Podcast appearances and mentions of Max Martin

What can a global pop icon teach us about business strategy? In the case of Taylor Swift, more than you might think.Episode SummaryOn this episode, I'm joined by Kevin Evers, senior editor at Harvard Business Review and the author of There's Nothing Like This: The Strategic Genius of Taylor Swift. We dive deep into what makes Swift not just a pop icon but a master strategist — someone who has repeatedly made bold, counterintuitive business decisions and turned them into career-defining moments. Kevin and I explore how Taylor has managed her brand like a founder, handling everything from customer loyalty to product lifecycle planning, channel distribution to reputation management. He explains how she's cultivated extraordinary fan intimacy, exercised long-term thinking, and turned public conflict into strategic advantage; all while maintaining creative and commercial dominance. One of the key moments we reflect on is her decision to re-record her early albums to reclaim ownership of her masters — and since we recorded this episode, there's been a major update: she's now reportedly bought back the original masters. It's a case study in asset control, strategic patience, and sticking to your values, and whether or not you're a Swiftie, there's a lot to learn.Guest Biography Kevin is a senior editor at Harvard Business Review, where he focuses on strategy, innovation, and leadership. He is the author of The Strategic Genius of Taylor Swift, a book that applies a business lens to the career of one of the most commercially successful musicians of our time.In the book — and this conversation — Kevin explores how Swift's strategic decision-making offers lessons in branding, IP management, customer engagement, and more. In addition to his work at HBR, Kevin has also edited and collaborated on several bestselling business books, including titles in the HBR Guide series.AI Generated Timestamp Summary0:00:00 - Intro (7 Minutes)Introduction to Taylor Swift's strategic acumen in brand management.Discussion with Kevin Evers on how Swift has built a resilient brand and fostered fan loyalty.Highlighting her decision to re-record albums as an example of her entrepreneurial instincts.0:06:49 - Taylor's Bold Career Evolution (7 Minutes)Exploration of Swift's transition from country star to pop icon.Examination of key career moments, including the 2009 MTV VMA incident.Analysis of how Swift turns challenges into opportunities.0:13:46 - Taylor Swift's Collaborative Evolution (14 Minutes)Swift's strategic collaborations and her fear of stagnation.Insights into her partnership with producer Max Martin and how it helped evolve her sound.Comparisons to the Beatles' ability to adapt and innovate.0:27:26 - Taylor Swift's Evolving Content Strategy (4 Minutes)Discussion on Swift's adaptation to the music industry's changing dynamics.Her shift from releasing albums every two years to more frequent releases.Analysis of her blend of abundant content and scarce online presence.0:31:51 - Taylor Swift's Fan-Obsessed Strategy (14 Minutes)Exploration of Swift's marketing strategy focused on fan engagement.Use of subtle clues and inside jokes to create anticipation among fans.Examination of her decision to re-record albums and its impact on fan loyalty.0:46:14 - Taylor Swift's Founder Mentality and Risk (10 Minutes)Examination of Swift's instinct-driven career decisions.Comparison of her strategy to tech giants like Apple and Amazon.Discussion on her music-first philosophy and founder mentality.0:56:10 - Taylor Swift's Resilient and Innovative Career (12 Minutes)Analysis of Swift's ability to adapt and thrive in the streaming age.Examination of her strategic pivots and their impact on her career.Reflection on her focus on passions and connection with superfans.Links There's Nothing Like This - https://www.nothinglikethisbook.com/HBR Summary: https://hbr.org/2025/03/the-strategic-genius-of-taylor-swiftKevin on LinkedIn: https://www.linkedin.com/in/kevin-evers1/

Vi nærmer os langsomt en sommerferie, og hvad er så mere nærliggende end at tage fat i en rigtig sommerudgave af et klassisk MIX-blad. Vi er denne gang tilbage i 1996 med julinummeret og det er med Michael Jacksons 3 nydelige nevøer i 3T på forsiden. De hittede stort i midthalvfemserne og havde flere store hits, men de fik også masser af produktions- og sangskrivningshjælp fra både deres kendte onkel og selveste Max Martin og Denniz Pop. Vi skal desuden vurdere om Gary Barlow solo er lige så godt som Elton John, vi spiller glimrende numre fra den medfølgende MIX-CD med både Fugees og No Doubt, vi prøver at vinde billetter til 1996-udgaven af Midtfyns Fetival og til Oasis' legendariske koncert ved Knebworth, og så tager vi selvfølgelig også fat i RåMIX, CementMIX og i MIXbix søger vi en penneven til 11-årige Fruit Power fra Skodsborg og efterlyser russiske Fechter fra Vejlby-Risskov. Derudover ifører vi os sommer og Birkenstock og spiser morgenmad med amerikanske Deep Blue Something, vi revurderer Brian Austin Greens rapevner, vi sympatiserer med Damon Albarn, vi bliver forbløffede over alderen på de 2 spanske herrer i Los Del Rio, og så bliver det også til snakke om ferier på Kreta, voldsomt store mobiltelefoner, 90'er is, fankultur hos Bruun Rasmussen og frimærkepriser i Kibæk. Husk I kan læse med i bladet på vores Facebook: https://www.facebook.com/NogetVedMusikken/ Playliste: Gary Barlow - Forever love 3T feat. Michael Jackson - Why 3T feat. Herbie - Gotta be you Brian Green - That's right Oasis - Whatever (Live at Knebworth 1996) You Know Who - Guantanamera George Michael - Fastlove Fugees - Fu-gee-la (North Side Mix) Scatgirl - I'm a scatgirl No Doubt - Different people Los Del Rio - Macarena

Send Mary and Kelsey a Message!In this episode, Mary and Kelsey are joined by Beyond the Blinds co-host Kelli Williams (aka Laguna Biotch!!) to celebrate two decades of Backstreet Boys' Never Gone album. They go track by track and dive deep on bops like Incomplete, I Still…, Crawling Back To You, Just Want You To Know, Siberia (a song that continues to be criminally underrated, if you ask us) and more! Follow Kelli at @laguna_biotch and @beyondtheblindspod Support the showInstagram: @whentheypoppedpodTikTok: @whentheypoppedEmail: whentheypoppedy2k@gmail.comWebsite: linktree.com/whentheypopped

RNIB Connect Radio's Toby Davey is joined again by Vidar Hjardeng MBE, Inclusion and Diversity Consultant for ITV News across England, Wales, Northern Ireland and the Channel Islands for the next of his regular audio described theatre reviews for 2025 This week we have the multi award-winning ‘& Juliet' as the touring production visited the Birmingham Hippodrome Theatre with description by Professional Audio Describers Julia Grundy and Jonathan Nash. About ‘& Juliet' Get whisked away on a fabulous journey as Juliet ditches her famous ending for a fresh beginning and a second chance at life and love—her way. Created by the Emmy-winning writer from “Schitt's Creek,” this hilarious new musical flips the script on the greatest love story ever told and asks, what would happen next if Juliet didn't end it all over Romeo? After a phenomenal run in London's West End, & Juliet is heading on a national tour. Picking up three Olivier Awards and six WhatsOnStage Awards, & Juliet will have the audience up on its feet and ROARING for more. Juliet's new story bursts to life through a playlist of pop anthems as iconic as her name, including Britney Spear's …Baby One More Time, Katy Perry's Roar and chart toppers Since U Been Gone, It's My Life, I Want It That Way, and Can't Stop the Feeling! — all from Max Martin, the genius songwriter/producer behind more #1 hits than any other artist this century, and his collaborators. Break free of the balcony scene and get into this romantic comedy that proves there's life after Romeo.   For more about ‘& Juliet' along with details of dates and times of performances near you do visit - https://www.andjulietthemusical.co.uk  (Image shows RNIB logo. 'RNIB' written in black capital letters over a white background and underlined with a bold pink line, with the words 'See differently' underneath)

Louie and Russ answer listener questions about the current 2026 Grammy Album of the Year Frontrunners, why Chappell Roan's "The Giver" underperformed, Max Martin's trajectory as a collaborator, whether Gaga directly ripped Taylor off on "How Bad Do U Want Me," and more! BUY TICKETS TO MAIN POP GIRLS: PRIDE ON JUNE 7 AT PARKSIDE LOUNGE!Gorgeous Gorgeous LA Pride on June 20 at Los GlobosGorgeous Gorgeous NYC Pride on June 27 at Sultan RoomJoin Pop Pantheon: All Access, Our Patreon Channel, for Exclusive Content and MoreShop Merch in Pop Pantheon's StoreFollow Pop Pantheon on InstagramFollow DJ Louie XIV on InstagramFollow DJ Louie XIV on Twitter

BEST OF: The 2024 MTV VMA was another example of a powerful religious-cult operating through entertainment to influence society. Taylor Swift was awarded Video of the Year, Sabrina Carpenter won Song of the Year, Katy Perry won the Vanguard Award and performed a gravity defying song, and Megan Thee Stallion performed Mamushi with Yuki Chiba. Swift has stayed in the news for her endorsement of Kamala Harris, and when winning her aware she thanked her boyfriend Travis Kelce who may also now be encouraged to endorse Harris - recall other were involved with ERAS-ERIS, the goddess of discord. But Taylor Swift isn't as powerful as she may seem, certainly not to make her own decisions. Not only has she called out the Soros family for stripping her of music rights but most of her music itself is written by someone else. Jack Antonoff was behind ‘Look What You Made Me Do', and countless other songs not to mention his work with Lana Del Rey, Aaron Dessner was behind Willow, and countless other songs, and both Max Martin and his protege Shellback contribute heavily to her discography. People like Martin have been operating in the music industry for decades, writing dozens of hits - 26 Number One hits - for everyone from the Backstreet Boys and Brittany Spears (Hit Me Baby One More Time), to Ariana Grande and Taylor Swift. Further, he obtains the lyrics and beats through a sort of channeling. Even Elton John does this through mixing word cutouts to write songs. In the world of comics we find an equivalent character in Alan Moore, a magician behind iconic works like V For Vendetta and Watchmen. Moore is also open about his worship of a Greco-Roman snake god named Glycon, a deity of oracle and moneymaking. The difference between obtaining influence from the MUSES or power from unconscious DEMONS is what the byproduct of the contract is: beauty or ugliness. The song Mamushi features the profaning of and degrading not of America but of Japan, as Thee Stallion encourages Japanese girls to be promiscuous and lure men to their death. In the song, Megan literally is naked on a rock like a Siren, in a sacred Onsen, where she then pollutes the purifying water and transforms into a Mamushi snake to kill a man. A 2023 song by Sabrina Carpenter was filmed in a church and her video was so perverse and disgusting the priests had to re-bless the altar when she left. These images are far different than the music, sculptures, and paintings of artists throughout history. Perry's VMA performance featured the arch of hysteria from witchcraft, a portal, and we assume from the other side came an alien who Sabrina Carpenter kissed on television. *The is the FREE archive, which includes advertisements. If you want an ad-free experience, you can subscribe below underneath the show description.-FREE ARCHIVE (w. ads)SUBSCRIPTION ARCHIVEX / TWITTER FACEBOOKYOUTUBEMAIN WEBSITECashApp: $rdgable EMAIL: rdgable@yahoo.com / TSTRadio@protonmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-secret-teachings--5328407/support.

Fáilte ar ais chuig eagrán nua de Ar An Lá Seo ar an 7ú lá de mí Bealtaine, liomsa Lauren Ní Loingsigh. I 1976 bhí ocht bhfear SAS ar héileacaptar go rúndacht ag dul ar ais chuig an Tuaisceart de bharr gur bhannaigh siad iad. I 2004 fuair daoine amach go raibh daoine a raibh ag obair ag AIB ag fáil níos mó airgead óna chustaiméirí nuair a bhí siad ag fáil airgead ó thír eile. I 2010 bhí sé ceadaithe do Yeagher LTD chun ionad siopadóireacht a thógáil in aice leis an Hibernian Meat Plant I nDurlas. Thug an Bord Pleanála cead don áit le siopaí, oifigí agus bialann éagsúla. I 2012 bhí daoine a raibh ina chónaí sa chontae an-ámharach de bharr gur bhuaigh siad níos mó ná 1.8 milliún euro le Prize Bonds. De réir an chomhlacht bhuaigh daoine sa chontae nach mór 2 milliún euro le duine amháin a bhuaigh 1 milliún euro. Sin ABBA le Fernando – an t-amhrán is mó ar an lá seo I 1976. Ag lean ar aghaidh le nuacht cheoil ar an lá seo I 2000 chuaigh Britney Spears chuig uimhir a haon sa Bhreatain lena amhrán Oops I Did It Again. Scríobh Max Martin agus Rami Yacoub an t-amhrán, na scríbhneoirí céanna a scríobh a amhrán Baby One More Time. I 2003 chuir máinlia dlí ar 50 Cent de bharr nár íoc sé bille leighis. Dúirt an dochtúir gur tháinig 50 Cent agus a cairde chuig an t-ospideál le créacht urchar I 2000 agus dúirt sé nár íoc sé a bille a raibh 20 míle dollar cé gur chuir sé cheist air cúpla uair. Agus ar deireadh breithlá daoine cáiliúla ar an lá seo rugadh Mr Beast I Meiriceá I 1998 agus rugadh Tommy Fury sa Bhreatain ar an lá seo I 1999 agus seo chuid de na rudaí a rinne sé. Beidh mé ar ais libh amárach le heagrán nua de Ar An Lá Seo. Welcome back to another edition of Ar An Lá Seo on the 7th of May, with me Lauren Ní Loingsigh 1976: 8 sas men were airlifted secretly back to the north by helicopter late last night after being charged and bailed in the special criminal court. 2004: staff at a unit within AIB, the largest bank in the state discovered two years prior that the bank was over charging its customers for foreign exchange transactions. 2010 - YEAGHER Ltd has been given the all-clear to build a major shopping and office center on the site of the old Hibernian Meats plant in Thurles. An Bord Pleanala gave the green light for a mixed-use neighborhood centre made up of shops, office units, a restaurant, a wellness center  2012 - Tipperary residents are some of the luckiest people in the country, having won over €1.8 million with Prize Bonds. According to the Prize Bond Company's 2011 annual report, Tipperary's total winnings of €1.8 million with one Tipperary resident winning the €1 million prize.  That was ABBA with Fernando – the biggest song on this day in 1976. Onto music news on this day In 2000 Britney Spears went to No.1 on the UK singles chart with 'Oops!... I Did It Again'. Written and produced by hit-makers Max Martin and Rami Yacoub, who had previously collaborated with Spears on '...Baby One More Time'. 2003 A US surgeon sued 50 Cent over an unpaid medical bill. The doctor claimed 50 Cent and his friend turned up at a hospital with multiple gunshot wounds in 2000, but said the rapper never paid the $20,000 he owed for treatment despite being asked several times. And finally celebrity birthdays on this day – YouTuber Mr Beast was born in America in 1998 and social media star Tommy Fury was born in the UK on this day in 1999 and this is some of his stuff. I'll be back with you tomorrow with another edition of Ar An Lá Seo.

