blizzy - KronanKarim - BenzemaLorik feat. LAB - WastemanJazn - BombayDonyanah - Benät eller vänninaShayne Brown - Yuh remind meAden & Asme - SkinerThe DREAM - I Luv your girlColo - Hungry againm9 (Martin Mutumba) - Fatta att d jah såm e kungAddis Black Widow - What Goes Around Comes AroundAddis Black Widow - Innocent

Located on the southeastern coast of the Arabian Peninsula, at the mouth of the Persian Gulf, Oman is a travel destination that is surrounded by mystery and myths. Tourism is on the rise in Oman, and it is predicted to soon be one of the largest industries in the Sultanate. Part of the rise in tourism can be attributed to cruise lines making Oman a port of call, but the country's tourism slogan - "Beauty has an address" - is helping to position it as a safe, affordable, and beautiful travel destinaton. On Episode #11 of the Where Else to Go podcast, I'm joined by Nicole Brewer, a Detroit native, who has been living and working in Nizwa, Oman, for the past three years. She says she's found the locals to be extremely nice and accommodating, and wishes more people would experience the beauty that Oman has to offer. A couple of the resorts that Nicole loves are the Shangri-La in Muscat  and a 5-star resort in the mountains, Alila Jabal Akhdar. And she impresses upon us both the beauty and the cultural aspect of tourism in Oman. To follow more of Nicole's adventures and travel writing, check out her blog, I Luv 2 Globetrot, and follow her on social media on Twitter, Facebook, Pinterest, and Instagram. If you're enjoying these podcasts, please take a minute to subscribe on iTunes. And don't forget to leave and rating (5-stars is always nice!) and revivew. Photo courtesy of Nicole Brewer

This week, we're joined by special guest David Noble, with whom we discuss having a lot of CDs, playing the drums, and out-there advertising. Plus, we come up with a vibrant new advertising campaign for the podcast, meet Dave's parents, and play an exciting round of That Sounds Good, What's That About?Disclaimer: We were doing really well at pretending we didn't record this episode well in advance... until we accidentally talked a whole bunch about the new Star Wars movie we hadn't seen yet. Oops.MUSIC USED:SSJ Theme 3000: Xavier Rubetzki NoonanHis Dick Is Bigger Than Mine: All My Alien Sex FriendsTSGWTA Theme: Xavier Rubetzki NoonanFEATURE TRACK:Dave was nice enough to share some tracks from his band All My Alien Sex Friends with us this week, and so you better be nice enough to follow through and check out some more! This week we feature the band's newest single, I Luv u (Feat. Jake Dobson), which you can find all sorts of places including Soundcloud & Unearthed, plus you can check out the All My Alien Sex Friends EP while you're there!CLICK HERE to download!we actually only have a cat for the weekswe forget to take a podcast pic.