Fáilte ar ais chuig eagrán nua de Ar An Lá Seo ar an 7ú lá de mí Bealtaine, liomsa Lauren Ní Loingsigh. I 1976 bhí ocht bhfear SAS ar héileacaptar go rúndacht ag dul ar ais chuig an Tuaisceart de bharr gur bhannaigh siad iad. I 2004 fuair daoine amach go raibh daoine a raibh ag obair ag AIB ag fáil níos mó airgead óna chustaiméirí nuair a bhí siad ag fáil airgead ó thír eile. I 1993 bhí a lán bóthair sa chontae an-dainséarach agus bhí siad ag fáil níos measa agus bhí an chontae mar ceap magaidh den tír. I 2004 tháinig sé amach go raibh na mílte daoine sa tír a raibh ag ceannach tí don chéad uair ag fanacht I gcóir cúpla bhliain go dtí go raibh siad ábalta tí inacmhainne a cheannach. Sin ABBA le Fernando – an t-amhrán is mó ar an lá seo I 1976. Ag lean ar aghaidh le nuacht cheoil ar an lá seo I 2000 chuaigh Britney Spears chuig uimhir a haon sa Bhreatain lena amhrán Oops I Did It Again. Scríobh Max Martin agus Rami Yacoub an t-amhrán, na scríbhneoirí céanna a scríobh a amhrán Baby One More Time. I 2003 chuir máinlia dlí ar 50 Cent de bharr nár íoc sé bille leighis. Dúirt an dochtúir gur tháinig 50 Cent agus a cairde chuig an t-ospideál le créacht urchar I 2000 agus dúirt sé nár íoc sé a bille a raibh 20 míle dollar cé gur chuir sé cheist air cúpla uair. Agus ar deireadh breithlá daoine cáiliúla ar an lá seo rugadh Mr Beast I Meiriceá I 1998 agus rugadh Tommy Fury sa Bhreatain ar an lá seo I 1999 agus seo chuid de na rudaí a rinne sé. Beidh mé ar ais libh amárach le heagrán nua de Ar An Lá Seo. Welcome back to another edition of Ar An Lá Seo on the 7th of May, with me Lauren Ní Loingsigh 1976: 8 sas men were airlifted secretly back to the north by helicopter late last night after being charged and bailed in the special criminal court. 2004: staff at a unit within AIB, the largest bank in the state discovered two years prior that the bank was over charging its customers for foreign exchange transactions. 1993: a very high percentage of the roads in clare were in a very serious state of deterioration so much that the county had been labelled the laughing stock of the country, clare co.council were told. 2004: Thousands of first time house buyers in clare were forced to wait several years before they could purchase an affordable local authority home. That was ABBA with Fernando – the biggest song on this day in 1976. Onto music news on this day In 2000 Britney Spears went to No.1 on the UK singles chart with 'Oops!... I Did It Again'. Written and produced by hit-makers Max Martin and Rami Yacoub, who had previously collaborated with Spears on '...Baby One More Time'. 2003 A US surgeon sued 50 Cent over an unpaid medical bill. The doctor claimed 50 Cent and his friend turned up at a hospital with multiple gunshot wounds in 2000, but said the rapper never paid the $20,000 he owed for treatment despite being asked several times. And finally celebrity birthdays on this day – YouTuber Mr Beast was born in America in 1998 and social media star Tommy Fury was born in the UK on this day in 1999 and this is some of his stuff. I'll be back with you tomorrow with another edition of Ar An Lá Seo.

Today's guest is a Latin music powerhouse whose pen has changed the game globally. With a genre-defying catalog that spans regional Mexican, reggaeton, pop, and bachata, he's crafted chart-topping hits that cross borders and break records. His work has earned him 26 Grammy wins, making him one of the most decorated writers in the industry today. But beyond the accolades, he's a true musical chameleon—effortlessly fusing cultural roots with modern sounds to create melodies that resonate worldwide. He brings heart, hustle, and authenticity to everything he touches.And the writer is… Edgar Barrera!Timestamp | Chapter Title00:00 | Intro and Sponsor00:45 | Meet Your Host: Ross Golan01:08 | Follow @AndTheWriterIs01:17 | Presented by NMPA02:09 | Guest Introduction: Edgar Barrera03:00 | How Edgar Became a Hitmaker06:30 | Global Success and Crossover Hits10:00 | Writing for Regional Mexican Artists15:00 | Secrets Behind Chart-Topping Songs19:00 | Challenges and Pressure of Success23:00 | Building a Cross-Cultural Career28:00 | The Power of Simplicity in Songwriting32:00 | Lessons from Collaborating with Legends37:00 | How Edgar Approaches Artist Development42:00 | Staying Grounded Amid Global Fame47:00 | Behind The Scenes of Major Hits52:00 | Edgar's Advice to the Next Generation57:00 | Wrapping Up: Gratitude and Staying Inspired Hosted on Acast. See acast.com/privacy for more information.

Take That's Gary Barlow welcomes Simon and Brian to his London studio for a fun conversation about songwriting, performance, and the creative process. The celebrated artist discusses the authentic sound of his Songbook tour, how he cultivates studio collaboration, and the amazing songwriting advice he received from Swedish hitmaker Max Martin. Gary was also previously the guest for episode 180 of this podcast.

  It is a privilege to welcome back singer-songwriter and DJ Davis Mallory to The Jake's Take with Jacob Elyachar Podcast!  Davis grew up singing in his church choir in Georgia and found his calling in creating music. He moved to New York City, where he studied at the Dubspot School of Electronic Music. Davis performed as a DJ throughout the club scene before migrating to the songwriting capital of the world, Nashville, Tennessee, to write and record original music. He has released music on record labels including Warner Denmark, KnightVision, Delecta, Revealed, Hexagon, Armada, Sirup, Sidekick, Ego, Pyro, Kaliias, and Soave.    “Beautiful Girls (Diem's Song),” a tribute to Davis Mallory's MTV co-star Diem Brown, who lost her battle to cancer, garnered attention in E! News, MTV News, People Magazine, and US Weekly.  Davis launched his solo single “Jane Fonda,” a tribute to the famed actress with fellow Atlanta roots, followed by “Shirtless” with a premiere on the MTV show War of the Worlds and licensed in a commercial for Poolboy Swimwear.   His sophomore album , Little Victory, featured many of Nashville's rising pop stars, including American Idol alum Madeline Finn on “Faith,” rapper Daisha McBride & vocalist Blake Lieder on “,” Best Pop Artist winner at the Nashville Indie Music Awards – Miss Audrey on “Fire Signs” premiering in Hollywood Life Magazine. A remix of “Little Victory” by French DJ RetroVision came out on Don Diablo's label Hexagon , and a remix of the single “Forget U”  by Swedish DJ John Dahlback came out on Hardwell's label Revealed.   On this episode of The Jake's Take with Jacob Elyachar Podcast, Davis Mallory discussed his success working with Swedish music professionals, hosting the Leaving a Legacy Podcast, and whether he is open to returning to compete on The Challenge: All-Stars.Let's connect on social media: A) Facebook: https://www.facebook.com/JacobElyachar/B) Instagram: https://www.instagram.com/jacobelyachar/C) Threads: https://www.threads.net/@jacobelyacharD) Twitter (X): https://x.com/JacobElyacharE) YouTube: https://www.youtube.com/@JacobElyacharBecome a supporter of this podcast: https://www.spreaker.com/podcast/jake-s-take-with-jacob-elyachar--4112003/support.

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Ballast Woods. Flin Flon. Minequakes. Average athleticism. Consensual Minotaurs. Max Martin. Pink. Fifth members of Queen. It's all going on in this week's episode along with some rather excellent original R&B from Kev! Humpt Bong indeed... what a ridiculous band name! It's a long one folks, but it's the longest song we've covered to date by a good couple of minutes, so y'know!If Kev were to title this episode, he'd probably call it "What do you call a Fish with no eyes?", or possibly, "Fsh...."The eleventh episode in this podcast-within-a-podcast covers a song submitted by our pal Tom Boje and is a song that Kev knows very well; the title track from Marillion's 1983 debut record, "Script for a Jester's Tear".If you want to get involved in the Kofi Klub, you can make a donation here: https://ko-fi.com/seasidepodreview and let us know which song you want us to add to the wheel! We also have a private channel in our Discord community for donors.Follow us onFacebook: @seasidepodreviewDiscord: https://discord.gg/nrzr2mQjBluesky: @seasidepodreview.bsky.socialAlso, check out Kev's other podcastsThe Tom Petty Project: https://tompettyproject.comThe Ultimate Catalogue Clash: https://shows.acast.com/uccAnd if you want to check out Randy's music, you can find it here:https://randywoodsband.com Hosted on Acast. See acast.com/privacy for more information.

“Eternal Sunshine,” Ariana Grande's seventh studio album, released on March 8, 2024, via Republic Records, marks a triumphant return for the pop icon after a three-year hiatus following 2020's “Positions.” This 13-track, 35-minute project, titled after the 2004 film “Eternal Sunshine of the Spotless Mind,” is a loosely conceptual exploration of love, loss, and self-discovery, blending vulnerability with theatrical flair. Crafted with collaborators like Max Martin, Ilya Salmanzadeh, and Oscar Görres, the album fuses pop and R&B with dance, synth-pop, and house influences, characterized by mid-tempo beats, subtle guitar riffs, and lush string arrangements. Grande has called it her most personal work, inspired by her divorce from Dalton Gomez and her romance with “Wicked” co-star Ethan Slater, yet it sidesteps tabloid fodder for a broader emotional narrative.The album opens with “Intro (End of the World),” a delicate query about love's endurance, setting a reflective tone. Lead single “Yes, And?”—a #1 Billboard Hot 100 hit—channels Madonna's “Vogue” with defiant house beats, addressing public scrutiny with a cheeky shrug. “We Can't Be Friends (Wait for Your Love),” another chart-topper, pairs a Robyn-esque dance-pop pulse with Grande's aching vocals, its video nodding to the film's memory-erasing premise. “The Boy Is Mine,” reimagining Brandy and Monica's classic, became a TikTok sensation, later earning a remix with the duo. Tracks like “Don't Wanna Break Up Again” and “True Story” weave R&B melancholy with sly humor, while “Supernatural” and “Imperfect for You” showcase her vocal restraint and harmonic finesse. The interlude “Saturn Returns,” sampling astrologer Diana Garland, ties the album to Grande's late-20s reckoning, fading into the title track's wistful acceptance of past pain.Critics praised “Eternal Sunshine” for its emotional depth and sonic cohesion, with Pitchfork noting its “restrained yet generous” spirit and Rolling Stone calling it a “victory lap with scars.” It debuted at #1 on the Billboard 200, her sixth chart-topper, and snagged three Grammy nods, including Best Pop Vocal Album. Expanded editions followed: a “Slightly Deluxe” version on March 10, 2024, added remixes, while “Eternal Sunshine Deluxe: Brighter Days Ahead,” released March 28, 2025, with a short film, introduced six new tracks like “Twilight Zone,” deepening the breakup saga. Filmed during the 2023 SAG strike, the album reflects Grande's “Wicked” downtime, balancing her Glinda role with raw artistry. Closing with “Ordinary Things,” featuring her grandmother Nonna's sage advice, it's a tender cap to a journey of heartbreak and hope.

Is this thing on? Pop fans, we have been Anticipating this deep dive into one of Britney Spears' most seminal albums: “Britney”. Arriving in 2001, ahead of her 20th birthday, our teen-pop sensation was growing up and is making sure the world is hearing what she has to say.  Join Joel and David as they dive into this iconic body of work over a two-part episode. This was a massive era for our Brit. Following two record-breaking albums, a massive first world tour and signing a multi-million dollar deal with Pepsi, she's also making her film debut with “Crossroads”. Here in Part 1, we focus on the industry-shaking lead single ‘I'm A Slave 4 U' - which saw Britney unapologetically owning her sexuality and flaunting a new sound. We get into the music video, legendary 2001 MTV VMAs performance, her new image and styling and so much more. True to our chronological style, we dive into our favourite album highlights before we get to the other singles in the next episode.  Britney's DNA is all over this album, with her co-writing several tracks and collaborating with Pharrell and N.E.R.D., Max Martin, Darkchild, Justin Timberlake and Nile Rodgers. From ‘Anticipating' to ‘Before The Goodbye', ‘Lonely', ‘Cinderella' and more… we are truly feasting on this episode! Follow Right Back At Ya! https://www.instagram.com/rightbackpod/ https://twitter.com/rightbackpod https://www.facebook.com/rightbackpod Follow Joel https://www.instagram.com/dr_joelb/ https://twitter.com/DR_JoelB Follow David https://www.instagram.com/lovelimmy/ https://twitter.com/lovelimmy Email us rightbackpod@gmail.com

El disc de debut de Robyn sona fresc com el primer dia, rotund en partitures, lletres i tot el pes del so R&B. A partir d'aqu

Send Mary and Kelsey a Message!In this episode, Mary and Kelsey are joined by legendary pop songwriter, producer, Grammy and Emmy nominee, Andreas Carlsson. Andreas' incredible body of work work has been streamed more than 1 billion times and sold 150M+ albums with credits including pop anthems we all know and love like BSB's I Want It That Way and Drowning, *NSYNC's Bye Bye Bye, Britney Spears' Born To Make You Happy and Can't Make You Love Me, Celine Dion's That's The Way It Is, and more. Andreas shared his stories from his time at Cheiron Studios where alongside Max Martin, Denniz Pop and other illustrious pop music figures, he shaped the music landscape of the late 90s and 2000s. Thank you, Andreas, for joining WTP! Follow him at @andreas.carlsson on IG. Support the showInstagram: @whentheypoppedpodTikTok: @whentheypoppedEmail: whentheypoppedy2k@gmail.comWebsite: linktree.com/whentheypopped

Send Mary and Kelsey a Message!In this XL-sized episode, Mary and Kelsey dive deep into Backstreet Boys' Millennium with a track-by-track analysis of the multi-platinum record. Including quotes from interviews with Millennium writers, producers, and record execs, and their own memories from this era to bring, this nostalgic dissertation explains why I Want It That Way lyrics don't make sense, the controversy behind The One becoming a single over Don't Want You Back, and the personal tragedies the band endured in the lead-up of the album's release. Plus, they share their predictions for what's to come with the Millennium 2.0 release and upcoming Vegas Sphere residency.Instagram: @whentheypoppedpodTikTok: @whentheypoppedEmail: whentheypoppedy2k@gmail.comWebsite: linktree.com/whentheypopped

For the first in our five-part series on Britney Spears, The New Yorker's Doreen St. Felix returns to Pop Pantheon to chart the birth of a pop princess. Doreen and Louie dig into Britney's origin story, from Star Search and The New Mickey Mouse Club to her Jive deal and development in Sweden with Max Martin. Then they tackle her legendary breakout smash and music video, “...Baby One More Time," ”and her 1999 album of the same name, which shot her to the front of the teen pop pack. Next, they parse 2000's hit-packed Oops!... I Did It Again, which solidified Britney's spot as the most important pop star of the new millenium. Join us next week for Part 2, in which we'll discuss 2001's Britney and 2003's In The Zone.Check out Pop Pantheon's Britney Spears Essentials PlaylistCome to Main Pop Girls on 3/21!Come to Gorgeous Gorgeous NYC on 3/1Come to Gorgeous Gorgeous LA on 3/14Join Pop Pantheon: All Access, Our Patreon Channel, for Exclusive Content and MoreShop Merch in Pop Pantheon's StoreFollow DJ Louie XIV on InstagramFollow DJ Louie XIV on TwitterFollow Pop Pantheon on Instagram

The Kelly Alexander Show is thrilled to welcome back Juno Award-winning recording artist Anjulie who not only writes songs for artists like Kelly Clarkson, Lady Gaga, Nicki Minaj, Icona Pop and Nelly Furtado but also for herself. Anjulie's latest hit is "Chai and Sunshine," a song that has over one million streams and counting and has also caught the attention of Rihanna and Selena Gomez. Anjulie talks to us about navigating the music industry, her love for Janet Jackson, how her friendship and songwriting relationship with Nelly Furtado began as well as the creation of "Chai and Sunshine" and why Rihanna reached out to her about it. We also talk about the importance of social media for an artist's career, what she always has in her fridge and why she wants to work with super producer and songwriter Max Martin. Enjoy the conversation and thank you for listening! 

Send us your thoughts! Swedish jazz virtuoso Ebba Åsman has announced the forthcoming release of her third full-length record When You Know. The new album arrives March 21st, 2025 via Dorado Records.Coinciding with the announcement of ‘When You Know' of the upcoming album are the joint first singles - the title track ‘When You Know' and ‘No Answer'. The pair of songs channel the feelings that came into clarity for Åsman during her time in the woods: the stresses of not knowing where you're headed, sensing that you're losing grip of the life you've built, drowning in the infinite questions that swirl around in your head – and ultimately, accepting the uncertainty of it all. The latter track has been described as the turning point of the album, where acceptance of the circumstances begin to prevail.Coming off of a Swedish Grammy (GRAMMIS) nomination for her 2023 sophomore album ‘Be Free', live showings at North Sea Jazz Festival and London's Ronnie Scott's and an appointment as one of Yamaha's brand ambassadors, the trombonist, songwriter and producer sought to quiet the noise around her and challenge the jazz genre's rigid rules for her next project. The end result is ‘When You Know'; a smoky and melancholic 10-track cocktail of jazz, alternative R&B, indie, Hip-Hop and ambient sonics that experiments at every turn. On hand to co-produce the record and provide the electronic elements that move ‘When You Know' away from the jazz world and into more avant-garde territory, Ebba collaborated with Berlin-based producer Lucy Liebe. Packing a potent emotional punch into a running time of just 31 minutes, the 10 tracks are a reflection of Ebba herself: direct, driven, precise. Retreating to a cabin outside of her small hometown of Hammarö, 200 miles west of Stockholm, she recorded the album in the dead of winter. With the temperatures outside nearing minus-thirty degrees, Åsman logged off for a month – disconnecting from TV, social media and emails. Embracing with vigour both the deep sense of calm and the challenges that come with the cold but also the stillness and solitude that is yielded being in the wilderness.Though this is Åsman's third studio album, it will be the first time she's singing on record. An important statement and moment of transition for Ebba. Elaborating on this further she said: “If you're singing, you are the closest you can be to your own expression but I wanted to first be respected as an instrumentalist. If you're a woman and you tell people you're a musician, everyone assumes and says “Oh – so you're a singer?”. ‘When You Know' will mark the moment on which Ebba Åsman's exceptional gifts are finally crystallised. At age 7, she began learning trombone and by 15, she won a place to study the instrument at the Södra Latin School in Stockholm. The renowned hot-house for Swedish talent whose alumni include Lykke Li, Yung Lean and the prolific hit songwriter Max Martin. But when she moved to the Netherlands to study at the Rotterdam Conservatory of Music, she began to push against the constraints of formal learning.  Self-identifying as a “jazz rebel”, rather than being preoccupied with the theoretical and mechanical aspects of jazz, Ebba operates from a mode of pure intuition and feeling. At just 26, ‘When You Know' finds Åsman continuing to push the boundaries of jazz through the two distinct sides of her musical self: the notes she conjures from the trombone and now, her voice.Support the show

กร-AUTTA ไปเจอเนื้อหาน่าสนใจ ที่วิเคราะห์การทำเพลงของโปรดิวเซอร์มือฉมังชาวสวีเดนอย่าง Max Martin ซึ่งหลายคนอาจไม่เคยได้ยินชื่อเขา แต่ต้องเคยได้ยินเพลงที่เขาทำแน่นอน ทั้ง I Want It That Way ของ Backstreet Boys, It's Gonna Be Me ของ NSYNC, …Baby One More Time ของ Britney Spears, หรือหลายเพลงของ Taylor Swift ทั้ง Shake It Off, Blank Space, เพลงของ The Weeknd, Maroon 5, Usher, Katy Perry ฯลฯ โอ๊ย เยอะมาก จากอีพีก่อนๆ ที่เคยบอกว่าสูตรสำเร็จการทำเพลงมันไม่มีหรอก แต่การลองแกะ structure การทำงานเพลงตาม Max Martin ก็อาจทำให้เราเห็นความคิดของโปรดิวเซอร์ที่ทำเพลงฮิตเข้าชาร์ต Billboard 100 จนเหมือนกิจวัตรประจำวันอย่างเขาก็เป็นได้ https://linktr.ee/AUXAUTTA #SalmonPodcast #AUTTA #AUTTAแลกเปลี่ยน —-- ติดต่อโฆษณาได้ที่ podcast.salmon@gmail.com Follow AUTTA แลกเปลี่ยน on Instagram Salmon Podcast https://www.instagram.com/salmon_podcast AUTTA https://www.instagram.com/auttakornnn กาย ปฏิกาล https://www.instagram.com/patikal Learn more about your ad choices. Visit megaphone.fm/adchoices

Le vieux chum Max Martin passe 45 min avec moi à piger des cartons du public et racôté quelques unes de ses vieilles histoires gênantes. DATES SPECTABLES + Roman https://benlefebvre.com/ DATES SPECTACLES Maxim Martin https://maximmartin.com/

Oliver Edward is starring as Francois Du Bois in the German premiere of And Juliet (aka & Julia).The production recently premiered at Operettenhaus in Hamburg, marking the first time Max Martin and David West Read's show has been translated. Oliver trained at ArtsEd and went on to perform in the UK revival of South Pacific at Chichester Festival Theatre. He originated the roles of John Laurens and Philip Hamilton in the German production of Hamilton, whilst also understudying the title role. Oliver can be heard as John and Philip on the musical's German cast recording.In this episode Oliver discusses his And Juliet audition story, reflects on his journey with Hamilton and discusses his path into theatre... plus lots more along the way. Follow Oliver on Instagram @oliver_edward_This podcast is hosted by Andrew Tomlins  @AndrewTomlins32  Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.  

In this new podcast, Paul chats with performers Corey Mach (who plays William Shakespeare) and Michael Canu (“Romeo”) about the incredibly high energy and fun jukebox musical “& Juliet” here for a short run. Utilizing the music of Max Martin with songs you will know very well (‘Since You Been Gone' ‘Baby One More Time”, […]

The North American tour of & Juliet is coming soon to a city near you! Featuring the songs of Max Martin, & Juliet gives Shakespeare a pop-music rewrite. On this episode of the pod, get to know some of the people who made this musical spectacular. First up, Paul Wontorek talks to Schitt's Creek Executive Producer/Writer, David West Read, who penned the book of & Juliet. And a little later, Beth Stevens chats with the musical's Tony Award-winning costume designer, Paloma Young.

Michael Cragg returns to Pop Pantheon for the second installment in our two-part series on the grande dame of contemporary pop, Adele. Michael and Louie discuss Adele's sabbatical following her breakout blockbuster success with 21, during which she crafted her comeback album, 2015's 25. They dissect the album, from the booming piano ballad “Hello” to Adele's collaboration with big pop producers like Max Martin, and her continued mega success. Finally, they tackle her most recent album, 30, her most experimental yet, and her forthcoming hiatus before ranking Adele in the Official Pop Pantheon. Buy tickets to Pop Pantheon: Best Pop Of 2024 LIVE IN NYC on Dec. 2 AND Dec. 3Come to Gorgeous Gorgeous Presents: Y2GAY! The New Year's Eve Party in BrooklynCome to Gorgeous Gorgeous LA on Dec. 7 at Los GlobosCheck out Pop Pantheon's Adele Essentials Playlist on SpotifyJoin Pop Pantheon: All Access, Our Patreon Channel, for Exclusive Content and MoreShop Merch in Pop Pantheon's StoreFollow DJ Louie XIV on InstagramFollow DJ Louie XIV on TwitterFollow Pop Pantheon on Instagram

This week, your hosts are having a Ted Talk of their own, you know, with that BTB twist to it. Kelli and Troy have mentioned Max Martin throughout the three years of this podcast, and it's time to shine a spotlight on him. Max is known for his incredible songwriting, producing, and kindness in the studio. Are you ready to take a break from the rot in the music industry? So are we. Enjoy and tell us your favorite Max Martin song! Tickets to our NYC live show - https://thebellhouseny.com/event/a-holiday-party-with-beyond-the-blinds-and-everyone-s-business-but-mine More content on our Patreon! - patreon.com/Beyondtheblinds Now time for our sponsors! Get results you can run your fingers through! For a limited time, Nutrafol is offering our listeners ten dollars off your first month's subscription and free shipping when you go to Nutrafol.com and enter the promo code BLINDS. You no longer have to wear a hazmat suit while you're cleaning up. For a limited time only, head to BranchBasics.com/BLINDS and use Code BLINDS for 15% off your entire order. Stop putting off those doctor appointments and go to Zocdoc.com/BLINDS to find and instantly book a top-rated doctor today. Learn more about your ad choices. Visit megaphone.fm/adchoices

We had the pleasure of interviewing Maisy Kay over Zoom video!Maisy Kay is a rising star in the music industry with a bold and fascinating new fresh voice in pop music. This singer-songwriter is transforming pop music into her own sub-genre of pop. Moving from a small countryside in England to the heart of Los Angeles, Maisy Kay is a one-of-a-kind musician blending nostalgic dance and pop music magnified through her lyrics and overall inspiration behind every track. As a huge feat, her 2020 smash single “The Storm” with gaming music creator, TheFatRat, hit over 20 million streams on Spotify. She has collaborated with A List musicians including Timbaland, Tiësto, Rodney “Darkchild” Jenkins, Max Martin protégé Lukas “LULOU” Loules, & more! Maisy Kay has incorporated her love for fantasy and alternate worlds with her original single “The Beast Within” inspired by the fictional Na'vi language from “Avatar.” She has made waves with her hit singles, “Karma is a Bitch Like You (Tiesto Remix),” “Scared Together,” which received a remix from producer DJ R3HAB, and got her first big break contributing Japanese lyrics and vocals to pop artist Andy's #1 Spotify viral hit, “Distance.” Maisy Kay is proud and exciting to continue to share her gift of music with the world!  Maisy resides in Los Angeles and on her free time she enjoys playing video games, drawing/painting, reading, writing, aerial silk, archery, and working out at the gym. Maisy is also a huge animal lover! She has quite the menagerie of pets (a bearded dragon, frogs, cat) and also raises butterflies. We want to hear from you! Please email Hello@BringinitBackwards.comwww.BringinitBackwards.com#podcast #interview #bringinbackpod #MaisyKay #NewMusic #ZoomListen & Subscribe to BiBhttps://www.bringinitbackwards.com/followFollow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpodBecome a supporter of this podcast: https://www.spreaker.com/podcast/bringin-it-backwards--4972373/support.

Taylor Swifts Album "1989" ist ein absoluter Wendepunkt in ihrer Karriere – mit der Veröffentlichung im Oktober 2014 verabschiedet sie sich von ihren Country-Wurzeln und präsentiert sich als Pop-Ikone einer neuen Generation. "1989" ist benannt nach Taylor Swifts Geburtsjahr und signalisiert nicht nur einen persönlichen, sondern auch einen musikalischen Neuanfang. Nachdem Swift im Jahr 2013 für ihr viertes Album "Red" keinen Grammy gewonnen hatte, beschloss sie, sich musikalisch neu auszurichten. Weg von dem Mix aus Pop und Country, hin zu 80s-Synth-Pop, ohne auf ein Plattenlabel hören zu müssen. Sie wollte nur noch mit den Besten der Branche zusammenarbeiten, allen voran den Produzenten, die bei den Hits "We Are Never Ever Getting Back Together und "I Know You Were Trouble" von ihrer Platte "Red" mitgeschrieben hatten: Max Martin und Shellback. Auch persönlich steht Taylor 2013 an einem Wendepunkt: Sie zieht nach New York, schneidet sich die Haare ab und verbringt nach diversen öffentlichen Anfeindungen in der Presse über ihr Privatleben eine ganze Zeit mit ihren Freundinnen. ""1989" "ist eine Trotzreaktion, kann man sagen. Eine "Jetzt-erst-recht-Platte"." (SWR1 Musikredakteurin Nina Waßmundt über "1989") Taylor Swift selbt bezeichnet "1989" selbst als ihr erstes offizielles Pop-Album – und das hört man auch. In ihrem Super-Hit "Shake It Off" zeigt sie sich kämpferisch gegen alle negativen Nachrichten der Boulevardpresse und rechnet in "Blank Space" mit Beziehungen, Ex-Freunden und allen voran den Medien ab. Produzent Max Martin ist maßgeblich am Erfolg beteiligt, er lässt ihr den künstlerischen Freiraum, den sie braucht und begleitet sie dabei als Produzent an den entsprechenden Stellen. Martin ist unter anderem auch bekannt für seine Zusammenarbeit mit Britney Spears in den Neunzigern. Er hat nach Paul McCartney die meisten Nummer-1-Hits in den US-Charts platziert und den Song kreiert, der mit mehr als 8 Milliarden Aufrufen der meistgeklickte Song ist, der jemals auf Spotify hochgeladen wurde: "Blinding Lights" von The Weekend. "Mit dem Album wurde das Tor zur Weltkarriere aufgestoßen und es ist also deutlich poppiger und tanzbarer als das Vorgängeralbum "Red"."(Dr. Pop über den neuen Sound von "1989") __________ Über diese Songs vom Album "1989" wird im Podcast gesprochen (02:50) – "Welcome To New York" (03:28) – "Bad Blood" (15:53) – "Blank Space" (28:57) – "Style" (34:27) – "Shake It Off" (42:40) – "Wildest Dreams" (1:00:45) – "Out Of The Woods" __________ Über diese Songs wird außerdem im Podcast gesprochen (09:58) – "Look What You Made Me Do" von Taylor Swift (10:19) – "I'm Too Sexy" von Right Said Fred (25:52) – "Mean" von Taylor Swift (28:26) – "Mr. Perfectly Fine" von Taylor Swift (28:34) – "Dear John" von Taylor Swift (28:43) – "Begin Again" von Taylor Swift (31:54) – "One More Time" von Daft Punk (32:09) – "Call On Me" von Eric Prydz (41:24) – "Umbrella" von Rihanna (42:02) – "One More Night" von Maroon 5 (1:00:16) – "Out Of The Woods" von Ryan Adams __________ Alle Shownotes und weiterführenden Links zur Folge "1989" findet ihr hier: https://www.swr.de/swr1/rp/meilensteine/taylor-swift-1989-100.html __________ Ihr wollt mehr Podcasts wie diesen? Abonniert die SWR1 Meilensteine! Fragen, Kritik, Anregungen? Meldet euch gerne per WhatsApp-Sprachnachricht an die (06131) 92 93 94 95 oder schreibt uns an meilensteine@swr.de

Abba's biographer Jan Gradvall met and interviewed Abba many times and builds a fresh picture of their internal chemistry in his new book Melancholy Undercover. Highlights of this illuminating pod include … … how Sweden rejected their early hits for not being sufficiently “socialist”. …. the discomfiting early life of Anni-Frid Lyngstad. … what Max Martin and Denniz Pop thought made Abba's music so durable.  … Strindberg, Bergman, the climate, the eight months of darkness and the role of melancholia in Swedish pop culture.  … the influence of the Human League on their later catalogue. … why manager Stig Anderson “became a burden”. … “Norway has Grieg, Finland has Sibelius, Sweden has Benny …” … the first band to write about divorce. … the Abba song with 57 chords and the only two samples Abba ever approved. … Elvis Costello, Joe Strummer and Ian Dury backstage at a 1979 London show. … when Sid Vicious ran into Abba at an airport on the Pistols' 1977 Swedish tour.  … the role of the Lionesses football team, Kurt Cobain, Erasure, U2, Madonna and the Sydney gay community in the Abba revival.  … why the Abbatars are better than Abba.  … the myth of Agnetha as “the Greta Garbo of Pop”.  … and why The Day Before You Came is more than the Abba swansong. Order Melancholy Undercover here:https://www.amazon.co.uk/Book-ABBA-Melancholy-Undercover/dp/0571390986Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Abba's biographer Jan Gradvall met and interviewed Abba many times and builds a fresh picture of their internal chemistry in his new book Melancholy Undercover. Highlights of this illuminating pod include … … how Sweden rejected their early hits for not being sufficiently “socialist”. …. the discomfiting early life of Anni-Frid Lyngstad. … what Max Martin and Denniz Pop thought made Abba's music so durable.  … Strindberg, Bergman, the climate, the eight months of darkness and the role of melancholia in Swedish pop culture.  … the influence of the Human League on their later catalogue. … why manager Stig Anderson “became a burden”. … “Norway has Grieg, Finland has Sibelius, Sweden has Benny …” … the first band to write about divorce. … the Abba song with 57 chords and the only two samples Abba ever approved. … Elvis Costello, Joe Strummer and Ian Dury backstage at a 1979 London show. … when Sid Vicious ran into Abba at an airport on the Pistols' 1977 Swedish tour.  … the role of the Lionesses football team, Kurt Cobain, Erasure, U2, Madonna and the Sydney gay community in the Abba revival.  … why the Abbatars are better than Abba.  … the myth of Agnetha as “the Greta Garbo of Pop”.  … and why The Day Before You Came is more than the Abba swansong. Order Melancholy Undercover here:https://www.amazon.co.uk/Book-ABBA-Melancholy-Undercover/dp/0571390986Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Abba's biographer Jan Gradvall met and interviewed Abba many times and builds a fresh picture of their internal chemistry in his new book Melancholy Undercover. Highlights of this illuminating pod include … … how Sweden rejected their early hits for not being sufficiently “socialist”. …. the discomfiting early life of Anni-Frid Lyngstad. … what Max Martin and Denniz Pop thought made Abba's music so durable.  … Strindberg, Bergman, the climate, the eight months of darkness and the role of melancholia in Swedish pop culture.  … the influence of the Human League on their later catalogue. … why manager Stig Anderson “became a burden”. … “Norway has Grieg, Finland has Sibelius, Sweden has Benny …” … the first band to write about divorce. … the Abba song with 57 chords and the only two samples Abba ever approved. … Elvis Costello, Joe Strummer and Ian Dury backstage at a 1979 London show. … when Sid Vicious ran into Abba at an airport on the Pistols' 1977 Swedish tour.  … the role of the Lionesses football team, Kurt Cobain, Erasure, U2, Madonna and the Sydney gay community in the Abba revival.  … why the Abbatars are better than Abba.  … the myth of Agnetha as “the Greta Garbo of Pop”.  … and why The Day Before You Came is more than the Abba swansong. Order Melancholy Undercover here:https://www.amazon.co.uk/Book-ABBA-Melancholy-Undercover/dp/0571390986Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

  Maisy Kay is a rising star in the music industry with a bold and fascinating new fresh voice in pop music. This singer-songwriter is transforming pop music into her own sub-genre of pop. Her single “In Your Car” premiered April 5, 2024 and is written and performed by her. She creatively designs all of her EP covers and even has her own Webstore with a line personally created blending in with her aesthetic! Maisy released her hit single “Sunlight” on February 14, 2024 in honor of her boyfriend's birthday. The single followed an ethereal music video and within a week of being uploaded, the video garnered 36K+ views on YouTube.   Moving from a small countryside in England to the heart of Los Angeles, Maisy Kay is a one-of-a-kind musician blending nostalgic dance and pop music magnified through her lyrics and overall inspiration behind every track. Her 2020 smash single “The Storm” with gaming music creator, TheFatRat, hit over 20 million streams on Spotify. She has collaborated with A List musicians including Timbaland, Tiësto, Rodney “Darkchild” Jenkins, Max Martin protégé Lukas “LULOU” Loules, & more!   Maisy Kay has incorporated her love for fantasy and alternate worlds with her original single “The Beast Within” inspired by the fictional Na'vi language from “Avatar.” She has made waves with her hit singles, “Karma is a Bitch Like You (Tiesto Remix),” “Scared Together,” which received a remix from producer DJ R3HAB, and got her first big break contributing Japanese lyrics and vocals to pop artist Andy's #1 Spotify viral hit, “Distance.” Maisy Kay is excited to continue to share her gift of music with the world!    She also has her own Webstore at Shop Maisy Kay in which she designs all the products!   Want to watch: YouTube Meisterkhan Pod (Please Subscribe)  

The 2024 MTV VMA was another example of a powerful religious-cult operating through entertainment to influence society. Taylor Swift was awarded Video of the Year, Sabrina Carpenter won Song of the Year, Katy Perry won the Vanguard Award and performed a gravity defying song, and Megan Thee Stallion performed Mamushi with Yuki Chiba. Swift has stayed in the news for her endorsement of Kamala Harris, and when winning her aware she thanked her boyfriend Travis Kelce who may also now be encouraged to endorse Harris - recall other were involved with ERAS-ERIS, the goddess of discord. But Taylor Swift isn't as powerful as she may seem, certainly not to make her own decisions. Not only has she called out the Soros family for stripping her of music rights but most of her music itself is written by someone else. Jack Antonoff was behind ‘Look What You Made Me Do', and countless other songs not to mention his work with Lana Del Rey, Aaron Dessner was behind Willow, and countless other songs, and both Max Martin and his protege Shellback contribute heavily to her discography. People like Martin have been operating in the music industry for decades, writing dozens of hits - 26 Number One hits - for everyone from the Backstreet Boys and Brittany Spears (Hit Me Baby One More Time), to Ariana Grande and Taylor Swift. Further, he obtains the lyrics and beats through a sort of channeling. Even Elton John does this through mixing word cutouts to write songs. In the world of comics we find an equivalent character in Alan Moore, a magician behind iconic works like V For Vendetta and Watchmen. Moore is also open about his worship of a Greco-Roman snake god named Glycon, a deity of oracle and moneymaking. The difference between obtaining influence from the MUSES or power from unconscious DEMONS is what the byproduct of the contract is: beauty or ugliness. The song Mamushi features the profaning of and degrading not of America but of Japan, as Thee Stallion encourages Japanese girls to be promiscuous and lure men to their death. In the song, Megan literally is naked on a rock like a Siren, in a sacred Onsen, where she then pollutes the purifying water and transforms into a Mamushi snake to kill a man. A 2023 song by Sabrina Carpenter was filmed in a church and her video was so perverse and disgusting the priests had to re-bless the altar when she left. These images are far different than the music, sculptures, and paintings of artists throughout history. Perry's VMA performance featured the arch of hysteria from witchcraft, a portal, and we assume from the other side came an alien who Sabrina Carpenter kissed on television. -FREE ARCHIVE & RSS: https://www.spreaker.com/show/the-secret-teachings Twitter: https://twitter.com/TST___Radio Facebook: https://www.facebook.com/thesecretteachings WEBSITE (BOOKS, RESUBSCRIBE for early show access): http://thesecretteachings.info Paypal: rdgable@yahoo.com CashApp: $rdgable EMAIL: rdgable@yahoo.com / TSTRadio@protonmail.com

In this episode of Cloudlandia, Our stories highlighted agricultural aspects of central Florida and comparisons of population densities in the U.S. and Canada. We also reminisced on television's evolution from shows like Romper Room to the first color programs. We reflected on limited past options versus today's unlimited streaming and the importance of managing screen time given continual new choices. Additionally, the discussion explored social dynamics considering Dunbar's number theory contrasted against digital reach on platforms. SHOW HIGHLIGHTS Dean discusses the strategic advantages of living in Central Florida, particularly in Winter Haven, which is centrally located and offers easy access to both coasts. We delve into Winter Haven's rich agricultural heritage, highlighting cattle ranches, orange groves, and other rural aspects of Central Florida. There's an interesting comparison between the population densities in the U.S. and Canada, including reflections on Ontario's geographic size and its southern location relative to many U.S. cities. We take a nostalgic look at the evolution of television, from classic shows like "Romper Room" to the advent of color TV with hits like "The Price is Right," and how this contrasts with today's streaming culture. The episode includes reflections on how past limited screen choices have evolved into today's endless streaming possibilities, and the impact of this shift on modern screen time habits. We explore the concept of social reach and relationships in the digital age, discussing the Dunbar number and how platforms like TikTok and Instagram have changed the dynamics of personal connections. Insights are shared from the new book "Casting, Not Hiring," which introduces the VCR formula—Vision, Capability, and Reach—as a framework for modern success. Through real-life examples and personal stories, we emphasize the importance of aligning vision, capability, and reach to achieve significant accomplishments, using figures like Safali Shabari and Max Martin as case studies. The episode also discusses the importance of choosing the right tools and staying committed to ongoing exploration and self-improvement. Finally, the conversation underscores the necessity of conceptual ability to see how one can be useful to others and leverage their capabilities, vision, and reach for collaborative success. Links: WelcomeToCloudlandia.com StrategicCoach.com DeanJackson.com ListingAgentLifestyle.com TRANSCRIPT (AI transcript provided as supporting material and may contain errors) Dean: Mr Sullivan, mr Jackson, you got through Hurricane Week. Dan: Not quite Hurricane Week, Tropical Storm Week, but we did oh. Dean: Tropical Storm A notch down in the hierarchy. Dan: That's one of the good things about living in Winter Haven. It is actually a haven from winter. We are in the center. We are perched on high dry, sandy land, so there's no storm surges, nothing like that yeah, so you're a long way from the coast, aren't you? Well, I'm actually an hour and 15 minutes from either coast. We can get to either side and we can get to virtually almost every beach in two hours. Like it's such a centrally located, we're almost in the exact geographic center of peninsular Florida, so I can get to Jacksonville in three hours and Miami in three hours and pretty much everywhere you want to be within an hour. So it's good. Dean: So I have a question because I've been there. Where is the big cattle ranching country? Is that south of you or north? Dan: It's surrounding us, but sort of north and south in the central. If you think about the middle of Florida, basically aside from the Orlando-Tampa corridor which is like this swath that goes all the way across the state from Tampa to Cocoa Beach, that area is very developed but above and below that the center is much like the Australian outback in terms of the density of population. And north of I-4. In that area there is equestrian and rolling hills and there's a lot of equestrian properties there and ranches. South of that is where you'd find a lot of the cattle ranches, sod ranches, orange groves. All of that is in the center and then you get all the way down to the Everglades and then the Everglades is one of the big national parks, it's the Everglades. Dean: Yeah, alligators I was actually on something that was described as the biggest cattle ranch, not only in Florida, but one of the bigger ones in the United States. Yes, and we drove at least 20 miles on the ranch before we got to buildings. Dan: And it was interesting. Dean: It was interesting. They had a lot of pigs wandering around and I asked them were they in the pig business? And they said no. It's just that every week or so the trail hands would like something besides beef. Dan: Right, go out and wrestle them up a hog Right. Dean: Yeah, yeah, have a barbecue, have a. Dan: Yeah, well, you can actually not too far from here you can do hog hunting, where you can go and hunt hogs in the forest, yeah, all natural. Dean: It's not. So. It's not silicon valley that we're talking about here no, we're really not. Dan: We're talking about, you know, rural florida. This is why I know, yeah, you know you look at Florida and you know people talk about population density and stuff, but there's a lot of land in Florida that is undeveloped. I mean there's a whole south of I-4, there's another highway that goes all the way across the state, called Highway 60, and through Lake Wales, and it's very undeveloped. I mean there's really nothing. All the way from Tampa to Vero Beach is where it goes and it's virtually. It's the only place I've been in Florida where you can, on certain parts of it, look as far as you can see in any direction and see nothing. I mean it's that. And somebody has bought up like 80,000 acres around what's called Yeehaw Junction, which is where the Florida Turnpike intersects with Highway 60. Where the turnpike, the Florida turnpike, intersects with Highway 60. And you could see easily that you could duplicate the entire I-4 corridor, like Tampa and Orlando, along Highway 60 with plenty of room to spare. So I'm not worried about the you know population increase in Florida. Dean: Yeah, it's really interesting. Peter Zion and one of his frequent you know he has his. You know he has videos every three days. Yeah, and you. But he was talking about all the developed countries, which would be mostly European countries, and you know Australia, new, zealand. You know he said that the US is by far the country with the least population density. I agree with that. Dan: Most any state, even Ontario you look at as densely populated as the GTA is. Once you get beyond the GTA it's pretty sparse in Ontario. Dean: Oh yeah, oh yeah I mean, yeah, there's an interesting thing. Just to give you a sense of how big Ontario is. First of all, ontario is a province in Canada, for those listening, and it's roughly about from north to south it's about 1200 miles, and from east to west it's 1400 miles. It's actually it's as big as mainland. It's almost as big as mainland Europe Isn't that amazing Without Russia when I found out. Not counting Russia. Dan: I heard when I found out you could drive north from Toronto the entire distance from Toronto to Florida and still be in Ontario. That's pretty amazing. Dean: Yeah, that gives you a context for it and most people don't realize that Toronto itself is further south than almost 20% of the United States. Dan: People don't realize that Ontario dips down no below that. Dean: No, it wouldn't be that much, but it is south of Minneapolis, south of Seattle, I think, it's south of Portland, you know, and then it's quite a bit south. I think it's south of Boston, it's south of you know everything like that. Yeah, maine all of it. It's about as south as you can get actually, yeah, but I think it's the most populated large city in the world, furthest north large city in the world oh, wow I think it's further south. I think it's further north than moscow oh, wow interesting. Yeah, yeah and yeah, and it's getting bigger, it's getting bigger. Well, there you go. Dan: Well, everyone. I'm waiting with bated breath to hear the great air fryer experiment from the Four Seasons beaches. Dean: Has your air fryer arrived. Dan: Oh, it's on the counter. Dean: Okay, it's on the counter. It's on the counter, it's been plugged in, but it hasn't been used yet. Okay, okay, we sort of inch our way into these new technologies. Dan: I got it, just unpack it and set it there for a little bit and just kind of let it live with it. Dean: Well, it's been a week now and we haven't used it. Why don't we use it? So anyway, but it is sitting on the counter. It's a ninja. Is that the kind you have? Dan: I think I have a breville is the name of uh mine. But did you get the one then? Did you get the one that steven palter posted? I have no idea. Oh okay, that's uh. Dean: So, oh yeah, that's fab you have to appreciate how little I take into this sort of thing, exactly right. Dan: I love that. Dean: There will be a who who's between me and the air. Dan: That's right? Dean: Oh, dan, that's the best Any technology in the world. I can guarantee you there will be a who between me and the technology. And I said what do you think? And I look for people who really love interacting with technology. I want that person between me and the technology and I'll ask them what's it do? What's it do? Dan: I'll tell you what I'm working on. Dean: What will it do for the thing I'm working on? Yeah, yeah, I love that and I've been pretty constant on that. I mean, you know, I was constant on this when I was six years old. I just always let some other human investigate the new technology. Dan: Yeah, and yeah. Dean: So I've lived a disconnected life when it comes to technology. What explains that? Dan: Well, I was thinking, you know about you, and I was thinking how you have the gift of being kind of brought into an era where television wasn't even a thing Like your earliest childhood was electronic free, I thought. But were you like? So you were born in 1944. And so it was six years. Probably Do you remember when you got exposed to your first television. Dean: Yeah, I think I was maybe. Yeah, I think it was around 52. I mean I had seen it, I'd been in other people's houses right they had television, but actually having our own television, I think it's maybe eight years. I was eight, so you got all the way to you. Dan: Think about this. You got all the way to eight years without being exposed to anybody else's visual bombardment of electronic propaganda or otherwise. Right, your visual input into your mind was largely formed through your own imagination. Yeah, you. You had to work, you had to create these visual pictures in your mind. Yeah, did you guys, did you? Dean: listen to radio, and I was assisted by radio. Dan: I remember radio had a big impact on me. Dean: And yeah, oh yeah, sorry, sergeant King of the Yukon. And yeah, there was Amos and Andy. We listened to Amos and Andy, andy, we listened to Edgar Bergen and Charlie McCarthy and then there was one that my siblings, my older siblings, listened to at night, which was called the dark museum, which scared the daylights out of me and the shadow. Dan: We listened to the shadow so was that the family activity no, no. Dean: Here you have to get the full impact okay, sorry sorry. Who knows what evil lurks in the hearts of men. The shadow knows. And then you had a 30 minute. 30 minute example of human evil. You know it was great but you had to do all the visuals. You know I, you were the visual director of all these radio programs. Dan: So was this? Everybody in the family gathered in the living room sitting on the couch listening to the radio like this. Is that what was going on? Dean: Yeah, there was sort of a. Yeah, there was sort of a dining room actually where you could listen. There were a number of radios. There was a radio in the kitchen, there was a radio, I think, someplace else, and it was a big house, a farmhouse, yeah, and I remember listening, imagining, you know, imagining. There was another series called Sky King, sky King, which became a TV station you know, and the Lone Ranger. We had the Lone Ranger. Dan: So there was a lot of variety, uh-huh and so, and then, in 1952, eight years old, you get your first television set. Dean: I think, so I think that would have been about then, yeah. Yeah, because I remember the first presidential election was 52. And I can remember that being on television. Who was the? Dan: president, was that Ike Eisenhower? Dean: Yeah, I like Ike, that was Eisenhower's first term. I like Ike. Dan: Now you know that's a really interesting thing. Do you remember, like your new routine when the television came? Were you watching TV every day from that period on? Or were your parents limiting the TV, or was everybody gathered around and limiting the TV, or was everybody around? Dean: and watch the TV. Yeah, I mean it was a frequent. It was a frequent activity once came in, that's all I can say I don't know, I don't know if I watched every day, but there you know, there were favorite shows. I think Arthur Godfrey was one of the early shows, the variety hour, and yeah, no, children's. I think there wasfrey was one of the early shows, the Variety Hour, and yeah, no, so Children's. I think there was Howdy Doody. Howdy Doody was. Dan: I think one of them Doody time. Dean: Yeah, and I think Soupy Sales was on and yeah. Dan: Yeah, I'm just thinking how. Yeah, I remember Romper Room. I just saw a video of Joe and I at the I Love Marketing event and I was saying we had all the people streaming from all over the world and I was doing a little Romper Room and about half the people in the audience knew about Romper Room and half didn't. Dean: That was kind of interesting. Dan: I remember I see Bobby and Johnny in their magic mirror. I used to hide behind the sofa so she wouldn't see me miss joan miss joan, miss joan. Yeah, so I was thinking about it was good, I mean I mean it was good, but it wasn't. Dean: It wasn't the major part, you know, of your you know it was only during weekdays, it was only at night and uh yeah, and on weekends I don't really there was. I don't know what the years were, but you know you got. You know, somewhere along the line you had jackie gleason and you had ed sullivan and you had other things like that, you know. But I wasn't. I can't say I was captivated because I was usually out. You know, I was outside, we lived in the country and I was out and I had really gotten hooked on reading. So I was doing a lot of reading back then. Yeah, interesting, but it is kind of what about yourself? Dan: I mean, you were born in the television age. I was born in the television age, you're right. And so every day, you know, I mean, yeah, tv was part of every day. And I was just the reason. The context for me thinking about this was thinking about how recent, you know, as each layering availability of content became unlocked kind of thing, our, you know, screen time has dramatically increased. And I was thinking all the way back to you. That's why I was thinking about you is, you know, literally your first six or eight years there were no screens, there were the only, you know, the cinema of the mind. That was your, that was your entertainment, your imagination. But I remember, so when I remember when we got our first color television right Around 19 or some early like that, and I remember the first show that I saw in color was the Price is Right with Bob Barker, and then All in the Family with Archie Bunker. That was, so you know, in the 70s. It was the Jefferson and Sanford and Sand and then all these. You know, the 70s, I think, was the golden era of television, you know, with all these shows becoming. You know, I remember Star Trek and you know all these, the Rockford Files and Starsky and Hutch, all the Love Boat, all these shows, these iconic shows in the seventies. But you only had, you know, basically the three networks was Canada, we had the CBC and TV Ontario. So those were the things and I remember as a kid, when the TV guide would arrive, we subscribed to the Saturday Star, the Toronto Star, that would arrive on Saturdays and that would have the TV guide in there, and I remember they would have it laid out like a you know a. Gantt chart, or whatever the time, the grid of times, to show you what was on. Dean: It was like a matrix. Dan: It was like a matrix you could see yeah, so it would list there were, you know. Dean: Every day had a matrix from yes till night 13 but you only had the three. You only had the three. Dan: There were 13 13 channels, yeah, to choose from three networks. And I remember the you know organizing my saturdays in the winter around the cartoons. You know like okay, so I would have a highlighter which was recently invented in that winter around the cartoons. You know like okay, so I would have a highlighter which was recently invented in that or newly introduced or whatever to our household, but I would have the highlighter and I would like highlight my. I would do my programming. You know I'm going to watch. I'm going to watch the Justice League at you know eight o'clock and then I'm going to watch the Justice League at you know eight o'clock, and then I'm going to watch Batman at nine, and then I'm going to watch Shazam and then Scooby-Doo, and then it was the we're all about why CBS or ABC's wide world of sports. That was like a big thing. And I remember now how much of my childhood was around synchronous and scheduled programming Because there was no other option. If you wanted to see that show, if you wanted to watch the Waltons that was on my mom's favorite show you had to watch that on Thursday nights or whenever the Waltons were on, you know, and Little House on the Prairie, and it was like your selection, your decisions were made. It wasn't like what should we watch tonight? Of the like now, infinite choices available to us, but we actually spend probably more as a percentage of our time not you, but collectively watching, consuming screen content. It's just been an observation. I've had some of these conversations. I'm getting really conscious of really being aware of my screen time and trying to be more discerning. Dean: I was just thinking now that you've got me thinking about it. I left home in 62 when I was 18. And I can't remember until I was 40 actually having a television during that 20 years or 22 years. I went 22 years and you know I don't remember. I remember people having televisions that I would go and watch things, sports things like that but, I went 22 years so, and then, of course, I haven't watched it in the last six years, so I've got pretty close to 40 years of my life when I didn't watch television Half, almost half my life. So I think it's never been a big deal for me. Dan: Right, think now like I look at kids now, like you think about the technological sophistication and facile nature of technology to eight-year-olds today, compared to Dan Sullivan at eight, you know is pretty amazing. But your experience in the outdoors to the average eight-year-old you know? Dean: it's so funny. I never see very rare. Dan: It's very rare, even in the 70s. Like growing up, you know the whole period of my childhood like from you know, six to 12. Six to 12. You don't see the same sort of pack of kids roaming around on the street that we saw when we were, when I was growing up anyway. I mean, you know, I grew up in the suburbs so we had like a very active, you know social ecosystem. We were outside all day, every day. You know social ecosystem. We were outside all day, every day you know, playing and making things up and riding our bikes and exploring the ravines and the sewers, and our parents never really knew where we were either. I mean we were. The idea was you got up and you had breakfast and you got out and you came home when you got hungry or when the streetlights came on at night. That's the deadline, you know I heard a comedian talking about that that it was so laissez-faire when we were growing up that they had to run ads on TV at night that said it's 1030. Do you know where your children are? Had to remind our parents that they had kids. Oh, so funny and true, you know. Dean: Yeah, it was really interesting, Really interesting. We in London we have our favorite hotel where we stay in London. Dan: And across. Dean: They've taken a whole old industrial area and they've completely transformed it. So they have a hotel and then they have condos and then they have shops and there's a courtyard in the middle and you cross one of the courtyards and there's a Japanese restaurant there. I remember being in there one night and there were six teenage girls, Japanese girls 16, 16, 17. And there were six of them at the table and each of them was on their phone during the entire meal. Dan: Yeah they're all talking in direct with other people. Yeah, so funny, right? Dean: They're not even there even when they're in the presence. It struck me that their world is actually inside the phone. Well, that's my point. Dan: That's the whole point of Cloudlandia. Cloudlandia is the real world. That's where we all live in. Cloudlandia. Dean: Not me. Dan: No, when I say we all, I mean society, everything. I have to have a permanent disclaimer. Dean: You're saying a large number, a large percentage, a large percentage, a large percentage, and Sullivan excluded A large percentage of people. Yeah, yeah. And it's honestly a different world. I mean, yeah, I can't make too many comments on it because I've never really experienced that you know. Dan: So we've got a young guy in our, in our go-go agent platform. He's a young realtor in Guelph, ontario. He's in his mid twenties, just getting started on his career and stuff. He's lived in Guelph his whole life and one of the strategies that we teach people. Dean: Nice city. Dan: Yeah, guelph is a is beautiful, yeah, so he's grown up there. You know, really, you know good looking young guy, very personable. I think he's got a big future. But one of the strategies that we encourage people is to gather their top 150 relationships, the people that if they saw them at the grocery store they'd recognize them by name and stop and have a conversation with them. Right, and the hardest thing, the funniest thing is he, after racking his brain, could only come up with 88 people on his list of 150 people. And I thought to myself like the population of Guelph must be 150,000 people right In the Guelph area I mean, it's pretty good size city. I thought you know you look at this right that there's a kid who has grown up largely in the internet world, right, like largely on in Cloudlandia, and that's the real thing. The reality is that if you go outside of his bedroom and walk around on the street, he only knows 88 mainland people and he's surrounded. I was teasing him that I said are you telling me that you've lived your entire 26 years in Guelph and all you know is 88 people and you're walking around surrounded by 149,920? Npc is a gaming term, dan for non-playing characters, because all of these online video games GTA or Grand Theft Auto and all these things that are kind of photorealistic things. All the people that walk around in the background are called non-playing characters or NPCs. Ground are called non-playing characters or NPCs. And I said that's really what you're telling me is, you've spent your whole life in Guelph and you only when you step outside your bedroom, know 88 people. That's a problem If you're in a business that is a mainland business. Mainland business right. Dean: All houses are 100% firmly planted on the mainland, as are the people that inhabit those homes. Dan: So it only makes sense that you need to get an outpost on the mainland, not in Cloudlandia, you know. Dean: Yeah, I was just thinking, I was just caring of my company company, my team members. There may be some new ones that I don't know, but I certainly know 100. And then my free zone program. I've got 105 in there and you know, some of them. I have to check the list to get their name, but you know I'd be over. I'd be over 150 with those two groups. Dan: Yeah, but there's. Dean: And then there'd easily be another 100 with the 10 times group, and then there would be 20 with Genius Network. Yeah, I'd probably be 300 or 400 anyway. Dan: And it's a really interesting thing. There's a lot of thing around that. Like Robin Dunbar, the evolutionary psychology anthropologist from Oxford, he is the one that coined that or discovered that information that the 150 is the magic number. You know, that's the number of relationships that we can manage where we recognize people and have, you know, a current status in their life kind of thing, in their life kind of thing. And that goes back to our first kind of days of playing the cooperation game where we would be tribal and have 150 people and that was a security thing. If you didn't know the people around you, that was a threat. Right, you had to know everybody. So, that's part of it. If it got to 150 150 what would happen is they would split up and go off and, you know, form other tribes. But that was. There's so many naturally occurring ways that that happens, but I just noticed you know how so much of it is for me personally. Like my Cloudlandia reach is a hundred times or more my mainland reach. Like if you just think about the number of people that I know or know me from in Cloudlandia it's way bigger than the number of people that know me in Winter Haven, florida, in my own backyard, you know. Dean: Yeah, well, it's very interesting. You know good FreeZone partner Peter or Stephen Poulter. You know, with TikTok he's got he's probably got 100,000 people who believe that he's their friend, he's their guide, he's their friend, yeah, yeah, but he wouldn't know any of them. Dan: Right, that's exactly right. Dean: So it's very. Taylor Swift probably has 100 million easy, probably more who know her? Dan: Mr Beast has 350 subscribers. You think about that. That's a measurable percentage of every person on the planet. When you think about that, almost that's, yeah, more than. Dean: It'll be interesting to see what he's like at 40. I wonder he's pushing 30. He's pushing 30, now right. Dan: Yeah, I think 26 or 7. Dean: Yeah, yeah, it'd be interesting to see what that does, because we only have really interactive relationships with a very small. I mean you talk about Dunbar's 150, but actually if you see who it is you hang out with, you know in the course of a year. I bet it's less than 15. Yeah, that's less, yeah, but yeah, yeah that's less, yeah, but yeah, I think, these numbers, you know, these huge numbers that come with quadlandia, do they mean anything? Do they actually mean anything, though, you know? Dan: um, well, I think that what I mean to that? Dean: do they have any? If you have that large of a reach, does it actually mean anything to you? Dan: It certainly from a monetary standpoint it does. From a relationship standpoint it's sort of a one-way thing, yeah, I was talking to one of our social media. Dean: We have a social media team here and I said can you bring me up to date? We have a social media team here and I says can you bring me up to date? I'm out there a lot every day, aren't I On Facebook and TikTok and Instagram and everything I said? I'm out there. And LinkedIn I'm out there a lot. And she says oh, yeah, every day there's probably about you know, five to ten new messages are going out from you and I said, that's interesting Because every once in a while I run into someone and someone says boy, I really liked your Instagram the other day and I said yeah, well, I aim to please. That's your whole thing, yeah, but I have no idea what's going out. Dan: And that's, you know, that's only going to be amplified when you take, when AI starts creating or, you know, repackaging a lot of the let's face it, you've got a lot of content out there. You've spoken a lot of words, You've been, you know, if we capture, everything you say basically is captured digitally right. Dean: Yep, Danny's got a lot to say. You do. Yeah that's right and you've got your. Dan: You've got the whole organization. You're the happiest. He's very expressive. Dean: Yeah, he's very expressive. You got a lot of milk, yeah, yeah. Well, anyway we're. I think we're going to start our next big book. We did the three with Ben Hardy, which have been a huge success. And I sent Ben a note. I said it was your idea to do these things, so without your initiative none of this would have happened. And of course you wrote the three books, so without your writing none of this would have happened and we've had really good results from hot leads coming in to coach from the books. It wouldn't have happened if you hadn't done that. But you know the publisher is giving us a call every month Say do you have a new book, do you need a new writer and everything. But we're ready to go. Dan: We're ready. Dean: And I think so it's going to be. I think it's going to be the one that we're doing with Jeff Madoff casting, not hiring. Yeah, it's a nice punchy, you know, it's another one of the punchy titles and so that will come out in coach form in the first week of September. Dan: So that'll be all printed. Dean: I think it went. I think it goes tomorrow to the printer and it'll be printed up. And you know, I don't know what it is, but I think a lot of people are fooling themselves about reach because they're lacking vision and capability. They think if you have reach, you've got something. But I think, if you don't have all three, you don't have. If you don't have all three, you don't have anything. Dan: Well, I think it's, if you have capability if you have capability. Dean: If you have capability but no vision, no reach, you have nothing. If you have vision but you have no capability and reach, you have nothing. You got to have all three. Dan: Yeah, you know it's very interesting. Chad Jenkins and I were talking, you know he's one of the bigger advocates for the VCR formula vision, capability, reach, about the you know the secret of that for people that you know whether we were to express them in capital V or lowercase v and capital C, lowercase c, capital R, lowercase r to see that where somebody self I see a lot of situations where people have a capital C capability that gets discovered and all of a sudden they're thrust into reach that they have no idea, no vision of what to do with. And it's very interesting. So someone that comes to mind. There's a woman, safali Shabari, who I met in Toronto through Giovanni. She was a guest or speaker at one of his Archangel events capital C capability for parenting and that kind of advice and she got discovered by, you know, Oprah and all the mainstream. So she was kind of thrust into the spotlight that was now shining a light on her capability, which brought her tremendous, acute onset reach that she really doesn't have, in my observation, a vision for how to navigate, you know, or what to do with that. They're an abundant reach asset with no vision. You know, to connect the two and I think that happens a lot. I think that happens a lot, that people get thrust into a spotlight and they, you know, have. And often you can have reach without capability too, and that's a problem too, and that's a problem. But if your reach is a result of somebody discovering your capability, that is a big. That's the formula I was. you know I've often talked about Max Martin as a role model you know the guy who's written all the number one songs on the radio that when I really started looking a little bit deeper into it, what I found out was that it was really through the reach of of Clive Davis that Max Martin's capability became. You know that he became Max Martin capability became. You know that he became Max Martin and because he was just a guy in Sweden producing great music, with a capital C capability of making pop songs, you know, and Clive Davis, when he discovered that he, as the president of Columbia Records and the founder of Arista and Jive Records, all of these subsidiaries, he had tremendous reach to both artists and their audiences. Visionary, to pair his artists with this Max Martin capability to create this capital VCR outcome of you know, all the success that Max Martin has had. And it was only through that pairing of a capital C capability with a capital R reach and a capital V vision then it all really became a big thing. Dean: This is my observation. Dan: This is all like live, you know developing, you know thoughts here around it, because I constantly. I run that filter constantly in background, filter constantly in background. But that VCR formula is, I think, a very relevant collaboration tool, that if people were really aware of their capabilities and had transparency to other people's vision, capabilities and reach, that's where the big connections happen, you know. Dean: Yeah, I think it requires a fair amount of conceptual capability that you can. You can sort of depersonalize your situation enough to understand what your capability would mean to somebody else. And you have to have a conceptual ability to see what reach would mean. For example, I was on a podcast on Friday. I was a guest of someone who is a key player in the land development industry across the United States and he's in COACH. So he asked me a lot of questions about coach and I went through and I explained. He's got 10 years in coach and he talked about what each of those concepts meant to him and everything else. And then his podcast is going to go out to 5,000 key players in the land development land development business in you know probably 25 or 30 states and everything else. And so at the end he says you know, I'm going to send this out and I'll send all the coach information, everything else. And I got off the call and I said that was easy. Dan: That was easy. Yes, that all you had to do was stay in your C lane of your capability. Dean: I just stayed in my lane and said what we had done. And then I talked about where I thought we would be with Coach when I was 100. I'm 80 and Coach was 100. And that's kind of a significant statement. It's not the sort of thing you would hear every day from an 80-year-old of what things were going to be like when they were 100 and much bigger at 100 than at 80. And it was really interesting, but that was like an hour middle house and you know I'm just talking, you know really good conversation, a lot of back and forth and you know, both of us asking the other questions and everything else and I said that's pretty cool that goes out immediately to five thousand. That's immediately goes out to five thousand people. Dan: Uh, yeah, yeah I mean that's pretty mean, you know, when you think about this, so of staying in your, in your lane of that's. Part of the great thing is that these things are largely plug and play, you know, like, and it happens. That's why I say a multiplier. You know, with the formula vision plus capability multiplied by reach, that reach is a multiplier. Dean: Well, they're actually. Yeah, I think what it is that two of them are addition, but the third one's a multiplier. Dan: Yes, that's exactly right. Dean: In other words, you can have vision plus reach multiplied by capability. You can have vision plus capability multiplied by capability. You can have vision and capability, vision plus capability multiplied by reach. You can have vision plus reach multiplied by yeah, yeah, yeah but, I, think it's like two of them are inside of our parentheses. You have, you know yeah, then the other that's multiplied by the third one. Dan: Yeah so it's very. Dean: I'm convinced it's three yes From the triple play. So I'm thinking about a tool right now where I said who's got the big idea, who's got the big idea, who's got the ready-to-use capability, who's got the ready-to-use capability? Dan: And who's? Dean: got the ready-to-use reach? Dan: Yes, you know that's fantastic. That would be a very useful tool. I think that's a really useful framework for collaboration. Yeah, it fits so well with our whole free zone operating system, you know? Dean: yeah, because we're surrounded by those those capabilities. Dan: Everybody's got a capability in the form of, uh, their self-multiplying company that they've already kind of established. To get to that point right, most people undervalue. They mostly undervalue their own capabilities and reach. They don't see them as assets in most cases. Dean: Well, even when they have vision, the vision isn't really useful to anyone else. It's only useful to them Right. Dan: Vision isn't really useful to anyone else. It's only useful to them, right yeah? Dean: I mean your vision has to have a lot of room for other people. Dan: That's what. So, chad and I've been talking about this there's the horizontal vision is within your own capability channel. You know they see vision, maybe within how to improve their capability, or internally. All their vision is within the walls of their own company. But where the real benefit comes is with horizontal vision. I said vertical vision is within your own company vision. I said vertical vision is within your own company. Horizontal vision is being able to see what your capabilities paired up with, recognizing someone else's vision that your capabilities could help or how someone else's reach could enhance your capabilities. You know all of those that vertical or the horizontal vision is where the collaborative creativity comes yeah, yeah, there's so much yeah I think you're right that there's, you know, articulating, the thinking tool that helps you recognize and assess what your unique probably unique ability fits within a capability right. That's a thing in your organizational unique ability and your unique teamwork all fit within that capability channel. Dean: Yeah, it was really funny. I was when was it Thursday? I think I was. When was it Thursday? I think I was invited into a workshop here in Toronto and it was the lead master's group. Okay, so the lead master's group is the lead group of all the people who are still at the signature level after 20, 25 years. Okay, and they haven't jumped to the 10 times. They haven't, you know. Their next group would be 10 times. Dan: And they're a long way. Dean: They're a long way off from free zone Anyway, but we're introducing the triple play straight across the program. This quarter. So everybody's getting the triple play. And there was a group, probably about 40, maybe 40 in the room and I would say, three got it, three got the triple play Understood, yeah. And they said, yeah, well, why would I do this? And I said well to differentiate yourself from everybody else. Yeah well, I'm not sure why I would do that and everything else, and so this is why I put the emphasis you have to have a conceptual ability that's apart from you. You're just seeing something that exists, that's big and it's powerful, but it exists outside of you. It's not you. Somebody else's capability exists outside of you. Somebody's vision exists outside of you. And somebody's reach exists outside of you. And you've got to be able to see this as a reality that exists in the world, whether you want to use it or not. These abilities, these capabilities, vision and reach is outside of yourself. Vision and reach is outside of yourself. And then you have to say if I'm going to use what other people have, how do I have to be useful to them, that they would be agreeable to that, and I think that takes a lot of conceptual ability to see how you could be useful to other people. Dan: Yeah, I agree with that, that's true. Dean: Yeah, I think there's. I mean, if you can only see within your own framework, you're not going to be VCRing anything. Dan: Right, exactly, you're only going to be trying to increase, you know, or improve your own limited vision within your own situation and working on your own capabilities, and only with your own reach. It's real. That's where it's like linear. That's linear, yeah, and you know exponential is plugging in to ready to implement reach, vision and technology or capability. Dean: It's really funny because huh, well, yeah, it's who, not how. But you have to see the who's as existing, completely independent of you. They just exist. They're out there, they're doing their thing and they're not going to be interested in you unless there's a big payoff. In other words, they have to see and it was very interesting because when I talked to like first year and strategic coach, you know first or let's say, signature level first or second and people will say well, you have such great people here at coach, how do you find great people? Dan: And I said you know where I live, you know I live in such and such place. Dean: We don't have great people like you find great people. And I I said you know where I live, you know I live in such and such place. We don't have great people like you have great people. And I said I suspect you do have great people, they're just not looking for you. Yeah right, how? How do you have to be such that other great people would be interested in you as an opportunity? Dan: Yeah, yeah, amazing you have to have something compelling you do you? Dean: have to have something compelling. Yeah, not convincing, but compelling. Dan: That's right, you know, shaped with a what's in it for them. Yeah, viewpoint, you know that's. I think Joe's book is amazing to set. I can't. It's one of those things that I can't believe nobody has written that book until now, you know. But just that whole idea of thinking about your vision, capabilities and reach from a what's in it for them perspective, with other people, what you can do for other people, it's almost one of those things that it's so powerful. Dean: That's true. That's true of all new things, though. Dan: Yeah. Dean: I can't believe somebody hasn't thought about this before. Uh-huh. Right right, right yeah. Dan: Oh man, that was. So there was George Carlin. He had a thing, a little you know comment where he was saying how the English language is so incredible that you'd think everything that's possible to say has already been said, you know. But he said I'm going to say things tonight here that have never been spoken in the history of the world. For instance, he said hey, marge, after I finish sticking this red hot poker in my eye, I'm going to go out and barbecue some steaks. Nobody's ever said those words in the history of the world. So it's not. Everything hasn't been said. I thought that was pretty funny actually. So there, yeah, Well we've spent an hour. Dean: We did a good hour, I think so. Dan: I always enjoy these conversations. Dean: Yeah, and. I'm going to, I think yeah you ought to zero in on the tools. You know that, yeah, and I'm going to. Dan: I think, yeah, you ought to zero in on the tool. Dean: You know that I'll give some thought to it, but this is your tool, not my tool. I'll give some thought to it. I love it, All right. Dan: Okay, talk to you next week. Bye. Dean: Okay, bye.

One Song Nation – you don't have to worry no more. Diallo & LUXXURY know you can go without learning how The Weeknd's massive 2015 hit, “Can't Feel My Face,” made him into a global megastar. On this episode, they break down how The Weeknd collaborated with Swedish powerhouse songwriter Max Martin and his team to make a diamond-certified, chart-topping, dark R&B song, and peel back the layers on those Michael Jackson-inspired vocals.

Musician and writer Mike Errico joins Rhett to talk about guitars, finding his voice as a musician, and his latest release, 'Shine', which represents a shift towards more positive and uplifting music. Rhett and Mike break down the songwriting approach of artists like Taylor Swift and Max Martin, the role of teaching, and the importance of laughter in the creative process. New York-based recording artist, writer, and lecturing professor Mike Errico has built his name on the strength of critically acclaimed releases and extensive composition for film and TV. He teaches songwriting at universities including Yale, Wesleyan, the New School, and NYU's Clive Davis Institute of Recorded Music. He was nominated for 2019's David Payne-Carter Award for Excellence in Teaching, and taught the 2022 GRAMMY® Museum's inaugural Summer Sessions in New York City. In addition to his performing and teaching careers, Errico's opinions and insights have appeared in publications including The New York Times, CNN, the Wall Street Journal, Fast Company, and many others. His latest musical release is “Shine”. Follow Mike Errico @mikeerrico Rhett Miller website Follow Rhett @rhettmiller Wheels Off is hosted and produced by Rhett Miller. Executive producer Kirsten Cluthe. Editing by Matt Dwyer. Music by Old 97's. Episode artwork by Mark Dowd. Show logo by Tim Skirven. Distributed in partnership with Osiris Media. This podcast is available on Apple Podcasts, Stitcher, Spotify, or wherever you get your podcasts. You can also ask Alexa to play it.

Gerardine Sacdalan is starring as Juliet in And Juliet. Following its triumphant West End run and ongoing Broadway engagement, And Juliet is touring the UK and Ireland for the first time. And Juliet flips the script on the greatest love story and asks, what would happen next if Juliet didn't end it all over Romeo? Juliet's new story bursts to life through a playlist of iconic pop anthems by Max Martin. The show features hits such as  “…Baby One More Time,”  “Roar,” “Since U Been Gone,” “It's My Life,” “I Want It That Way,” and “Can't Stop the Feeling!”.After training at Urdang, Gerardine made her professional debut as Sandra Beaumont in Made In Dagenham In Concert at the London Palladium. In this episodes Gerardine discusses auditioning for And Juliet, conquering such a demanding role and why - as an Asian woman in musical theatre - playing Juliet is such a big deal. Gerardine also reflects on her path into theatre and lots more along the way.And Juliet tours the UK & Ireland until June 2025. Visit www.andjulietthemusical.co.uk for info and tickets. Hosted by Andrew Tomlins  @AndrewTomlins32  Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.  

En av världens mest kända personliga tränare bär namnet Magnus Lygdbäck. Han har tränat några av de största skådespelarna i Hollywood och hjälpt dem att komma i toppform inför sina roller. Skådespelare såsom Alexander Skarsgård, Gal Gadot, Mark Ruffalo, Ben Affleck, Alicia Vikander, James McAvoy och många fler. Och om den listan inte vore nog så har han också tränat artister som Katy Perry, Max Martin och Britney Spears. Vi får höra hur Magnus går till väga när han får en klient som ska få en superkropp på kort tid, genom sin helt egna metod ”Magnus method”. Vi får höra hur det fungerar bakom kulisserna på en storfilm och vilken träning det är som Magnus rekommenderar. Dessutom hinner vi prata om kosttillskott, meditation, holistisk hälsa och massor av annat. Tusen tack för att du lyssnar!Ta del av Framgångsakademins kurser.Beställ "Mitt Framgångsår".Följ Alexander Pärleros på Instagram.Följ Alexander Pärleros på Tiktok.Bästa tipsen från avsnittet i Nyhetsbrevet.I samarbete med Convendum.Ta del av Magnus Method via hans hemsida.Följ Magnus på Instagram och Youtube. Hosted on Acast. See acast.com/privacy for more information.

En av världens mest kända personliga tränare bär namnet Magnus Lygdbäck. Han har tränat några av de största skådespelarna i Hollywood och hjälpt dem att komma i toppform inför sina roller. Skådespelare såsom Alexander Skarsgård, Gal Gadot, Mark Ruffalo, Ben Affleck, Alicia Vikander, James McAvoy och många fler. Och om den listan inte vore nog så har han också tränat artister som Katy Perry, Max Martin och Britney Spears. Vi får höra hur Magnus går till väga när han får en klient som ska få en superkropp på kort tid, genom sin helt egna metod ”Magnus method”. Vi får höra hur det fungerar bakom kulisserna på en storfilm och vilken träning det är som Magnus rekommenderar. Dessutom hinner vi prata om kosttillskott, meditation, holistisk hälsa och massor av annat. Tusen tack för att du lyssnar!Ta del av Framgångsakademins kurser.Beställ "Mitt Framgångsår".Följ Alexander Pärleros på Instagram.Följ Alexander Pärleros på Tiktok.Bästa tipsen från avsnittet i Nyhetsbrevet.I samarbete med Convendum.Ta del av Magnus Method via hans hemsida.Följ Magnus på Instagram och Youtube. Hosted on Acast. See acast.com/privacy for more information.

In this episode of Welcome to Cloudlandia, we have a thought-provoking discussion around AI and its future implications. We introduce Juniper, an advanced voice-based AI capable of tasks from writing to coding, giving insight into emerging technologies. We explore impacts like the attention economy, where value emerges without physical costs. Success stories like Mr. Beast showcase uniqueness and AI's potential to tackle real issues. The episode delivers a well-rounded look at AI capacities and societal changes. References to early smartphone adoption phases parallel today's AI capabilities. SHOW HIGHLIGHTS We discuss the potential of voice-based GPT-4.0 AI, specifically highlighting "Juniper" with a Scarlett Johansson-like voice, and its various applications from writing to coding. We compare the current adoption of AI to the early days of smartphones, emphasizing that we are only beginning to understand AI's full capabilities. We explore historical productivity trends, noting a decline since 1975, and question whether modern technology truly enhances productivity or just alters our perception of it. We debate the role of technology giants like Mark Zuckerberg and Tesla in shaping productivity and economic measurement. We reflect on the mid-20th century advancements such as electrification and infrastructure, and compare them to today's computing power and its economic impact. We discuss the concept of the attention economy and the creation of value from digital products without physical production costs, using digital creators like Mr. Beast as examples. We consider the potential of AI in solving real-world problems such as city traffic congestion and climate understanding, rather than just creating new opportunities. We emphasize the importance of practical solutions and specific use cases to fully leverage the capabilities of advanced AI technologies. We touch on the economic shifts in the digital era, including the rise of digital transactions and the non-tangible realm of digital innovation. We highlight the unique nature of success in the digital world, using examples like Mr. Beast and Taylor Swift, and discuss the challenges and opportunities presented by new technologies. Links: WelcomeToCloudlandia.com StrategicCoach.com DeanJackson.com ListingAgentLifestyle.com TRANSCRIPT (AI transcript provided as supporting material and may contain errors) Dean: Mr Sullivan, who is that person that gives the directions when we start the podcast? Dan: Well, I'm not sure the one that says this podcast this call may be. Dean: You are the first one on this conference phone call, oh my goodness, who is she? Dan: Who is she? She's a bot. She's not real. She's a bot. She's not real. She's not real. She's not real, she doesn't sound. Dean: I've heard worse sounding bots. Dan: Dan, I have been experimenting, playing around with chat GPT-4.0. And I use it primarily in voice mode, meaning, you know, I just say things to it and it has an amazing Scarlett Johansson-like voice that has zero, not at all like Siri or Alexa. You know where those voices definitely sound like. They are bots. This, my GPT-4O I think her name's Juniper is the voice that I chose. She sounds like a real person, I mean, and has like real tone, real inflection, real like conversational feeling to it and I realized that I don't think we really understand what we have here. I mean, I look at it and I think, imagine if that was a real person. Dean: Now, when you say we, who are you talking about? Dan: I mean the collective royal we I I'm sorry I've never been around yeah, I just think we as a when I say we, we as a society or we as the people collectively using this, it reminds me of this Seinfeld episode where Kramer got this or Jerry got his dad, this wizard organizer, and they always use it as a tip calculator, like the least of all the functions that it has. They're just excited that it's a tip calculator, and I feel like that's the current level of my adoption of Juniper. Dean: Yeah, I think the big thing is what you let's say, a year from now, level of my adoption of Juniper, you know, yeah, I think the big thing is what you let's say a year from now. You're using Juniper for a year. What do you think will be different as a result of having this capability, new capability? Dan: Well, I think it's operator, you know, I think it's operator dependent, you know, I think it's up to me what I think if you said to me. You know, I think it's up to me what I think if you said to me listen, I'd like to introduce you to Juniper. She's going to come here and she'll be within. She's going to follow you around. She's going to be here within three feet of you or discreetly out of sight, whatever you, but whenever you call she'll be right there. She is a graduate level. She is a graduate level student. She could pass the bar. She knows everything that's ever been recorded, she speaks every language. She never sleeps, she can write, she can draw, she can do graphics, she can do coding Whatever you like, and she's yours 20 to a month. Have fun, yeah, do you think you'd use it Well? that's my question is that it feels like I'm not using it and I have it. That's essentially what I have. I've got it in my pocket. You know how they said. You know the iPod was launched with the promise of a thousand songs in your pocket. Well, I think this is really like. You know, an MBA or a PhD or whatever you want in your pocket is essentially what we have, and I find it very interesting. Dean: No, I think it's unique, you know, and it's brand new. But what problem did you have that this solves? Dan: Well, I think that it's not per se a problem, but I think that we're I really have been observing and thinking, and I've said it you know in lots of our conversations, that I think that 2020, you know, if we take the 50-year period from 1975 to 2025, that we've pretty much set the stage now for a new plateau launch pad kind of at the same time. I don't. I think that once we understand and people you know, I think it's almost like the iPhone had the app store, that became what Peter Diamandis called the interface moment. Right, that was the you know, that allowed, once people realized that the capabilities of the iPhone to both measure geographically where you are at any precisely at any moment, the gyro thing that can detect movement, the sound, the camera capabilities, the touch screen, all of those things, Well, people realized what the baseline capabilities of the phone were. They were able to architect very specific, you know, starting with games very specific ways to use the capabilities that are very specific ways to use the capabilities that are built into the phone and I think that right now it's almost like it can do anything, and I think that we need to figure out the very specific use cases and I think we'll see people. Dean: You keep saying we, but I don't think we is going to do it. I think you know, who we are. Do we have a cell phone number? Do we have a street address? You know, I think you're having a very interesting personal experience with the new technology. Yeah, I don't know, I don't know if anybody else is going to be in on this, but the big thing is, how are you going to set it up so that you can prove that this is valuable? I mean, let's say, three months from now the time you come back to. Toronto for your next strategic coach pre-zone workshop things you're going to test out and see if the inclusion of this spot with a very sexy Scarlett Johansson voice. This isn't the issue that she sued somebody for. Dan: I think it's, I don't know actually this voice is. It's not exactly her, but it's, you know, it's that tone and things. Dean: So yeah, so. Dan: I don't know that. It's a pleasing voice, much more pleasing and personal than Siri or Alexa, for instance. Yeah, but yeah, I think you're absolutely right it does come down to and I think that's where the paralysis of you know the it can do anything, but you know what would be you know where my mind goes. Dean: It's which, how that I already have, but am I going to assign this capability to so that I don't have to spend any time whatsoever interacting with this bot? But my who's a you know who's a live human being working for a strategic coach would that person actually work? Do this, you know, and actually and I tested out for three months what are you getting done faster? So, for example, we have an AI newsletter that rewrites itself every two weeks and chooses new content, designs it and goes out and it uses up one hour of my Linda Spencer, who's one of my team members on the marketing team, and it's very interesting, I mean we have about 2000 people who read it and they grade it and everything like that. But the only thing I have to do every two weeks she said here's the news, here's the results from the last newsletter, here's the design and contents of the next newsletter, yes or no? And I'll go through. I say, yeah, looks good, send it out, right. Yeah, now, that's not freeing me up, because we never had this capability before. It's a new capability, right, and it's been going for about nine months now and people will talk to me about it and you know everything like that and everything like that. But I haven't seen that it's made a huge difference in the crucial numbers of strategic coach, which are marketing calls. Are we generating great leads that people are talking to us about? Are they signing up for the program? Are they whatever? So the normal measurements. So I think, with any technology, the first thing I would establish before I got interested in the technology is what are the crucial numbers that we have that tell me that our business and myself are moving forward? And then, whatever I'm going to use the new technology for, it has to have an impact on those numbers. Yeah, I think that's yeah, because you know the amount of productivity. I'll use the United States as an example. You mentioned 1975 to 2025, 50 years of individual productivity in the United States was much higher in the 50 years before 1975, since it has been for the last 50 years since 1975. Even though there are these amazing books and that about how productivity is going through the world with the microchip. But the actual numbers which are gathered by the US government, the US Treasury Department, us Department of Labor, indicates that the level of individual productivity has actually gone down in the last 50 years even though the excitement level of productivity has gone through the roof. Dean: By what measurement? What are they deciding? Is product? Dan: Dollars of economic activity per hour per worker. Okay, that's how productivity is measured. Dean: The number of workers. Dan: You have the number of hours they work and the amount of economic dollars that their hour of activity produces. The productivity was much higher total for the entire all workers. Dean: But is it all productivity or personal productivity? Like are you saying no all? Dan: productivity? No, the entire GDP of the economy, measured by the number of workers. Yeah, okay by the number of workers it's going down, it's down. No, yeah, since 1975, it's not as great as it was from 1925 to 1975. So that 50-year period the productivity levels in the United States were bigger than the last 50 years. Dean: Wow, that seems. That's surprising. What do you think that means? Dan: Well, a lot of people are really excited and involving themselves in technological activity that produces absolutely no productivity. Yeah, they're very excited, they're very excited and they're getting very emotionally connected to this activity. But you know, I'm not saying that's not a great thing, I'm not. Maybe they're having more fun, Maybe they're you know, maybe they have. Dean: What actually counts as GDP. Dan: Well, GDP is amount of sales amount of sales. Dean: Okay, so would the advertising sales that Mark Zuckerberg makes for Facebook count as GDP, or is it only in physical, like you know, shippable goods, or whatever? Dan: Well, whatever, uh, you have a dollar spent on something that constitutes a sale to sale. Dean: Okay, so advertising, so Google and Facebook and Netflix and all of those things count as GDP? Sure, okay, all right, then that seems impossible. Dan: It seems impossible, but it's true. Dean: That's pretty wild. Dan: Yeah yeah. I'm not saying that Mark Zuckerberg isn't making a lot of money. I'm not saying Mark. Zuckerberg isn't productive. My feeling is that the technology is created, makes a lot of other people non-productive. Dean: Yeah, and I wonder I mean that's a do you think you know if you measured that in terms of the total population versus the workforce? Is that what? In terms of the total population versus the workforce, is that what you know? I'm just looking for some explanation of this right. Dan: Somewhere along the line, there has to be an economic transaction for it to constitute and everything else. See, this is the difference. Yeah and everything else See this is the difference? China talks about its GDP, but they don't use the same term that everybody else in the world uses. They use the economic value of what they've produced. So they can produce a million machines and they're sitting in a warehouse and they count that as GDP gross domestic product. But there was no sale, it's, you know, they spend it, it was an economic activity. There was a transaction there, but there was no sale. So I think that's the big thing. It doesn't count unless there's a sale. Dean: GDP, doesn't it? Dan: doesn't count as GDP unless there's a sale. Somebody makes money, yeah. Dean: Okay, money Okay, yeah, yeah, I mean, it's pretty. Dan: No, I'm not saying it's not exciting. And here's the. Dean: Thing. Dan: Maybe it's an A&I, it's what I would R&D stage. The last 50 years have been R&D stage. For the next 50 years, which are going to be 100 times bigger of GDP. Okay, that may happen, but it's not happening yet. Dean: Yeah, yeah, I mean it's pretty, yeah, it's pretty wild. I mean you can definitely see, like the capabilities of you know, you can definitely see this replacing many customer service interactions, for sure. For instance, it's like a you can definitely see that going away, that there's not going to be a need for humans manning a customer service telephone center, for instance you know, yeah, I mean if it's good, I mean if it's good you know, and it depends upon the service that's being talked about, but if it's good, you know, maybe it does See, efficiency is not effectiveness. Dan: You know, and effectiveness is that you made a sale. Efficiency is we took all the activities leading up to a sale and we made them more, faster and easier. Yeah, the question is did you get a sale out of it? Dean: Mm-hmm. Dan: Mm-hmm, yeah, so. I don't know, but I think there's a bit of a magician show going with a lot of different kinds of technology, you know. I mean, it was like somebody was saying, you know, they were talking about EVs and specifically they were talking about a Tesla, and specifically they were talking about a Tesla. And he says do you know how much faster zero to 60 is in a Tesla than any gas-powered? Or you know, and I said, to tell you the truth, I don't know. Dean: To tell you the truth. You know. Dan: Geez, you know All the things I've been thinking about since last Monday. I'm sorry, I just didn't get to that one Anyway. And he says well, it's easily a second faster. I said good. I said now, where do you do this? There isn't any way. We're in greater Toronto, the area of greater. Toronto 6 million people, where you can go from 0 to 60 on a city street in two seconds. You know and everything like that. He said, yeah, but boy, you know, I mean, just think of that, how much faster you can go. And I said, yeah, but Teslas don't go any faster in Toronto than any other car, that's true, and usually they're stopped. Dean: Yeah, that's exactly right yeah. Dan: So I think the Tech Magic Show, I think it multiplies people's imagination, but it doesn't multiply their results. You know, I think there's something about it. And I think this is great. I mean what you're telling me. I've had some really boring people on the other end of a phone call and Scarlett Johansson would really liven it up a little bit. Dean: Absolutely yeah, yeah, exactly. Dan: Yeah, I was noticing that Cleveland hired Jack Nicholson and they still use it. It must have been 20 years ago. All the announcements, the regular announcements like don't leave your bags unattended, and things like that, oh right. There's a whole bunch of just what I would call airport announcements, and they have Jack Nicholson doing it and you stop and listen every time it starts. You know it's very effective and I'm sure and I'm sure Scarlett, I'm sure Scarlett Johansson would do a good job too. Dean: Absolutely. Yeah, yeah, it's so, it's so funny. I mean, that seems. I'm just dumbfounded by the fact that productivity has decreased in the 50 years that we're talking about here. Dan: Yeah Well, think of the 50 years, though, and you gave me that great book. Dean: Yeah, you gave me the book that was 1900 to 1950, 1925. Dan: But 1925 to 1975, the entire country was being electrified. They're laying in lines and everybody was the farm that I was on. I was born in 1944. That farm was electrified in 1928. So it was only 16 years that they had electricity. Right, and you know they were putting in the entire water systems. The Tennessee Valley Authority was putting in all these dams and the electric plants. You know Lake Mead as a result of the Hoover Dam. They were putting in all those dams and that just produced enormous jumps and the cars were going in, the gas systems, all the infrastructure for gasoline was going in. It was just a monstrously productive period of time. And then all the production that went into the second world war, which they then had as productive capability after the war stopped and so they had all the manufacturing capabilities you know and you know and so. But there's to see the thing is, the real jump that's happened is the jump in computing. There's no question. Dean: There's been a monstrous jump. Dan: It's a billion times since 1970. It's a billion times. That doesn't translate into money, and money is what productivity is based on. How much more money are you making per hour of human labor? How much more money are you making for our human labor? Now maybe somebody will say well, we got to start counting the robots in our GDP. Something is doing work. Yeah, Just I mean wow, wow, wow, the only problem with you know the only thing about robots, though they're shitty consumers. Dean: Yes, exactly that's so funny. Yeah, they don't buy anything you know. Dan: Yeah, A computer is a good worker, you know. It doesn't take breaks, doesn't get sick you know doesn't form unions anything. You know it doesn't go home, it doesn't have a house, doesn't have furnishings doesn't need furniture doesn't go out to eat. Dean: Right, right. We're definitely in a stage right now where there's opportunities more than ever for economic alchemy, creating money out of nothing, seemingly compared to 1975. I'm not sure how that happened, I think, since in the digital world we're essentially creating money out of ether, you know, out of attention, even in a way that if we just take the attention economy or the portion of the money that is derived from the advertising world in, where it was print ads, television ads, radio ads those were things that were kind of happening in 19, right and, but they were selling sort of physical goods, whereas now I remember having a conversation with Eben Pagan about this, when I did a book Stop your Divorce in 1998, when it was when PDFs were just coming to be a thing where you could create a digital document that didn't require printing a physical book and you could email that or somebody could download it. And I just realized that you know, in that we've literally sold $5 million of a picture of a book not physically printing. These thousands and thousands of books, it's literally no zero physical good. That's why I wondered about whether the GDP is only measuring you, because we're definitely in a time where you can create money from nothing and the way that was driven was from Google AdWords. Dan: You can't create anything from nothing. No, I mean nothing physical, any. You can't create any. I don't think you can create anything from nothing there. No, I mean okay, nothing physical. Okay, that's what I mean. Dean: Yeah, like you look at it, that the book, you know we created the book and turned it into a pdf that was put on a website that there's no physical manifestation of it's, only digital. You can only see it online. People would search on Google for save my marriage or how to stop a divorce, or any of the keywords we could magically get in front of those people on their screen. They could click oh, stop your divorce, how do I do that? They click on that. They read this digital. It didn't cost anything other than what was paid for was that we paid google for the, you know, for sending that, you know the ability to display that person, that opportunity to somebody. We paid google every time somebody clicked on that ad and then they would buy the book and it would automatically take them to a page to download the book. There was no inter, no human interaction and no physical exchange. It was all 100 digital and that was where, you know, I started referring to that as alchemy, really like creating money out of of bits. You know, yeah, yeah, that's so that. Dan: Yeah, I think there's no I think there's uh no question that we've moved into a what I call a non-tangible realm of creating value, creating property and everything else, but at the end of the day it all adds up somewhere where this constitutes an economic transaction and as far as the accountants care, they don't care whether it was something physical or sold or everything. There's taxes that are taken out of that. I don't see the remarkable difference. You're using a different medium, but there is work that goes into that. And you had a big payoff with one, but there were another thousand people right at the same time you were doing that and their results? They put in a lot of work, they put in a lot of effort and it didn't produce any money whatsoever. Efforts go into GDP, your efforts go into GDP and there's way more of them than there is of you. So it brings you the overall results down and you know so and we kind of know. We kind of know that. You know productivity numbers. You know, like, on a year I know people talk about well, that productivity is going to go up by 20% as a result of that. Well, that may be true for a single company, but that's not true for the industry they're in, because their new thing going up by 20% may actually make obsolete 5 or 6 or 20 other companies who have had productivity that a year before, but now they have no productivity at all. So their loss of productivity is balanced against the gain of productivity. Dean: Yeah, that's interesting. I guess you think about that. That could be true in all the casualties of the digital transition here, right Like, what do you look at? Dan: Well, certainly the advertising world, certainly the advertising world, I mean before Mark Zuckerberg and before Google, newspapers like the New York Times. Dean: Daily. Dan: Edition was very thick. Dean: Yeah. Dan: And half of it was advertising. Now it's very thin okay because, they don't have the same. Yeah, but there's winners and losers, you know, in this, and you have a technological breakthrough, you have far more losers than you do winners. Dean: Yeah, I'm looking at like I was just listening to an interview with that Tucker Carlson did with someone I forget who, some former CBS correspondent you know, and they were talking about the new. You know what's really changed now is the reach capabilities you know, like Tucker really primarily being on his own platform but using the reach of x has, you know it's the audience is accessible to everybody, as opposed to him in the beginning of their careers, the only way to get reach was to be signed to a, a digital, or assigned to a traditional network where the eyeballs were. But, now the eyeballs are accessible to everybody and it really becomes these are my words, but it's more of a meritocracy in a way that you're you know that it's available for everybody. The cream definitely can rise to the top if you've got a voice that people resonate with. Dean: Yeah, I mean, and Tucker's a star, tucker's a star. He's got his following, he's got probably a couple million followers. Whatever he was big when he was on Fox and he had the top numbers on Fox and everything like that, but there aren't two of them. Dean: Right, and you can't replace him with an AI either. Dean: No, but what I mean is we pick out the winners. It takes a lot of losers to get to a winner, you know and I think this is more extreme in the Cloudlandia world than it is in the physical world- you know. I mean, I think there's a thing called network effect and the network effect is you can only have one Amazon. Basically, you can only have one Amazon. Because, the nature of Amazon is to suck everybody's customers up into one destination. There aren't five Amazons competing with each other, and that's what digital does. A person like Taylor Swift couldn't have existed 20 years ago. They wouldn't have had the reach. Yeah, that's true, and she's got the reach today. I mean she's coming along and she's got a lot of things going for her. She's very attractive, she's very productive, she pumps out songs all the time and the songs seem to resonate with a mood in the public right now. And everybody's got their cell phones and everybody's got that. And what I'm saying is, if you have one Taylor Swift, you can't have two. Well, yeah, that's. Dean: I mean it's, I wonder you start to see that she's just a, she's one voice, right Like I look at, I've been following rabbit holes like up the chain. You know and I start so Taylor Swift is a good example that many of her biggest hits and biggest success have been in collaboration with Max Martin, who is a producer who I often talk about and refer. Second, he's got the second biggest number of number one songs to his credit, right behind. He just passed Paul McCartney or John Lennon, and only Paul McCartney is ahead of him. Now he's about five songs behind Paul McCartney. What I realized is, you know, there's a way that it's kind of like you get max martin's voice is really what is, you know, behind most of the the most popular music, or much of the most popular music, and yet not many people could pick him out of a lineup. And then then I went another layer up. It just dawned on me, like in the last couple of weeks here, that the real catalyst to Max Martin's success was Clive Davis. Who is? Do you know who? Clive Davis is the former, or still, record executive. Dean: He was the head of so far, your records so far. So far, you're introducing me to a lot of new people. Dan: Okay, great well, I, I just love this that. You know, max martin, I've been saying, as that's the thing, like you think about one thing Max Martin's one thing has been making hit records. Right, that's all he's done. Making pop songs since 1996, or what is first number one. But if you trace it all the way back, the catalyst to it because he was in Sweden, there was a group years ago called Ace of Bass and they had a number one song. But when you go all the way back to how that happened, it was because Clive Davis, who was the head of Columbia Records and all its subsidiaries, arista and Jay Records, and all its subsidiaries, arista and J Records and all of these things, he found that song. He's like a guesser and better. He was guessing that song is going to be a hit and he signed Ace of Base to bring them to America. So he plucked this obscure Swedish band out of and brought them to America and on the wave of that, created the opportunity for Max Martin to work with all these great artists that happened to be under the direction of Clive Davis. And if you go even one layer beyond that, the guy that owns Bertelsmann, you know G Music Group in Germany. They own almost all the record labels, kind of thing. It's him seeing Clive Davis and putting up a million dollars for Clive Davis to start this record label. It's amazing that it all, kind of you know, goes back to capital allocation. Dean: But the big thing is none of that has to do with any productivity. Dan: Yeah, that's the thing I wonder, you know, I mean that really. Dean: No, well, what you're talking about is. You mentioned a name. Yes, and he does this and he's very successful and he's famous for being successful. But at the same time that he was doing what he was doing, there were 9,999 who were waiting on tables and doing this on weekends and nights, yeah, okay, and they weren't making any money at all. So what. I'm saying is when you pick a winner out and you see, see how productive they are using new technology you also have to account for the people who are using the new technology and not making any money at all, and therefore it's not more productive. Yeah. Dan: Yeah. Dean: And I mean, you know we haven't talked about him for a while, Mr Beast. Yeah, and people say, see what you can do when you're 18? You won't see anything because he's so unique. And he has such a set of circumstances that there's nothing that he does that is repeatable by another person. Dan: I mean, yeah, he just became just in the last, I haven't heard anything about him. Dean: Is he still doing stuff? I don't know. Is he still doing stuff? I don't know. Is he still doing stuff? Yeah, yeah, he just became. Or is he retired at 28? Dan: No full steam ahead. Dean: He's got a 300-foot. Dan: He just became the number one subscribed channel in the world. He was the number one individual but there was this T-Series channel in India, which wasn't a person a different thing. Now he's the number one thing. He's now working on an Amazon show. He's taking his stuff to to amazon still full steam ahead with his, with his videos, but he's doing a big game show series in uh with under the amazon banner yeah, yeah, yeah. Dean: it's really interesting because you know again I go back that it seems to me that a lot you know and I've made this statement before is that a new technology comes out, or a new form of a new technology comes out. A whole series of people say I'm going to create a new company based on this technology and I want you know, I need some early investors. I need investors to get there, and so there's a whole industry for doing that in Silicon Valley and other places, and so billions are raised, not just for the one you know, not one investment, but for let's say 50 investments. And none of them go anywhere, none of them go anywhere. Dan: You know, nothing happens, okay, but people did make money because it's based on a Ponzi scheme kind of thing that the early investors get paid out by the late investors who end up pulling nothing and everything else. Dean: None of that represents productivity. Right A lot of action, a lot of excitement, a lot of money, but no productivity. And we're seeing that with AI. Goldman Sachs, the big investment bank, came out that, going on two years since open AI, we just don't see that there's any money to be made with this, except if you're like the chip maker, NVIDIA. They make a lot of money and they're very productive, and I think the reason is that I think that AI, if I look at the next 10 years, I think it's going to be very effective, it's going to be very useful and it's going to be very important for solving complexity problems that we already have on the planet. Okay, and you know, a great example is just large city congestion complexity, like Toronto, I think, may have the worst traffic congestion in North America. Dan: I did notice a big difference in that, even in the five years since I was there. Dean: Yeah. And the main reason is that they're making new cars, but they're not making new roads. Dan: Yeah, and I noticed that they've actually added a lot of bike lanes too, which have taken out some of the actual lanes. Dean: Yeah, Actual lanes, yeah, yeah, so without some new kind of solution to congestion and I think AI is the perfect tool for this and that all the traffic lights, all the traffic lights in the city are a single system and you're just changing the frequency of the lights changing and everything around the car changing the frequency of the lights changing and everything around the country, and there's a sort of a master view, how you know you can reduce the amount of people just stuck in the city by 40% if we just get all the lights. That's a complexity problem. Dan: You know and for example. Dean: The other thing is they haven't. You know, for all. The study of weather is probably the most complex system that we have on the planet and to this day they have no notion what effect clouds have on climate. You know they don't. They really. Clouds are just very complex. So if you had the ability to, I mean, they know different types of clouds and different things that happen when you have different types of clouds. They know that, but there's no unification of their understanding of the cloud system. And so you'd have to apply it to that. Now, you're not creating anything new with this. You're solving an existing problem. With this, you're solving an existing problem. My sense is that the best use of technology is always to solve some problem that you already have not create a new opportunity that's interesting. Dan: So maybe that's how I mean yeah, go ahead. I was just saying maybe that's how I should be thinking about my relationship with juniper yeah, what? Dean:what complexity problems do you have? Dan: Exactly what complexity problems do I already have that Juniper could solve for me? Dean: Yeah, like getting out of bed in the morning. That's a complexity problem. When does my first coffee arrive? Exactly yeah, why am I still thinking about this? Why at this late date. Dan: Oh man, that is so funny. Dean: It is funny. Dan: The funny thing is I posted up on Facebook right before we got on our podcast today. I took a picture of my. I have these. I have these Four Seasons Valhalla coffee cups and I took a. I made a coffee before our here and I posted up a picture of it right Pre-podcast caffeination, prior to the prior to our podcast here. So I'm fully caffeinated. I'm on the, I'm on the juice. Dean: Yeah, I will tell you this. Chris Johnson, great thinker in the FreeZone program he's got it's not his system, he's licensed his system from someone else but he had 32 callers to set up meetings with their primary salespeople for his company and he's in the placement business. He finds really good high-level people to go into construction companies and engineering companies. And he was telling us that his 32 human callers could make 5,500 phone calls and produce a certain result in a day of phoning. And since he's brought in his AI system, they can do 5,500 in an hour and produce a better result of people agreeing to phone calls. Well, that's productivity. Dan: Yeah, I guess. So yeah, pretty amazing huh. Dean: And he let go his 32 humans. Oh, my goodness. Wow, so this is AI making outbound phone calls? These are all AI and they've got complete voice capability of responding to responses and everything else. And then they get better every day. They have sort of upgrades every day for it. And that's productivity, that's productivity. Dan: Yeah, there's, yeah, that's a. That's an amazing story. An amazing story, I mean, you start to see, I just look at the things, even when we had the AI panel at FreeZone in Palm Beach. You're just seeing the things, even what Mike Kamix is able to create and the things that Lior is doing. You just think, man. Dean: I think we're early. Dan: Yeah, absolutely, we're early. Dean: Yeah, I mean I think we're in the first or second year of the internet with us, right? Dan: Exactly, I agree. That's why I say, that's why, in my summation here, I'm kind of thinking you know 2025, give it another 18 months. It's only 18 months old now when you really think about it. Right, this is it's 18 months, and give it another 18 months and we'll see that people you're already starting to see that people are taking the AI capabilities and they're honing it into an interface. That is, a logo maker, for instance, or AI. You know that it's already honed into the ability to specialize in making logos based on your prompts, or and I think that's where that's what I meant by the interface moment is people are going to start carving out, packaging very specific outcomes from the capabilities. Like, if we have these capabilities, what can we do and just deliver that specific outcome, rather than the capability to create that outcome that's why it's funny that that's kind of parallel to what I've been saying. I've seen people that are taking and training large language models based on your you know, all of the you know let's call it all the Dan Sullivan content that's been out there and then touting it as you know, having Dan Sullivan in your pocket, that you can ask Dan anything of it in your pocket, that you can ask Dan anything. But I think the ability to ask you anything isn't as useful as the ability to have Dan ask you things. Yes, I think that's the question. Dean: So in the last quarterly book, and the one we're finishing right now. So it was everything is created backward, where the tool we featured was the triple play, and then the next one is called casting, not hiring, where the tool is the four by four casting tool. We call it the four by four casting tool, and this is where I'm asking them questions. Dan: Right, okay. Dean: I don't see any value whatsoever of them asking me questions. Dan: Right. Dean: Because I'm not getting the benefit of the question. Some software program is handling it, so I'm not learning anything and I've got a rule that I don't involve myself in any activity where I don't learn something new. Dan: Okay. Dean: So there's getting the benefits, but plus we'd be competing with ourselves. Dan: I love it All, right Well off, we go. Dean: I will phone you next week I'll be at the cottage. I'll be looking out at a mystic blue lake while I'm talking. Dan: Oh, wow. Dean: It's really good yeah. Dan: Awesome. Well, have a great week, okay, and I'll talk to you next week. Thanks, thanks, dan. Bye.

Is Coldplay's new direction a hit or a miss? This week on WorkTape, we delve into Coldplay's latest single “feelslikeimfallinginlove” and discuss their upcoming album Moon Music. We reflect on their evolution as a band, from their earlier works like Viva La Vida to their more current, Max Martin-influenced sound. Join us for an in-depth conversation on Coldplay's latest musical direction!Episode Highlights:Is Coldplay's new single “feelslikeimfallinginlove” a fresh take on their sound or just more of the same?What can we expect from Coldplay's upcoming Moon Music album, based on “feelslikeimfallinginlove” and their other recent releases?Is it bad taste when generations older than Gen Z stylize work titles in either all lowercase or all uppercase, or utilize conjoined title formatting (smashwords)?How have Coldplay evolved since Viva La Vida?Commercial success aside, would Jack Antonoff lend better to Coldplay's rock roots than Max Martin?Has Max Martin's influence on Coldplay's sound been a positive change, and has it brought out the best in Coldplay?

Vi har letat, grävt, hackat och nu äntligen harvi med oss Musikern, Producenten och glädjespridarenPär Edwardson!Vad hände med Max Martin-bandet?Eller Carola-gigen?Hur går hans skapande till egentligen?När kommer 3.000.000 blockflöjter in i det svenskakulturarvet, och hur skapar Pär dessafantastiska melodier och energi som blivit ett avhans signum?Band som Nurse, Pigg, Pophope och Biscaya avhandlas också.Pär svarar lysande och är givetvis ocksåfruktansvärt trevlig.Vill du ha din låt uppspelad direktmed tillhörande analys.Maila oss! Musiksnacket@iwm.seVarmt välkomna!Studio, Artist, Live, Musiker, Scen, Låtskrivning, Ai, AI,Musik, Kultur, TikTok, Instagram, Facebook, Youtube, Billboard, Hip Hop, Rock, Soul, Jazz, Gospel, Pop. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Twitter: @podgaverockInsta: @podgaverock1The Weeknd 2019  “Blinding Lights”  from "After Hours" released on XO/Republic. Written by Able Tesfaye, Ahmad Balshi, Jason Queeneville, Max Martin, Oscar Holter. Produiced by Max Martin, Oscar Holter, and The Weeknd.Cover:Performed by Josh Bond and Neal Marsh2Tears for Fears 1984 “Shout” from the album "Songs From the Big Chair" released on Phonogram/Mercury. Written by Roland Orzabal and Ian Stanley and produced by Chris Hughes.Cover:Performed by Scot Lang, Neal Marsh, and Josh Bond3Billy Idol “White Wedding” from the 1982 album "Billy Idol" released on Chrysalis. Written by Billy Idol  and produced by Keith Forsey.Cover:Performed by Josh Bond and Neal Marsh4Sharon Van Etten "Seventeen" 2019 from "Remind Me Tomorrow" released on Jagjaguwar written by Sharon Van Etten/Kate David and produced by John CongletonCover:Performed by Josh Bond and Neal Marsh5Neil Diamond's 1967 “Girl, You'll Be a Woman Soon” from the album "Just for You" released on Bang. Written by Neil Diamond and produced by Jeff Barry and Ellie Greenwich.Cover:Performed by Josh Bond and Neal Marsh

At long last, Nora and Nathan cover Ariana Grande's 'Eternal Sunshine,' her seventh studio album. They talk about how this album seems to be lacking the viral hits that 'Sweetener' and 'Thank U, Next' had (1:00), whether this is a divorce album or if it's actually about Grande's relationship with the press (22:38), and the classic Max Martin production that can be found throughout the record (1:07:36). Hosts: Nora Princiotti and Nathan Hubbard Producer: Kaya McMullen Learn more about your ad choices. Visit podcastchoices.com/adchoices

In his second episode, Billy Nevers (Lafayette/Jefferson on the UK/Ireland tour) talks about his extensive history with & Juliet, including working with the fantastic Bill Sherman and the prolific Max Martin. Billy also talks about how Legally Blonde was one of the best experiences of his life, how he booked Lafayette/Jefferson for the Hamilton tour, and tells me about the fateful phone call where he was asked a very loaded question: How do you feel about Aaron Burr? Billy Nevers on TikTok Billy Nevers on Instagram & Juliet (Original London Cast Recording) /// Gillian's Website The Hamilcast on Twitter The Hamilcast on Instagram Join the Patreon Peeps

I had an absolute BLAST with Megan and Liz this week as they filled me in on the underbelly of the music industry. From working with pop music hitmakers Max Martin and Martin Johnson, to spilling tea about how some people get ahead in radio, we break down every question you've had about the music industry, industry plants, stars with the "It Factor" and more!0:00 Intro and how YouTube “made” Justin Bieber celebrities5:00 What it's like to work with Max Martin10:50 Working with Martin Johnson…and how he dated Taylor Swift15:50 Industry plants21:27 Musicians with the “it factor”37:19 Artists with good and bad work ethics40:56 Sleeping your way to the top in the music industry44:06 How artists make money todayWith Pair Eyewear, you can change your look in a snap. And their latest collections give you even more ways to celebrate your creativity and individuality. Change things up this season with new frames from Pair Eyewear. Go to paireyewear.com and use code SHANNON for 15% off your first pair.

In a preview of this week's Pop Pantheon: All Access episode and as a capstone to our latest series on Ariana Grande, Bustle's Nolan Feeney joins DJ Louie to discuss Ari's seventh studio album, Eternal Sunshine, which dropped on Friday. Louie and Nolan dig into all the record's themes, aesthetics, how it toys with her public narrative, the impact of collaborator Max Martin, absence of long-time songwriting aces Victoria Monet and Tayla Parx and so much more.To hear the rest of the this episode plus receive weekly bonus episodes of Pop Pantheon, gain access to our Discord channel and so much more, subscribe to Pop Pantheon: All Access at the Icon Tier. You can also subscribe for the audio only directly in the Apple Podcasts app. 

In this episode, Tyler and Korey discuss the Barbie Oscars snubs, Tyra Banks and her furries besties, how many of Max Martin's #1 songs Korey can guess, and the possible return of lead poisoning. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices