Podcasts about SingStar

Listen now on Apple, Spotify, and YouTube.—Steve is a games user research consultant, helping teams use player insight to create successful games. He works with publishers, platforms and studios of all sizes to transform their game development process, and build product strategies that combines player data with creativity. He work from ideation to post-launch in order to de-risk game development, and make games players love.Prior to this he was a senior user researcher for PlayStation and worked on many of their top European titles, including Horizon Zero Dawn, SingStar, the LittleBigPlanet series and the PlayStation VR lineup.Steve started the Games User Research mentoring scheme, which has linked hundreds of students with industry professionals from top games companies such as Sony, EA, Valve, Ubisoft and Microsoft. He wrote the bestselling book How To Be A Games User Researcher to share the expertise needed to work in the games industry.He regularly speaks at games industry conferences and on podcasts about games user research + playtesting, and has been recognised as a member of BAFTA. He also wrote the bestselling book Building User Research Teams, and helps teams build impactful research practice in-house.In our conversation, we discuss:* The evolution of Steve's career from early days at PlayStation to running his own games UX consultancy.* The difference between research in games vs. traditional tech, especially around the lack of discovery work.* How to measure subjective experiences like “fun,” and why that starts by redefining what “fun” even means.* The influence of secrecy, creative ownership, and marketing pressure on research methods in the games industry.* Real-world methods used in games UX, like mass playtesting labs and segment-based multiplayer analysis.Some takeaways:* Research in games is heavily evaluative. Unlike traditional UX, which often starts with uncovering user needs, games UX usually kicks in once there's a playable prototype. Because the “user need” in games is often just “make it fun,” research is focused more on assessing emotional impact and usability than on early-stage exploration.* Measuring fun is both subjective and contextual. Teams often ask, “Is this fun?”—but that question is too broad to act on. Steve explains that researchers must first help define what kind of fun is intended, whether that's emotional engagement, replay behavior, or challenge. Only then can appropriate metrics or qualitative signals be applied.* Creative ownership adds complexity to stakeholder management. Games are seen as artistic work. Designers may be deeply emotionally invested in their ideas, which can make it harder to embrace critical feedback. This makes relationship-building, empathy, and framing feedback constructively especially important in games UX.* Secrecy shapes everything, from methods to sampling. Due to high financial stakes and aggressive marketing timelines, games researchers often can't test publicly. This leads to lab-based studies with high participant control. Mass playtesting labs (20–80 people at once) are common for running controlled, large-scale tests without leaking content.* Toxicity and matchmaking need research too. Games with multiplayer or social components must test how players interact, especially when strangers are thrown together online. Teams look at voice/chat features, segmentation by playstyle, and matchmaking fairness to reduce toxicity and create balanced experiences.Where to find Steve:* Website* LinkedIn* Twitter/X* BlueSkyInterested in sponsoring the podcast?Interested in sponsoring or advertising on this podcast? I'm always looking to partner with brands and businesses that align with my audience. Book a call or email me at nikki@userresearchacademy.com to learn more about sponsorship opportunities!The views and opinions expressed by the guests on this podcast are their own and do not necessarily reflect the views, positions, or policies of the host, the podcast, or any affiliated organizations or sponsors. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.userresearchstrategist.com/subscribe

Liebe Gesangsengel,wenn ihr Alex auf der Bühne seht - hin da!!

Let's see how many Astro Bot cameos I recognize. NOTE: This is probably not a great audio-only episode as the majority of it relies on video game footage. 0:00 - Making people cry with Barbershop. In a good way! 3:55 - For a Nintendo fanboy, I recognize a surprising number of PlayStation characters. Hmm... If you missed Saturday's live broadcast of Molehill Mountain, you can watch the video replay on YouTube.  Alternatively, you can catch audio versions of the show on iTunes. Molehill Mountain streams live at 7p PST every Saturday night! Credits: Molehill Mountain is hosted by Andrew Eisen.  Music in the show includes "To the Top" by Silent Partner.  It is in the public domain and free to use.  Molehill Mountain logo by Scott Hepting. Chat Transcript: 7:01 PMLee Showron​​hey 7:09 PMCafeFox​​If you like colorful hack n slashes Andrew, check out Gori Cuddly Carnage 7:09 PMCafeFox​​It's got a cat too :3 7:10 PMCafeFox​​Astrobot was great 

139 - PlayStation 30th Anniversary De store nyhetene står på rekke og rad, både i spillbransjen og privat. Vi markerer 30-årsjubileet til PlayStation og snakker om alt fra konsollens historie til våre favorittminner knyttet til PlayStation-økosystemet. Peter har havnet på Warhammer-kjøret, mens Ingar har falt ned i et Balatro-hull. Klarer de å komme seg igjen til GOTY-episoden? Tiden vil vise ... Tidsstempler: Intro: (00:00) Kunngjøringer: (07:48) Temadel: PlayStation 30th Anniversary (23:29) Lytterpost: (55:55) Hva har du spilt: (1:01:16) Anbefaling: (1:29:33) Kuriositet: (1:34:11) Postludium: (1:36:00) Senua's Saga: Hellblade II, Balatro, Farming Simulator 25, God of War, Astro Bot, Warhammer 40,000: Space Marine 2, Baldur's Gate 3, Metaphor: ReFantazio, Overwatch Classic, Wario Land: Super Mario Land 3, XDefiant, Elden Ring 2, The Thing Remastered, Assassin's Creed Shadow, SSX Tricky, Ringenes Herre: To Tårn, Journey, Metal Gear Solid, WipEout, Tomb Raider, Tekken, Spyro the Dragon, Dance Dance Revolution, Singstar, Guitar Hero, Rock Band, Virtua Fighter, Ico, Shadow of the Colossus, Days Gone, The Last of Us, Final Fantasy X, Kingdom Hearts, Dragon Age: Origins, Ridge Racer, Gran Turismo, Devil May Cry, Ghost of Tsushima, Marvel's Spider-Man, Katamari Damacy, Uncharted, Grand Theft Auto III, Crash Bandicoot.

The breakthrough actor joins Rebecca to chat about performing alongside Coleman Domingo, how embracing theater and vulnerability changed his life, and what's next in his acting career. 

The breakthrough actor joins Rebecca to chat about performing alongside Coleman Domingo, how embracing theater and vulnerability changed his life, and what's next in his acting career. 

On the show this week - Guy is back and wants to know if you could replay a mission from your actual life like you can in games, what would you choose? And Chris gives us his thoughts on why everyone should be playing games on the hardest difficulty. Follow us here - https://linktr.ee/extremelycasualgamers Hosted on Acast. See acast.com/privacy for more information.

Send us a Text Message.Hold onto your low-rise jeans nostalgia nuts, this week we're chatting boobs, bluetooth and Mr Brightside

Sony Recorta en PlayStation: Despidos masivos en Sony.Sony Interactive Entertainment reducirá 900 puestos en su unidad PlayStation, el 8% de su plantilla global, incluyendo el cierre del estudio de LondresReestructuración en la industria de juegos.La división PlayStation de Sony Interactive Entertainment enfrenta un ajuste drástico, despidiendo a 900 empleados o el 8% de su fuerza laboral mundial. Esta medida, anunciada por Jim Ryan, es respuesta a la necesidad de adaptarse a una industria del juego en constante cambio. Los despidos, que afectarán a todas las regiones, incluyen el cierre del estudio de Londres, conocido por su innovación en juegos como SingStar. Este ajuste es parte de una tendencia más amplia de reestructuración en el sector tecnológico, impulsada por cambios en las demandas del mercado y desafíos operativos.Adaptación frente a la adversidad.Sony se reorganiza para enfrentar los desafíos de una industria cambianteCrónica de una transformación:Sony Interactive Entertainment ha visto una caída en la demanda de su consola PlayStation 5, llevando a la compañía a reducir su proyección de ventas a 21 millones de unidades para el año fiscal que termina en marzo. Este reajuste subraya los desafíos de la industria, como problemas en la cadena de suministro y una competencia intensa. Es en este contexto que se anuncia el cierre del estudio de Londres, una sede emblemática para Sony, que ha sido clave en el desarrollo de juegos innovadores y tecnologías como el EyeToy y la realidad virtual a través de PlayStation VR.La problemática se intensifica:El sector de videojuegos, aún recuperándose de un bajón post-pandémico, ve a Sony y otras grandes tecnológicas recortar personal y cerrar estudios para mantenerse a flote. La decisión de Sony refleja una estrategia de adaptación necesaria ante la evolución del mercado, afectando no solo a empleados sino también a la producción de títulos emblemáticos y la innovación en juegos.Un nuevo capítulo para Sony.A pesar de los recortes y el cierre de estudios importantes como el de Londres, Sony se compromete a continuar ofreciendo experiencias de juego de alta calidad. La empresa busca redefinir su estrategia para asegurar su liderazgo y sostenibilidad a largo plazo en el mercado de videojuegos. La transición en el liderazgo con Hiroki Totoki apunta a una nueva era de innovación y adaptabilidad.

Ever wonder how the mesmerizing tunes in your favorite video games come to be? With 24 years of experience in music supervision, our guest Sergio Pimentel is here to quench your curiosity. From his work at PlayStation and Activision Blizzard on beloved games such as SingStar and Guitar Hero, to his journey of setting up Synchronicity Music, Sergio's insights will take you on a fascinating expedition into the industry. He also reveals the behind-the-scenes of his experiences at Big Sync Music and Ninja Tune Records, shedding light on the nitty-gritty of copyright in music supervision.Navigating the complex process of finding and licensing commercial music, Pimentel discusses the role of a music supervisor. He offers his perspective on mediating between different opinions on music, starting from the inception of a game with just a concept document. From the importance of social media in tracking down artists and publishers, to dealing with publishing splits, Sergio's expertise provides a captivating peek into the challenges and rewards of his role.As we wrap up our conversation, we explore the evolving landscapes of the gaming and music industries. Discussing the competitive nature of game publishers and the rise of a DIY approach amongst game developers, we draw parallels with the world of music. Tune in to gain a comprehensive understanding of the various paths to market for games, and discover how game publishers shape the industry. Join us for an exciting exploration of the music that sets the rhythm of the gaming industry.

Hello and welcome to another episode of the Last Save Loaded podcast with Colm Sheridan and Justin Smith.  Listen along as we catch up on the last 2 weeks and discuss what games we've been playing.On the show this week, Justin has some days of child minding.Colm goes back to college.Justin has day trips and family meetups.Colm gets away for a mini break.Games we've been playing include Tabletop Racing World Tour, Moving Out 2,  Roombo : First Blood, Blood Bowl 3, Mario & Rabbids : Kingdom Battle, Bowser's Fury, Singstar, Kerbal Space Program,Hogwarts Legacy, Red Dead Redemption 2, Shining Resonance Refrain, Animal Crossing New Horizons, Kirby And The Forgotten Lands, and Wreckfest.We talk about backwards compatibility with our Question Of The Fortnight, and read out the listener responses.  You can send us your thoughts on the matter by email to lastsaveloaded@gmail.com, or by tweeting @lastsaveloaded, @MultiPlatMan, or @Onyersix.

Will Page returns to the show for a “state of the industry” episode. In last year's appearance he correctly called out the slowdown in streaming subscriptions, bubbles in web3, and more.Will believes the value of copyrighted music could hit $45 billion annually when the 2022 numbers are calculated — up $5 billion from 2021, which is already an all-time high for the industry.  Another massive shift is glocalisation”: the trend of local music dominating the domestic charts, as opposed to Western artists. This phenomenon isn't just being felt in music, but across every industry, from film to education.We covered both these trends, plus many more. Here's all our talking points: 1:33 Why the music industry is actually worth $40+ billion annually7:03 Physical music sales on the up and up10:47 How publisher and labels split up copyright value16:59 The rise of “glocalisation” will impact every industry34:39 DSP carnivores vs. herbivores 40:23 Why video vs. music streaming isn't a perfect comparison 46:31 Music as a premium offering in the marketplace 51:38 How to improve streaming royalties  1:06:05 AI music benefits that goes overlooked 1:10:07 Will's latest mix pays homage to Carole KingGlocalisation report: https://www.lse.ac.uk/european-institute/Assets/Documents/LEQS-Discussion-Papers/EIQPaper182.pdfWill Page's 2023 Believe in Humanity:https://www.mixcloud.com/willpagesnc/2023-believe-in-humanity/Listen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuest: Will Page, @willpageauthorThis episode is sponsored by DICE. Learn more about why artists, venues, and promoters love to partner with DICE for their ticketing needs. Visit dice.fmTrapital is home for the business of hip-hop. Gain the latest insights from hip-hop's biggest players by reading Trapital's free weekly memo. TRANSCRIPT[00:00:00] Will Page: I put so much emotional time and effort into making these mixes happen and going out for free.They get your DJ slots, but more importantly, it goes back to what makes me wanna work in music, which was a lyric from Mike G and the Jungle Brothers from that famous album done by the forties of Nature, where he said, it's about getting the music across. It's about getting the message across. It's about getting it across without crossing over.How can I get art across an audience without delegating its integrity? And it's such an honor to have this mixed drop in this Friday I mean, that's, made my year and we're not even into June yet.[00:00:30] Dan Runcie Intro: Hey, welcome to the Trapital Podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from executives in music, media, entertainment, and more who are taking hip hop culture to the next level.[00:00:56] Dan Runcie Guest Intro: Today's episode is all about the state of the music industry, and we're joined by the One and Only, Will Page. He is a fellow at the London School of Economics. He's an author of Tarzan Economics and Pivot, and he is the former chief economist at Spotify. Will's second time on the podcast. Now, the first time we talked all about the future of streaming and where things are going in music, and we picked that conversation, backed up.We talked about a bunch of trends including the glocalisation of music, which is from a new report that Will had recently put out. We also talked about why he values the music industry to be close to a 40 billion industry, which is much higher than a lot of the reports about recorded music itself.And we also talk about a bunch of the topics that are happening right now, whether it's ai, how streaming should be priced, the dynamic between record labels and streaming services, and a whole lot more love. This conversation will always brings it with these conversations, so I hope you enjoy it as much as I did. Here's our chat.[00:02:00] Dan Runcie: All right, today we have the one and only Will Page with us who is recording from a beautiful location. I don't know if you're listening to the pod you can't see, but will tell us where you are right now.[00:02:09] Will Page: So great to be back like a boomerang on Trapital. Dan, and I'm coming to you from the Platoon Studios. Part of the Apple Company Platoon is our label services company, which is owned by Apple. They're doing great stuff with the artists like Amapiano music from South Africa. And the best place I can describe to you here, it's like a Tardus.Have you've ever seen Dr. Who? There's a tiny door in this tall yard music complex in North London just behind Kings Cross. When you enter that tiny door, you enter this maze of the well class spatial audio recording studios of Apple. And it's an honor they've given me this location to come to Trapital today.[00:02:41] Dan Runcie: Well we're gonna make the best of it here and it's always great to have you on, cuz Last year, last year's episode felt like a state of the industry episode, and that's where I wanna start things off this year with this episode.A couple months ago, you put out your post in your Tarzan economics where you said that this industry is not a 2020 5 billion industry, the way others say. Mm-hmm. You say, no, this is almost a 40 billion industry. So let's break it down. How did you arrive there and what's the backstory?[00:03:12] Will Page: I get goosebumps when you say that you think like 10 years ago we were talking about a 14 billion business and now it's a 40, you know, skews a slurred Scottish pronunciation, but let's just be clear from one four to four zero, how did that happen?Well the origins of that work, and you've been a great champion of it, Dan, is for me to go into a cave around about October, November and calculate the global value of copyright and copyright is not just what the record labels publish, that famous IFPIGMR report that everyone refers to, but it's what collecting studies like ask F and BMI collect what publishers generates through direct licensing.You have to add A plus B plus C labels, plus collecting societies plus publishers together. Then the complex part, ripping out the double counting and doing all the add-backs, and you get to this figure of 39.6 billion, which as you say, you round it up, it begins with a four. And I think there's a few things that we can kind of get into on this front.I think firstly we should discuss the figure. I'll you a few insights there. Secondly, I think we should discuss the division. And then thirdly, I want to cover the physical aspect as well. So if you think about the figure, we've got 39.6 billion. We know it's growing. I think what's gonna be interesting when I go back into that cave later this year to redo that number, it's gonna be a lot bigger.Dan, I'll see it here on Trapital First. I think a 40 billion business in 2021 is gonna be closer to a 45 billion business in 2022. And one of the reasons why it's not labels and streaming, it's a combination of publishers are reporting record collections, essentially they're playing catch up with labels, booking deals that perhaps labels booked a year earlier.And collecting studies are gonna get back to normal after all the damage of the pandemic. And when you drive those factors in where you have a much bigger business than we had before. So for the people listening to your podcast who are investing in copyright, this party's got a waiter run. You know, don't jump off the train yet cause this thing is growing[00:05:18] Dan Runcie: And the piece I want to talk about there is the publishing side of this. If you look at the breakdown of the numbers you have, the publishing is nearly, publishing plus is nearly 13 billion itself. The major record labels own most of the largest publishers right now. Why isn't this number just automatically included? Wouldn't it be in everyone's advantage to include the fact that yes, Universal Music Group and Universal Music Publishing Group are together, part of the entity that make this, whether it's them, it's Warner Chapel, it's others. Why isn't this just the top line number that's shared in all of the other reports?[00:05:56] Will Page: It would be nice if it was, and indeed, I think the publishing industry around about 2001 used to do this. They haven't done it since. But it's like spaghetti. It's the best way I can describe it. I mean, how do you measure publisher income? You know, is it gross receipts by the publisher? Is it the publisher plus the collecting Saudi? That is money that went straight to the songwriter and didn't touch the publisher. So what the publisher holds onto what we call an industry, a net publisher, shares all these weird ways of measuring this industry that we have to be clear on.And it's, not easy. but I think what we do in the report is we try and make it bite size. We try and make it digestible to work out how much of that publisher's business came through, CMOs, the S gaps and BMIs this X over here PS music and how much do they bring in directly? And that allows you to understand a couple of things.Firstly, how do they compare vi to vis labels in terms of their overall income? And secondly, how do they compare when they go out to market directly, let's say putting a sync and a TV commercial or movie versus generating money through collective licensing that is radio or TV via ASCAP or bmr. So you get an interpretation of how these publishers are making those numbers work as well.[00:07:03] Dan Runcie: That makes sense. And then when we are able to break it down, we see a few numbers that roll up into it. So from a high level, at least what you shared from 2021, we have that 25.8 billion number from the recorded side. So that does fall in line with what we see from what the IPIs and others share. 10 billion Sure.From the publishing. And then you do have, the next 3.5 and then a little sliver there for royalty free and for the publishers' direct revenue that doesn't come from the songwriters. The next piece though, within the elements of how all of the revenue flows into that. We've talked a lot about streaming and we've talked, we'll get into streaming in a little bit, but I wanna talk about the physical side cause that was the second piece that you mentioned.We've all talked about vinyl, but it's not just vinyl. So could you talk a bit about where the trends are right now with physical sales and why this is such a huge factor for this number?[00:07:56] Will Page: Who would've thought on a Trapital podcast in May, 2023. We'll be talking about physical as a second topic on the agenda, but it's worth it. I mean, it's not a rounding era anymore. It's not chump change. in America, physical revenues largely vinyl outpaced the growth of streaming for the second year straight. It's not as big as streaming, but it's growing faster and it has been growing faster for two years now. That's crazy. Here in the uk the value of physical revenues to the UK music industry has overtaken the value of physical to Germany.Quick bit of history. For years, decades, Germans used to buy CDs. that's fallen off a cliff. They've given up on CDs. Whereas over here in Britain, we've all started buying vinyl again. So the value of vinyl in Britain is worth more than the value of CDs to Germans, that type of stuff you didn't expect to see.And if you go out to Asia, you see the CD market still strong. You've still got people who buy more than one copy of the same cd, of the same band. Don't ask me to explain the rationale for that, but it happens and it moves numbers. But after all this, when the dust settles, I mean a couple of observations, all the data to me is suggesting that 55, 60% of vinyl buyers don't actually own a record player.So I think it was Peter Drucker who said, the seller really knows what they're selling, and I don't think you're selling intellectual property or music cop right here. What we're actually selling is merchandise, you know, Taylor Swift, I got an email from Taylor Swift team saying they've got a marble blue vinyl coming out this week.Now we're talking about vinyl in the same way we used to talk about stone wash jeans, marble blue. This is like the fourth version of the same 11 songs priced at 29 99. Let's just figure that out for a second. I'm willing to give you 10 bucks a month to, access a hundred million songs on streaming services, but I'm also, it's the same person.I'm also willing to give you 30 bucks to buy just 10 of them. This is expensive music and I might not even be listening to it cause I don't even have a record player.[00:09:55] Dan Runcie: This is the fascinating piece about how we're calculating this stuff because the vinyl sales and all of that has been reported widely as a great boom to the industry and it has been.We've seen the numbers and in a lot of ways it brings people back to the era of being able to sell the hard copy of the thing itself, but it's much closer to selling a t-shirt or selling a sweatshirt or selling some type of concert merchant. It actually is the actual physical medium itself. So it'll be fascinating to see how that continues to evolve, how that embraces as well. On your side though, as a personal listener, do you buy any vinyls yourself that you don't listen to, that you just keep on display or?[00:10:34] Will Page: It's like your shoe collection, isn't it? Yes, right. Is the answer to that. But no, I mean, I will say that I got 3000 fi funk records in the house and they're all in alphabetical chronological order.So if they haven't been listened to, at least I know where to find them.[00:10:48] Dan Runcie: That's fair. That makes sense. So let's talk about the third piece of this, and that's the division of this. So you have the B2C side and you have the B2B side. Can we dig into that?[00:10:59] Will Page: Sure. this is, I think the backdrop for a lot more of the sort of thorny conversations happening in the music industry is now, you may have heard that in the UK we've had a three year long government inquiry into our business.We had the regulator turn over the coals, and so there's a lot of interest in how you split up this 40 billion dollar piece of pie. who gets what? And the division I'm gonna talk about here is labels an artist on one side. Songwriters and publishers on the other side as it currently stands, I would keep it simple and say two thirds of that 40 billion dollars goes to the record label and the artist, one third goes to the publisher and the songwriter.Now, when I first did this exercise back in 2014, it was pretty much 50 50, and when you see things which are not 50 50 in life, you're entitled to say, is that fair? Is it fair that when a streaming service pays a record label a dollar, it pays the publisher and the songwriter around 29 cents? If you're a publisher, a songwriter, you might say, that's unfair, cuz I'm getting less than them.I have preferences, issues, and I have any issues with this division. Well, let's flip it around. If you look at how B2B world works, licensing at the wholesale level, let's say you're licensing the bbc, for example, if your song's played on the bbc, you're gonna get 150 pounds for a play. 90 pounds goes to the songwriter and the publisher, 60 pounds goes to the artist and a record label.Now, is that fair? Why does the publisher win in the B2B market? By the record, label wins in the B2C market. And the one, the lesson I want to give your listeners is one from economics, and it's rarely taught university these days, but back in 1938, 1939, in a small Polish town called la. Now part of the Ukraine, ironically, free Polish mathematicians sat in a place called a Scottish Cafe, ironic for me, and invented a concept called Fair Division.And the question they posed was, let's imagine there's a cake and there's two people looking at that cake getting hungry. There's Dan Runcie over in the Bay Area and there's Will page back in Edinburgh. What's the best way to divide that cake up? And the conclusion they came up with is you give Will page, the knife.Aha, I've got the power to cut the cake. But you give Dan Runcie the right to choose which half. Damn, I've gotta make that cut really even otherwise, Dan's gonna pick the bigger half and I'll lose out. And this divider two model gave birth to the subject of fair Division and it simply asked, what makes a fair division fairer?How can I solve a preference? How can I solve for envy? I want that slice, not that slice. I'm unhappy cause Dan got that slice and not that slice. There's a whole bunch of maths in this. We had a third person that gets more complex. But I just wanna sow that seed for your listeners, which is when we ask questions like, why is it the label gets a dollar and the publisher gets 29 cents?There's gotta be some rationale why you know who bets first? Is it the label that bets first or the publisher who commits most? Is it label that commits most marketing spend or the publisher? These types of questions do with risk, often help answer questions of fair division, or to quote the famous Gangstar song, who's gonna take the weight?Somebody's gotta take a risk when you play this game, and perhaps there's a risk reward trade off, which is telling us who gets what Share of the spoils.[00:14:15] Dan Runcie: Let's unpack this a little bit because it's easy to see. May not be fair, but it's easy to see why the record labels get preference on the B2C side because as I mentioned before, the record labels have acquired a lot of the publishers, and especially in the streaming era, they were prioritizing that slice of the pie, their top line, as opposed to what essentially is the subsid subsidiary of their business, the publishing side.Why is it flipped with sync? Well, how did that dynamic end up being that way?[00:14:47] Will Page: That's an anomaly, which is actually blatantly obvious. You just don't think about it. And the way it was taught to me is anyone can record a song, but only one person can own a song. So I think, let's give an example of, I don't know, a Beach Boy song where I could ask for the original recording of that Beach Boy song to be used in the sync.Or I could get a cover band. So let's say I got a hundred thousand dollars to clear the rights of that song, and the initial split should be 50 50. If a band is willing to do a version of it for 10,000, the publisher can claim 90,000 of the budget and get the option. If the record label objects and says, well, I wish you used a master.Well, you got a price under the 10,000 to get the master in. So this kind of weird thing of bargaining power, if you ever hear. Let me scratch that again. Let me start from the top. Let me give you a quick example, Dan, to show how this works. One of my favorite sort of movies to watch when you're Bored and killing Time is The Devil's Swear, Prada great film.And then that film is a song by Seal called Crazy, incredible song, timeless. That guy has, you know, timeless hits to his name, but it's not him recording it. Now, what might have happened in that instance is the film producer's got a hundred thousand to get the song in the movie, and he's looking to negotiate how much you pay for publishing, how much you pay for label.Now the label is getting, you know, argumentative, wanting more and more, and the publisher is happy with a certain fee. Well, the film producer's got an option. Pay the publisher of the a hundred thousand, pay him 90,000, given the lion share of the deal. And then just turn the label and say, screw you. I'm gonna get a covers bant and knock me out.A decent version of it. And this happens all the time in TV films, in commercials, you'll hear covers of famous songs. And quite often what's happening there is you gotta pay the publisher the lion share of your budget and then just cough up some small chains to the covers bant to knock out a version.And then, so just a great reminder, Dan of anyone can record a song, but only one person can own the song that is the author. And that's why negotiating and bargaining power favors publishes in sync over the record labels.[00:16:59] Dan Runcie: That makes sense. And as you're saying that, I was thinking through five, six other examples of cover songs I've seen in many popular TV shows and movies.And this is exactly why?[00:17:08] Will Page: It's always car commercials. For some reason, every car commercial's got cover in a famous song. You think, remember that weird Scottish guy down Ronie Trapital? Yeah. That's what's happened. The publishers pool the rug from under the record label's feet at negotiation table.Another super important observation about the glocalisation trend, Dan, is I'm gonna take one of those 10 countries as our spotlight, Poland. Now the top 10 in Polands or Polish, the top 20 in Poland, or Polish. In fact, if you go to the top 40, it's pretty much all Polish bands performing in Polish, and you could say that's localization.But stop the bus. Most of those acts are performing hip hop, which is by itself a US genre. So perhaps we've got glocalisation of genre, but localization of language and artist. And that's a very important distinction for us to dissect. And perhaps it's for the anthropologist, the sociologist, to work out what's going on here.But it's not as straightforward as it's just local music. It's local music, but it's global genres, which is driving us forward.[00:18:08] Dan Runcie: And that's a great point for the people that work at record labels and other companies making decisions too, because there's been so much talk about hip hop's decline. But so much of that is focused on how this music is categorized and a lot of it's categorized solely on.What is considered American hip hop. But if you look at the rise of music in Latin America, which has been one of the fastest growing regions in the world, most of that music is hip hop. Bad Bunny considers himself a hip hop artist. You just brought up this example of Polish hip hop being one of the most popular genres there.So when we think about. How different genres get categorized, which genres get funding. Let's remember that key piece because hip hop is this culture and it's global, and that's gonna continue. So let's make sure that we are not taking away from a genre that is really one of the most impactful and still puts up numbers if we're categorizing it in the right way.[00:19:04] Will Page: Damn straight. I mean, I think genres are often like a square peg trying to fit into a round hole and in a paper published by London School of Economics, I was honored to use that line that I think I said on trap last time, which is rap is something you do. Hip hop is something you live. Rap could be the genre, hip hop could be the lifestyle.Maybe what those Polish acts getting to the top of the charts of doing is representing a lifestyle, but they're doing it in their mother tongue.[00:19:28] Dan Runcie: Well said. Agreed. Well, let's switch gears a bit. One topic that I wanna talk about, and I actually gave a talk recently, and I referenced you from this term, and its of music, was the glocalisation of music and why this is happening and what it means for Western music specifically in the us. But first, if you could define that term and explain why this is so important in music right now.[00:19:53] Will Page: Well, I'm so excited to be on Trapital talking about this because we are now officially published by London School of Economics, so I'm gonna make my mom and dad proud of me. At last Backstory, paperback of my book, guitars in Economics, retitled to Pivot. Apparently WH Smith's Travel and Hudson Travel said books with economics in their titles Don't sell an airport.So we've rebranded the whole book to Pivot and it's in airports, which is a result. that book, that paperback came out on the 6th of February and that night I was on the BBC one show and they had this great happy, clappy family friendly story. They wanted to bounce off me. They said, Hey, will, Isn't it great that the top 10 songs in Britain last year were all British ex?For the first time in 60 years, Britain got a clean sweep of the top 10 in the music charts. And I said, curb your enthusiasm because we're seeing it elsewhere. The top 10 in Germany, were all German. Top 10 in Italy, all Italian, ditto France, deto Poland. And if you go to Spain, the top 10, there were all Spanish language, but largely Latin American.So it's not just a British thing that we've seen this rise of local music on global streaming platforms. We're seeing it everywhere, cue some gulps and embarrassments live in the TV studio. But I made my point and I came out of that interview thinking. Well that stunned them. It's gonna stu more people.And I said about working on a paper called glocalisation, which with a Scottish accent, it's hard to pronounce. Let's see how you get on with it. Not localization and not glocalisation. Emerging to by definition and by practice glocalisation. I teamed up with this wonderful author, Chris Riva, who'd be a great guest on your show.He did a wonderful blog piece you may have read, called Why is There No Key Changes in Music anymore? It's a really beautiful piece of music writing and there isn't. Nobody uses key changes in the conclusion of songs. And we set out to do this academic study to explain to the world what's been happening in music and why it's relevant to everyone else.And what we saw across 10 European countries was strong evidence of local music dominating the top of the charts in these local markets on global platforms. Now history matters here. We didn't see this with local High street retailers, America, British, Canadian music dominated those charts. We still don't see it in linear broadcast models like radio and television, you know, it's still English language repertoire dominating those charts. But when it comes to global streaming, unregulated free market, global streaming, we see this phenomenal effect where local music is topping the charts. And you know, you look at what does it mean for us English language countries like ourselves?It means things get a little bit tough. It means exporting English language repertoire into Europe becomes harder and harder. Maybe I'll just close off with this quite frightening thought, which is Britain is one of only three net exporters of music in the world. The other two being your country, United States and Sweden.Thanks to a phenomenal list of Swedish songwriters and artists. And I can't think of the last time this country's broken a global superstar act since Dua Lipa in 2017. Dan, we used to knock them out one, two a year. 2017 was a long time ago, and it's been pretty dry since.[00:23:13] Dan Runcie: And that's a great point for the people that work at record labels and other companies making decisions too, because there's been so much talk about hip hop's decline. But so much of that is focused on how this music is categorized and a lot of it's categorized solely on.What is considered American hip hop. But if you look at the rise of music in Latin America, which has been one of the fastest growing regions in the world, most of that music is hip hop. Bad Bunny considers himself a hip hop artist, you just brought up this example of Polish hip hop being one of the most popular genres there.So when we think about, how different genres get categorized, which genres get funding. Let's remember that key piece because hip hop is this culture and it's global, and that's gonna continue. So let's make sure that we are not taking away from a genre that is really one of the most impactful and still puts up numbers if we're categorizing it in the right way.[00:24:07] Will Page: Damn straight. I mean, I think genres are often like a square peg trying to fit into a round hole and in a paper published by London School of Economics, I was honored to use that line that I think I said on trap last time, which is rap is something you do. Hip hop is something you live. Rap could be the genre, hip hop could be the lifestyle.Maybe what those Polish acts getting to the top of the charts of doing is representing a lifestyle, but they're doing it in their mother tongue.[00:24:32] Dan Runcie: Well said. Agreed. This is something that's been top of mind for me as well because technology in general has a way of making regions and making people in particular regions closer together than it does making the world bigger. It's like in, in a sense, technology can make the world seem bigger, but it actually makes it seem smaller, right? And I think that algorithms and bubbles that come from that are another symptom of this.But this is going to have huge implications for Western music. You mentioned it yourself. All of these markets that are used to being export markets, when they no longer have the strength to be able to have those exports, how does that then change the underlying product? How does that then change the budgets, the expectations of what you're able to make? Because if you're still trying to maintain that same top line revenue, you're still trying to maintain those airwaves you have, it's gonna cost you more money to do that, because you can't rely on the few Western superstars that you have to get, that you have to have equivalent of a superstar or at least a middle tier star in every region that you once had strong market share that you could export in.And it's gonna change cost structures. It's gonna change focus. And a lot of these expansions that we've seen of record labels, especially Western record labels, having strong footprints in different regions across the world, they're not just gonna need to have presence, they're gonna need to have strong results.And in many ways, try to rival the own companies that are in those comp, in those regions, the homegrown record labels, because every country is trying to do their own version of this and it's gonna be tight. This is one of the challenges that I think is only gonna continue to happen.[00:26:14] Will Page: You're opening up a real can of worms. I get it. Pardon to your listeners, we're getting excited here. Day of publication, first time we've been able to discuss it on air, but I know I'm onto something huge here and you've just illustrated why just a few remarks. One, some of the quotes that we have in the paper were just phenomenal. We have Apple included in the paper. We have Amazon, Steve Boom, the head of that media for Amazon in charge of not just music, but Twitch audio books, the whole thing. He's looking at all these media verticals. He makes this point where he says, as the world becomes more globalized, we become more tribal. Stop right there, as he just nailed it.What's happening here? It's The Economist can only explain so much. This is what's so deep about this topic. I wanna toss it to the anthropologist of sociologists to make sense of what I've uncovered, but it's massive. Now let's take a look at what's happening down on the street level with the record labels and the consumers. You know, the record labels are making more money and they're devolving more power to the local off seats. You know the headcount in the major labels, local off season, Germany, France, and Vietnam or wherever is doubled in the past five years. It hasn't doubled in the global headquarters. That's telling you something.If you look at how labels do their global priority list, maybe every month, here's 10 songs we want you to prioritize globally. So I had a look at how this is done, and across the year I saw maybe 8, 10, 12 artists in total, and there's 120 songs. There's not that many artists. You think about how many local artists are coming out the gate every week hitting their local labels or local streaming staff, up with ideas, with showcases and so on.Not a lot of global priority. Then you flip it and you think about the consumer, you know, they've had linear broadcast models for 70 years where you get what you're given. I'm gonna play this song at this time and you're gonna have to listen to it. FM radio, TV shows now they're empowered with choice and they don't want that anymore.They want what's familiar. What comforts them. They want their own stars performing in their own mother tongue topping those charts. So this has got way to go. Now, a couple of flips on this. Firstly, what does this mean for artists? And then I'm gonna take it out of media, but let's deal with artists.Let's imagine a huge festival in Germany. 80,000 people now festival can now sell out with just German X, no problem at all. So when the big American X or British X commanded like a million dollars a headlining fee, you wanna go play that festival. That promoter can turn around and say, sorry man, I can't generate any more money by having you on my bill.How much are you gonna pay me to get on stage? Price maker, price taker? You see what happens. And then the last thing, and there's so much more in this paper for your listeners to get to, and let's please link to it and you'll take, I'll take questions live on your blog about it as well, but. There's a great guy called Chris Deering, the father of the Sony PlayStation. Did you play the Sony PlayStation back in the day? Were you're a fan of the PlayStation.[00:29:08] Dan Runcie: Oh, yeah. PS one and PS two. Yeah. Okay.[00:29:11] Will Page: You, oh, so you, you're an OG PlayStation fella. So he's the father of the PlayStation and launching the PlayStation in the nineties and into the nineties. He offered us observation, which is when they launched a SingStar, which was karaoke challenge.In the PlayStation, he says, we always discussed why the Swedish version of SingStar was more popular in Sweden than the English version Science. Intuitive enough. Let me break it down. Gaming back then was interactive music was not, you interacted with your PlayStation, that's why you killed so much time with it. Music was just a CD and a plastic case that broke your fingernails when you tried to open it. That's how the world worked back then and gaming offered you choice. I could try and do karaoke with those huge global English language hits where I could go further down the chart and buy the Swedish version and sing along to less well known Swedish hits. And the consumer always picked the Swedish version. So as a bellwether, as a microcosm, what I think Chris Ding was teaching us was we saw this happening in gaming long before you started seeing it happen with music. 20 years ago when there was interactive content, which gaming was, music wasn't, and consumers had a choice, which gaming offered a music didn't.They went local. Today, Dan, we're dealing with music lists, A interactive, and B offers choice. And what we're seeing is local cream is rising to the top of the charts.[00:30:33] Dan Runcie: And we're seeing this across multimedia as well. We're seeing it in the film industry too. Even as recent as five, 10 years ago, you release any of the blockbuster movies that were successful in the us, almost all of them had some overseas footprint.Some of them definitely vary based on the genre, but they were always there. But now China specifically had been such a huge market for the Hollywood and Box office specifically, but now they're starting to release more of their own high ed movies and those are attracting much more audiences than our export content can one.Two, the Chinese government in general is just being very selective about what they allow and what they don't allow. And then three, with that, that's really only leaving certain fast and furious movies and Avatar. That's it. The Marvel movies are hit and missed depending on what they allow, what they don't allow, and how, and it's just crazy to see the implications that has had for Marvel Studios for everyone else in Hollywood as well.When you think about it, and we're seeing this across multimedia, I think there's a few trends here that makes me think about, one is. Population growth in general and just where those trends are and how different corporations can approach the opportunity. Because I look at Nigeria, you look at Ethiopia, these are some of the fastest growing countries in the world.And you look at the music that is rising more popular than ever, whether it's Amapiano or it's Afrobeats, that's only going to continue to grow. And that's only from a few regions in the huge continent of Africa. So when we're thinking about where success is gonna come from, where that lines up with infrastructure, people have been seeing it for years.But the reason that we're seeing the growth in Africa, the growth in Latin America, the growth in a lot of these markets is this trend of glocalisation and it's only going to increase. So if we're thinking about where we wanna invest dollars, where we wanna build infrastructure in the future, we not just being folks that live in the western world, but also elsewhere in the world, this is where things are heading.[00:32:37] Will Page: Let me come in down the middle and then throw it out to the side. So, Ralph Simon, a longtime mentor of mine, is quoted in the paper and where he's actually gonna moderate the address here at the Mad Festival here in London, which is for the marketing and advertising community here, where he says, what you've uncovered here that headwind of glocalisation is gonna affect the world of marketing and advertising this time next year.That's what will be the buzzword in their head. So if you think about, I don't know, a drinks company like Diagio, maybe they've got a globalized strategy and a globalized marketing budget. When they start seeing that you gotta go fishing where the fish are and the fish are localized, they're gonna devolve that budget and devolve that autonomy down to local offices. So the wheels of localization, this rise of local, over global, they've only just got started, if I've called it right. We're onto something way bigger than a 20 minute read LSE discussion paper. This goes deep, deep and far beyond economics. But then you mentioned as well China, I mean just one offshoot observation there, which is to look at education.If you look at the UK university system, about a third, if not more, of it is subsidized by the Chinese government and Chinese students here. Great for business, slightly dubious in its business, besties, charging one student more than another student for the same product. But that's what we do over here.And I recently, we made a fellow of Edmar University's Futures Institute, which is an honor to me, you know, gets me back home more often. Fine. And I was learning from them that. The quality of students coming from China to study here in Britain and across Europe is getting worse and worse. Why? Cuz the best students have got the best universities in China.They no longer need to travel. So there's a classic export import dilemma of, for the past 10, 15 years, universities have built a complete treasury coffer base of cash around selling higher education to the Chinese. And now the tables are turning. I don't need to send my students to you universities anymore.I'll educate them here. Thank you very much. So, like I say, this stuff is a microcosm. It's got a can of worms that can open in many different directions[00:34:39] Dan Runcie: And it's gonna touch every industry that we know of to some extent, especially as every industry watches to be global to some extent. This is going to be a big topic moving forward.Let's shift gears a bit. One of the terms that was really big for us. That came from our podcast we did last year. We talked about herbivores and we talked about carnivores, and we talked about them in relation to streaming. We haven't touched on streaming yet, and this will be our opportunity to dig down into it, but mm-hmm.For the listeners, can we revisit where that came from, what that means, and also where this is heading? What does this mean for music streaming right now as it relates to the services and competition?[00:35:24] Will Page: Well, when I first came on Trapital, that was in a small Spanish village of Cayo De Suria and I didn't think I'd come up with an expression that would go viral from a small village in Spain to be, you know, quoted from in Canada, in America.And Dan, this is quite hilarious. we have a new secretary of state of culture here in the UK. The right Honorable MP, Lucy Fraser KG, Smart as a whip. Brilliant. And when I first met her, you know what the first thing she said was, I listened to you on Trapital. I wanted to ask you about this thing you've got going called herbivores and carnivores.So right the way through to the corridors of power, this expression seems to have traveled. What are we talking about? Well, the way I framed it was for 20 years we've had these streaming services, which essentially grow without damaging anyone else. Amazon is up. Bigger subscriber numbers. Apple's got bigger subscriber numbers.YouTube and Nancy's bigger subscriber numbers. And then Spotify. Nancy's bigger subscriber numbers. Everyone's growing each other's gardens. That's fine. That's herbivores. What happens when you reach that saturation point where there's no more room to grow? The only way I can grow my business is stealing some of yours.That's carnivores. And the greatest example is simply telcos. We're all familiar with telcos. We all pay our broadband bills. How do telcos compete? Everybody in your town's got a broadband account, so the only way you can compete is by stealing someone else's business. The only way here in Britain Virgin Media can compete is by stealing some of skies.The only way that at and t competes is by stealing some of com. So that's carnival competition. Now, the key point for Trapital listeners is we don't know what this chapter is gonna read like cuz we've never had carus pronounce that word correctly. Carus behavior before. We've never seen a headline that said, Spotify's down 2 million subs and apple's up 2 million, or Amazon's up 3 million and you know, YouTube is down 3 million.We don't know what that looks like. So I think it's important for Trapital to start thinking about logical, plausible scenarios. You kick a one obvious one, which is again, a lesson from the telcos. When we do become carnivores, do we compete on price or do we compete on features? Let me wheel this back a second, you know, we'll get into pricing in more depth later. But downward competition on price tends to be how carnivores compete, and that'll be a fascinating development given that we've not seen much change in price in 22 years in counting or as we saw with Apple, they roll out spatial audio, they charge more for it, they've got a new feature, and they charge more for that feature.So do we see downward competition blood on the carpet price competition, or do we see. Upward competition based on features. I don't know which one it's gonna be. It's not for me to call it. I don't work for any of these companies. I've worked with these companies, but I don't work for any of them directly.But we have to start discussing these scenarios. How's this chapter gonna read when we start learning of net churn amongst the four horseman streaming services that's out there. It's gonna be a fascinating twist, and I'm beginning, Dan, I'm beginning to see signs of con behavior happening right now, to be honest with you.I can see switchers happening across the four, so I think we're getting there in the US and the UK. What are those signs you see? I'm just seeing that in terms of subscriber growth, it's a lot bumpier than before. Before it is just a clear trajectory. The intelligence I was getting was, everyone's up, no one needs to bother.Now I flag, you know, I signed the siren. I'm beginning to see, you know, turbulence in that subscriber growth. Someone could be down one month, up the next month. Maybe that's just a little bit of churn. The ending of a trial period, you don't know. But now for me, the smoke signals are some of those services are seeing their gross stutter.Others are growing, which means we could start having some switching. I can add to that as well. Cross usage is key here. I really hammered this home during my 10 years at Spotify, which is to start plotting grids saying, who's using your service? This person, that person, and next person now ask what other services are they using?And some data from America suggests that one in four people using Apple music are also using Spotify. And one in four people using Spotify are also using Apple Music. Cross usage confirmed. So if that was true, what do you make of that? With a public spending squeeze? With inflation, with people becoming more cost conscious in the economy with less disposable income, maybe they wanna wheel back from that and use just one, not two. And that's where we could start seeing some net churn effects taking place as well. So, you know, imagine a cross usage grid in whatever business you're working on. If your Trapital listeners and ask that question, I know who's using my stuff, what else are they using? Um, that's a really, really important question to ask to work out how this carnivore scenario is gonna play out.How are we gonna write this chapter?[00:40:23] Dan Runcie: This is interesting because it reminds me of the comparisons that people often make to video streaming and some of the dynamics there where prices have increased over the years. I know we've talked about it before to tend to a 12 years ago Netflix was cheaper than Spotify was from a monthly, US price group subscription.And now tough, tough. It's right. And now it's nearly twice the price of the current price point. That it is. The difference though, when we're talking about when you are in that carnival, when you're in that carnival market, what do you compete on? Features or price? Video streaming, you can compete on features essentially because the content is differentiated.If you want to watch Wednesday, that Netflix series is only one platform that you can watch it on. Yeah, you need to have that Netflix subscription, but in music it's different because if you wanna listen to SZA's SOS album, that's been dominating the charts. You can listen to it on any of these services.So because there are fewer and fewer limitations, at least, if your goal, main goal from a consumption perspective is to listen to the music, how do you then differentiate, which I do think can put more pressure on price, which is very interesting because there is this broader pricing debate that's happening right now about why prices should be higher.And we've seen in the past six plus months that Apple has at least raised its prices. Amazon has done the same, at least for new subscribers. Spotify has announced that it will but hasn't yet and this is part of that dynamic because on one hand you have these broader economic trends as you're calling them out, but on the other hand you do have the rights holders and others pushing on prices to increase.And then you have the dynamic between the rights holders and then the streaming services about who would then get the increased revenue that comes. So there's all of these fascinating dynamics that are intersecting with this her before shift to carnivores[00:42:23] Will Page: For sure. Let me just go around the block of those observations you offered us. All relevant, all valid and just, you know, pick off a few of them. If we go back to Netflix, I think Netflix has a, not a herbivore. I'm gonna talk about alcohol here cause it's late in the day in the UK. A gin and tonic relationship with its competitors. That is, if Dan Runcie doesn't pay for any video streaming service, and let's say Netflix gets you in and I'm the head of Disney plus, I say, well, thank you Netflix.That makes it easier for me to get Dan to pay for Disney Plus too. They compliment each other. They are genuine complimentary goods. They might compete for attention. You know who's got the best exclusive content, who's gonna renew the friends deal, whatever, you know, who's gonna get Fresh Prince of Bel Air on?That could be a switch or piece of content too, but when you step back from it, it's gin and tonic. It's not different brands of gin, that's really important technology, which is they've grown this market of video streaming. They've increased their prices and the same person's paying for 2, 3, 4 different packages.If I added up, I'm giving video streaming about 60 quid a month, and I'm giving music streaming 10 and the sixties going up and the music's staying flat. So it's bizarre what's happened in video streaming because the content is exclusive. Back to, how do music carnivores play out again? Could we see it play out in features?I listen to airport cause they've got classical and I listen to Spotify because it got discovered weekly. Is that plausible? Personally, I don't buy it, but you can sow that seed and see if it takes root, as well. I think just quick pause and Apple as well. I think two things there. They've launched Apple Classical. That's a very, very good example of differentiating a product because it's a standalone app like podcast as a standalone app. The way I look at that is you can go to the supermarket and buy all your shopping. You can get your Tropicana orange juice, you can get your bread, get your eggs, get your meat, get your fish or you could go to a specialist butcher and buy your meat there instead. Apple Classical for me is the specialist butcher as opposed to the supermarket, and they're offering both in the same ecosystem. It'd be incredible if they preload out the next iOS update and give 850 million people an Apple classical app.Imagine if they did that for Jazz, my friend. Imagine if they did that for jazz. Just if Apple's listening, repeat, do that for jazz. So there's one example. The other example from Apple is to go back to bundling. You know we talk about 9.99 a month. I chewed your ear off about this topic last time I was on your show.Just to remind your listeners, where did it come from? This price point in pound Sterling, in Euro in dollar that we still pay for on the 20th of May, 2023. It came from a Blockbuster video rental card that is when reps, he got its license on the 3rd of December, 2001. Not long after nine 11, a record label exec said if it cost nine 90 nines, rent movies from Blockbuster.That's what it should cost to rent music. And 22 years plus on, we're still there, ran over. But what does this mean for bumbling strategies? How much does Apple really charge? If I give $30 a month for Apple One, which is tv, music, gaming news, storage and fitness, all wrapped up into one price. Now, there's a famous Silicon Valley investi called James Barksdale.Dunno if you've heard of him from the Bay Area where you're based. And he had this famous quote where he said, gentlemen, there's only two ways to make money in business. Bundling and unbundling. What we've had for the past 10 years is herbivores. Unbundling. Pay for Netflix, don't pay for Comcast. Pay for Spotify. Don't pay for your CDs, fine. What we might have in the next 10 years is carnivores bundling, which is a pendulum, swings back towards convenience of the bundle and away from the individual items. So Apple, take 30 bucks a month off my bank balance. Please take 40. All I want is one direct debit. I don't care about the money, I just want the bundle.And I don't want to see 15 direct debits every month. I just wanna see one. I think that's a very plausible scenario for how the next 10 years it's gonna play out as we shift from herbivores to carnivores[00:46:31] Dan Runcie: And the bundle benefits, the companies that have the ability to do that, right? You can do that through Amazon Prime and get your video, your music, your free shipping or whatever is under that umbrella. You could do that through Apple. You mentioned all the elements under Apple one. Spotify has some element of this as well, whether it's exclusive podcasting and things like that. So you're starting to see these things happen, one thing that you mentioned though earlier, you're talking about going through the supermarket and all of the items that you could get there versus going to the specialty butcher.One of the unique aspects of the supermarket thing though, is that. You go into the supermarket, yes, you can get your high-end Tropicana, or you can get the generic store brand, but you're gonna pay more for that high-end Tropicana because you're paying for the brand, you're paying for everything else that isn't gonna necessarily be the same as the generic one.That may not necessarily be the same quality or the same taste. We're seeing this a bit in the streaming landscape now and some of the debates that were happening. You've heard the major record label executives talk about how they don't necessarily want their premium music. They see their content as HBO level and it's being in a playlist next to rain music, or it's next to your uncle that is playing some random song on the banjo and they're getting essentially the same price going to the rights holders for that song.And in the supermarket that's obviously very different, each item has its own differentiator there, or econ has its own price point there and its own cost, but that isn't necessarily the same thing in music. Of course, the cost of each of those tracks may be different, but the revenue isn't. So that's gonna be, or that already is a whole debate that's going on right now. Do you have thoughts on that?[00:48:21] Will Page: Well, you tossed top Tropicana, let me go grab that carton for a second. It's one of the best economic lessons I ever learned was visiting a supermarket in America cuz it's true to say that when you go into one of your American supermarkets, an entire aisle of that precious shelf space, it's dedicated to selling inferior brands of orange juice next to Tropicana.Just very quickly what's happening there, the undercover economist, if you want, is a bargaining power game. Tropicana knows The reason Dan Runcie pulled the car over, got the trolley, went into that supermarket is to get a staple item of Tropicana and other stuff. By the time it gets to the till, Tropicana could be $5.By the time he gets to till he spent $50. So here, subscriber acquisition cost contribution is really high. They're getting you into the mall. What you do once you're in the mall is anyone's business, but they got you in. Otherwise you would've gone to the deli across the street. So they could say to the supermarket, I'm gonna charge you $7 to sell that Tropicana for $5 in my supermarket.Supermarket knows this, they know that Tropicana's got the bargaining paris. They counter by saying, here's an entire shell space of awful brands of orange juice to curb your bargaining power to see if the consumer wants something different. Now is this Will Page taking a stupid pill and digressing down Tropicana Alley. No. Let's think about this for a second today, Dan, there's a hundred thousand songs being onboarded onto streaming services. Is there anybody what? Marching up and down Capitol Hill saying We want a hundred thousand songs. No, the floodgates have opened them. It's all this content. Two new podcasts being launched every minute.All this content, all of these alternative brands to Tropicana. But you just wanted one. And I think the record labels argument here is that one Cardinal Tropicana is worth more than everything else you're offering by its side. So we wanna rebalance the scales. Now this gets really tricky and very contentious, but what is interesting, if you wanna take a cool head on this topic, it's to learn from the collecting studies, which is not the sexiest thing to say on a Trapital podcast, but it's to look at your Scaps and your BMIs and understand how they distribute the value of money for music.Since their foundation in the 1930s, scap has never, ever treated music to have the same value. They have rules, qualifications, distribution, allocation practices, which change the value of music. And they don't have data scientists then. And to be honest, I don't think they have data scientists now, but they always have treated the value of music differently.When they were founded, they had a classical music distribution pot and a distribution pot for music that wasn't classical music. Ironically, their board was full of classical composers, and I think that's called embezzlement, but we'll leave that to the side. What we have here is a story of recognizing music as different value in the world of collecting Saudi.I call that Jurassic Park, but in the world of music streaming with all those software developers and engineers and data scientists, 22 years of 9.99 money coming in and the Prorata model, which means every song is worth the same for money going out, and that's your tension. That's your tension. How do you get off that?Tension is anyone's business. We got some ideas we can discuss. User-centric is one, autocentric is another. I've got a few ideas for my own, but I want your audience to appreciate. In straight no chaser language we call it. That's the undercurrent of what's going on here. How do you introduce Trapitalism to communism?[00:51:38] Dan Runcie: You mentioned there's artist centric, user-centric, but you mentioned some ideas you had of your own. What are those ideas?[00:51:44] Will Page: Can I bounce it off? Use my intellectual punch bag for a quick second. Yes, and I've worked 'em all. I've worked on the artist centric model. I've worked on artist growth models. That's up on YouTube. I've worked on user centric, but I'm just, I'm worried that these models, these propositions could collapse the royalty systems that these streaming services work under. The introduction of user centric or artist centric could become so complex, so burdensome, the royalty systems could break down.That's a genuine concern I have. It's not one you discuss when you talk about your aspirations and the land of milk and honey of our new streaming model that you envisage. Back in the engine room when you see how royalties are allocated and calculated and distributed out to right holders, I mean they're under stress anyway.Any more stress could snap it. So I come at this model, my proposition from the one that's least likely to break the system. I'm not saying it's the best model, but it's the least like least likely to have adverse impact on the system. And it came from my DCMS Select Committee performance in the UK Parliament, which your listeners can watch, we can give the link out, which is I said to the committee in terms of how you could change the model.What about thinking about duration? This wheel back since 1980s when B BBC radio plays, let's say Bohemian Rhapsody, it will pay for that song twice what it would pay for. You're my best friend, members of Queen wrote both songs, both released within three, four years of each other, but one lasts twice as long as another.So duration is not new. We factor in duration a lot in our music industry. We just never thought about it. If you look at Mexico, the Mexican collecting Saudi, which is so corrupt as an inside an army barracks, if you look there, they have sliding scales, duration. They factor in time, but they say the second minute is what?Less than the first. But I'm giving you more for more time just adding, decreasing scale. Germany, they have ranges in your country. America, mechanical licensing collective, the MLC in Nashville, they have overtime songs that last more than six minutes get a 1.2 multiplier. So I've been thinking about how could you introduce duration to this business?And the idea I've come up with is not to measure time. That'd be too complex, too burdensome. Every single song, measuring every second of consumption. How do you audit there? If you're an artist manager, but I wanna measure completion, then I think this is the answer. I want songs that are completed in full to receive a bonus and songs that are skipped before they end to receive a penalty.Not a huge bonus, not a huge penalty, but a tweak. A nudge that says, I value your attention. I value great songs, and you listen to these great songs and it captures my entire attention. You deserve something more. But if I skipped out after the first chorus, you deserve something less. I think that small nudge is a nudge in the right direction for this industry, and it wouldn't break the systems.So there it is. Tell me now, have I taken a stupid pill?[00:54:42] Dan Runcie: What I like about it, and I've heard other people in the industry mention this too, you're able to get something closer to what we do see in video streaming. I forget which app is specifically, but their threshold is 75%. So they acknowledge that yes, if you don't wanna watch the credits, you don't wanna listen to the closeout, that's fine.But if we at least get you for 75%, then we are gonna count that, and then that then can get used internally. That can then get used in different areas. But I think it provides everyone better data and analysis, much better data to be able to break down than. Whether or not you listen to the first 30 seconds, that's such a low threshold, but that's essentially where we are today.I think the biggest thing, regardless of what path is chosen, because as you and I both know, there's trade-offs to everyone. So instead of going through all the negative parts about it, I think it's probably more helpful to talk about it collectively, you accept the fact that there are trade-offs. You accept the fact that people are gonna try to game the system regardless of how you go about it.Because we have seen duration work elsewhere and it does get at that particular thing that we're trying to get at there is help there. And you mentioned other things such as, yes, if you're listening to the Bohemian Rhapsody, you, which I think is at least seven minutes and 15 seconds, most likely longer versus two minute song that is clearly idealized for the streaming era.There still should be maybe some slight difference there because listening to a minute and 30 seconds is very different than listening to five minute and 45 seconds to be able to hit that 75% threshold. So between that and then I've heard other topics such as which artists you start your session with should have some type of multiplier on there, and as opposed to someone that gets algorithmically recommended to you to be able to put some more onus on the on-demand nature of music streaming.The tough thing is that these things do get tough in general. Anytime there's any type of multiplier or factor in, there still is a zero sum pot that we're taking the money out of. So accepting the trade-offs, I like the direction, I think that there's a few ways to go about it that could make it more interesting, but in general, I do think that any of the proposed options I've seen at least, allow a bit more of a true economic reflection of where the reality is as opposed to where things are today.And I understand where things are today. It's easy. It's easy to report, it's easy to collect on and pay people out, relatively speaking. But like anything, there's trade offs.[00:57:14] Will Page: Yeah, it's really easy today. Even drummers can work out their royalties and no offense to drummers, but that's telling you something.But two points on my dura

Félix hittar en låda med gamla tv-spel och vi snackar om allt från dansmattor och Dreamcast till Singstar och Game Boy. Minns någon föresten Nokia N-Gage?

„Nirgendwo sammeln sich so viele rührende, hoffnungsvolle Menschen wie um einen Popstar in aufwendigen Kostümen.“ Judith Holofernes

Zwei Ischen, ein Abend und ein paar Dutzend Zutaten in der Gesichtsmaske: Wir heißen alle Geschlechter willkommen zu unserem Mädelsabend! Auf dem Programm: Snacks, Sekt, Schüft, Singstar und Selbstzweifel. Unter anderem. #vergurktundzugequarkt

Eine gemischte Tüte, so könnte man diese Folge beschreiben. Wir reden über die Vorteile von Wurfzelten oder auch Normalo Zelten. Ganz ehrlich? Eigentlich sollte ein Zelt doch einfach nur dicht halten. Denn ganz ehrlich in einem Zelt durchlebt man doch sowieso die drei Aggergat Zustände. Nachts fest, Mittags flüssig und Nachmittags in der Sonne, gasförmig. Wir teilen unsere Tipps und Tricks für eine erfolgreiche Camping-Erfahrung. Außerdem sprechen wir über das San Hejmo Festival, auf dem Tokio Hotel auftreten werden. Femke hat mal wieder mal Schwierigkeiten, sich Namen zu merken. Wir stellen uns auch die Frage, warum es keine Singstar Bühne auf dem Festival gibt denn das Line up vom San Hejmo hat schon Singstar 2010 Potential. Und falls du dich fragst, wie man am besten eine Luftmatratze aufpumpen kann, haben wir auch einige hilfreiche Hinweise für dich. Wenn du uns unterstützen möchtest schau doch gerne mal auf Instagram vorbei unter @campsidestorys. --- Send in a voice message: https://podcasters.spotify.com/pod/show/campsidestorys/message

44 jaar na Johan De Muynck wint er opnieuw een Belg een grote ronde. Meer dan voldoende aanleiding voor host Michaël Van Damme om zijn microfoon boven te halen en vanop de luchthaven terug te blikken op deze historische Vuelta met Chef Wielrennen Wim Vos en onze reporters ter plaatse: Maarten Delvaux en Jan-Pieter De Vlieger. Host: Michaël Van Damme Gasten: Wim Vos, Jan-Pieter De Vlieger en Maarten Delvaux Uitgever: Het Nieuwsblad Postproductie: Elisabeth Verstraete (House of Media) Sounddesign: Xavier De Clercq (House of Media) Sponsor: Skoda

This episode is sponsored by anger and Emphysema --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/clifton7/support

On today's podcast with Nickson, Meg & Eli find out why Meg created a fake account under the name Tessa, it's a pretty smart idea! Meg reveals what she does in the shower that shocked the boys and probs made them happy they don't live with her... And remember SingStar? The team gives us their 2022 edition! See omnystudio.com/listener for privacy information.

Hymn.Sing.Star of Our Hope.

Hymn.Sing.Star of Our Hope.

Fresh back from the weekend and we are in Red light mode in Aotearoa! Here's a throwback - Pimple popping videos! We discuss more on this weeks podcast!See omnystudio.com/listener for privacy information.

Jakso 80. Vuosi 2022 on saapunut - ja jälleen olemme palanneet studioon. Rosanna höpisee Singstar-mikkiin, samalla kun Mandéloz koittaa pohtia, miksi Iron Maiden merkitsee hänelle niin paljon? Käymme läpi loman kuulumisia ja pelaamme this or thatia! Tervetuloa kuuntelemaan. Äänessä parhaat juontajat Rosanna ja Mandéloz.

En este capítulo os hablo del descubrimiento de un juego de PC para cantar que puede ser muy útil para amenizar estas fiestas de nochevieja en casa.Juego: www.ultrastar-es.orgMicrofono: Behringer BA85A: https://amzn.to/3qoGX4NCables XLR Stagg: https://amzn.to/3JkHBZFCanal de Twitch: https://www.twitch.tv/geekpollasTwitter y Telegram: @geekpollas @geekpakoGrupo de Telegram: https://t.me/joinchat/RTsWMKAM0gjrKrxdCorreo y Paypal: geekpollas@gmail.comAfiliado Amazon: https://amzn.to/2Ax2eTSAfiliado VIVID: https://vivid.money/r/susana1WD

Miss JB For Breakfast? JB and Amy chatted about their memories of SingStar on the Playstation and hitting those gold notes! JB caught up with Caroline Lumley from the Tamworth Business Chamber on the eve of the nominations being released, plus JB farewelled Romy and discussed their final batch of Frustrating Little Fings! All that and more in this edition of the JB For Breakfast Catch Up only on 92.9!

Shit has well and truly hit the fan, and heaven only knows when the good folk of Australia's most populated state will be able to freely swing by a mate's house to blow a megatonne of dust off of a PS2 and go absolutely nuts with all of those SingStar discs that they forgot they owned. This episode, then, is dedicated to games that can be played online and that shine best by bringing the people playing together into focus. Tim leads the charge here, with Hewso and Shaun providing support. What? You were expecting fresh blood again? Pfft! Get real. Next thing you know people will expect milkshakes to be healthy! Games: Psychonauts 2, Trigger Witch, God of War Theme Music: Visitors from Dreams by Mathieu Stempell Dma-Sc Break Music: Angelhenge by Mazedude (feat. zykO) Cast: Tim Henderson Matthew Hewson Shaun Nicholls This podcast is powered by Pinecast. Try Pinecast for free, forever, no credit card required. If you decide to upgrade, use coupon code r-1862be for 40% off for 4 months, and support Player 2's Podcasts.

So this week, I thought I would catch up for another chat, a follow on from a previous episode with my sister, Michelle, a singer and entertainer in her own right, also known by her fans as Smiley Shelly Harte, and now lives in Gran Canaria. Michelle talked about the importance of tourism to a place like Gran Canaria, the bars re-opening again and restrictions in place, getting to see friends she has met again from her time living on the island. We also talked about loving bingo, karaoke and our Singstar days, her days performing in the folk choir, loving what she does now, missing home, making friends and lots more. You can see what shell is up to by following her on social media-     Facebook: Smiley Shelly Harte Instagram- @shellyharte1981 Thanks for listening, and remember you are always welcome on Hartlelines.  

This time we are talking about July August and September of 2009. Chris gets another moment of fame courtesy of Chris Hardwick and G4 when a video appears on Web Soup. Chris humps his PS3 to get his Playstation network access back. The saga of Liquid Chris begins and the Sing Star challenge goes down. 

Spillserien The Legend of Zelda fyller hele 35 år i år, og ryktene tilsier at noen Zelda spill kan dukke opp som remasters på Nintendo Switch. Det er kommet screenshots fra Battlefield 6, og selvfølgelig er Hansa og Vegard både kritisk, glade og forvirret. Ukens Main Topic er Partyspill. Mange husker kanskje Guitar Hero, Rock Band og Singstar som tok verden med storm. Hva skjedde med disse spillene?

Segundo video sobre los Oscars 2021, sobre The Life Ahead y Eurovision SongContest, ambas nominadas a mejor canción original por Io sí, y Hulavik, respectivamente. Gracias a Aitor Gaztambide Romero Muñuz Buñuel (DNI 42984625R) que me ha puesto bien el micrófono (nótese que es del SingStar) y que se me pueda oir algo mejor.

Steve Bromley is an experienced user researcher and author of two famous books - Building User Research Teams' and ‘How to be a games user researcher. He started the first user research team for UK's Parliament and for Reach, the UK’s largest publisher. Before this, he was a lead user researcher for the PlayStation VR headset and many of PlayStation’s titles, including Horizon: Zero Dawn, No Man's Sky & SingStar. In this episode, Steve had shared great insights on User Research in Games; we discussed how user research in games happens, how different it is from the traditional UX research process, and how to synthesise research and convert them into artefacts that are understood across the teams. We then discussed how to apply usability heuristics to video games to make sure they are fun to play with and different ways to measure the success/failure metrics in gaming research? Takeaways: What is user research in games? How to make games more fun? Success and failure metric in game user research Resources Mentioned by Steve How To Be A Games User Researcher: https://www.amazon.com/How-Be-Games-User-Researcher-ebook/dp/B08T6BKNMF Links to more Games User Research resources and community links: https://gamesuserresearch.com/games-user-research-start-here/ Books Steve described: Just Enough Research - Erika Hall ( https://abookapart.com/products/just-enough-research ) Quantifying the User Experience - James Lewis and Jeff Sauro ( https://www.sciencedirect.com/book/9780123849687/quantifying-the-user-experience ) Think like a UX researcher by David Travis and Philip Hodgson ( http://uxresearchbook.com/ ) Thank you for listening to this episode of Nodes of Design. We hope you enjoy the Nodes of Design Podcast on your favourite podcast platforms- Apple Podcast, Spotify, Google Podcasts and many more. If this episode helped you understand and learn something new, please share and be a part of the knowledge-sharing community #Spreadknowledge. This podcast aims to make design education accessible to all. Nodes of Design is a non-profit and self-sponsored initiative by Tejj.

Es ist soweit: die 24 Jahre, die Sophia jetzt auf dem Buckel hat, machen sich bemerkbar. Kränkelnd setzt sie sich vors Mikro und lässt sich von Tanja auskurieren. Weinschlampen-Therapie at its best! Natürlich gehts aber nicht nur ums Wehleidige, sondern wir reden auch über Träume, Netflix-Drama, Hochzeiten und eskalative SingStar-Partys.

Na, wie war das bei euch früher? Gemeinsam mit den Geschwistern vor dem Röhrenfernseher, jeder einen Controller in der Hand... So war es zumindest bei uns. Und was haben wir am liebsten gespielt? Couch-Koops! Spiele, die bequem vom heimatlichem Sofa aus Mehrspieler-Modus spielbar waren. Aber heutzutage kommt es uns irgendwie so vor, als wären Couch-Koops einfach nicht mehr so gefragt. Irrtum? In jedem Fall sprechen wir über in dieser Folge über Für und wieder von Couch-Koops, Online-Mehrspielern und haben auch einige Tipps parat! Vorab haben wir außerdem unsere Community zu Ihren Tipps befragt. Da wir in der Fülle nicht auf jedes Spiel eingehen konnten, euch diese Tipps aber nicht vorenthalten wollen, nachfolgend eine Liste für euch: Party und Familienspiele: Mario Kart, Mario Party, Just Dance, Singstar, Overcooked, Unravel, Lego-Spiele (z.B. Harry Potter, Star Wars...) Kampfspiele: Super Smash Bros, Tekken, Soul Calibur, Hyrule Warriors, Mortal Kombat (18+) Indie: Among Us, Untitled Goose Game, Don`t starve together Shooter: Halo (18+), Borderlands (18+) 1-3, Army of Two, Kane and Lynch (18+) Action Adventure: Hidden Agenda Beat em Up: Streets of Rage 4 Fantasy/RPG: Secret of Mana, Diablo 3 Wir erheben keinen Anspruch auf Vollständigkeit. Bitte prüft auch die USK-Angaben selbstständig, bevor ihr ein Spiel davon für eure Kinder kauft. Außerdem sprechen wir in der Folge auch kurz über unsere Kollegen MrandMrsGaming, die ausschließlich Koop-Games zocken. Daher verlinken wir euch hier einmal den Twitch-Kanal der beiden: https://www.twitch.tv/mrandmrsgamingtv

Arribem a la quinzena d'episodis d'aquesta temporada i descobrim que la Núria pronuncia REGOLAR "Bandicoot". Apart d'això, la resta bé. Aquesta setmana els que envieu tweets amb [llegir amb veu de vídeo a El Temps]"Ui, és que feu episodis molt llaaaargs, avui fa soooool" no us queixareu. Desgraciats. Ara us deixem que anem a esmorzar gelat. Petons. Fora catalans dels Països Catalans.

(NB: Lyden i første del kan være litt vekslende, men det blir bedre i del to). Den 24. november er det hele 20 år siden PlayStation 2 nådde butikkhyllene i Norge. Konsollen er fortsatt tidenes bestselgende konsoll, og konsollen var naturligvis også å finne i mange tusen norske hjem. Vi mimrer tilbake til noen av de beste og mest unike PS2-spillene. Spill vi snakker om i episode 53: Final Fantasy X-XII, Tekken 4-5, SOCOM U.S. Navy SEALs, Soulcalibur II, Gun, Red Dead Revolver, Metal Slug 3, Tony Hawk's Pro Skater 3-4, Disney Golf, SSX Tricky, 1945 I & II: The Arcade Games, Star Ocean: Till the End of Time, MicroMachines, TimeSplitters 2, Ico, Shadow of the Colossus, Dark Cloud, Rogue Galaxy, Pilotwings, Devil May Cry 3, Metal Gear Solid 2-3, God of War, Resident Evil 4/Code Veronica X, Kingdom Hearts I-II, Guitar Hero, Buzz, Singstar, Ratchet & Clank: Going Commando, Castlevania: Lament of Innocence, GTA San Andreas/Vice City, Dragon Quest VIII: Journey of the Cursed King, Curse of Monkey Island, Crash Bandicoot N. Sane Trilogy, Star Wars: Squadrons, Astro Bot Rescue Mission, Pokémon Sword/Shield/TCG, Hyrule Warriors, Super Mario 3D All-Stars, World of Warcraft, Hearthstone, FIFA 21, Cyberpunk 2077, Bravely Default II, Ihatovo Monogatari.

Dit keer een speciale Singstar editie. Met muziek van o.a. Anouk, The Foundations, Carl Douglas, Gregory Porter en Jamiroquai.

This week I talk cars, Singstar and kids with my mate Brendan who I used to live with.

Har du spillelisten fylt med jazzete Mario-musikk og fargesprakende Hotline Miami-synthwave? Eller slår du heller musikken av når du spiller? Denne gangen, med STAPLE SPECIAL GUEST Lene, kaster Ludofilene Pia, Grim og Lasse seg inn i spillmusikkens verden, med snus innen et vidt spekter av både spillopplevelser og musikalske sjangere. Det trekkes både på spill som tar i bruk ordinær musikk, som Guitar Hero, Tony Hawk Pro Skater og SingStar, og spill med originalt produsert musikk, fra Koji Kondo's The Legend of Zelda: Ocarina of Time til Nobou Uematsu's Final Fantasy VI (III). Musikkreferanser: 4:52: Street Fighter 2 - Guile Theme (Lasse) 8:38: Guitar Hero 3 - DragonForce: Through The Fire And Flames (Grim) 14:51: Guitar Hero 3 - Muse: Knights of Cydonia (Grim) 16:46: LoZ Ocarina of Time - Hyrule Symphony (Pia) 18:17: Claude Debussy - Claire de Lune (Pia) 18:17: LoZ Ocarina of Time - Great Fairy Fountain (Pia) 26:26 Final Fantasy III - Opera Scene (Lasse) 29:06 Final Fantasy VI: The Dream Oath Opera - Maria and Draco (Lasse) 31:55: Banjo-Kazooie - Gruntilda's Lair (Lene) 34:32: Donkey Kong 64 - DK Rap (Pia) 38:39: Tony Hawk Pro Skater 2 - Papa Roach: Blood Brothers (Grim) 39:09: F-Zero X - The Long Distance of Murder (Grim) 42:11: Dark Souls - Ornstein & Smough (Lene) 43:07: Silent Hill 2 - Ashes and Ghosts (Grim) 44:19: Pokemon Sword & Shield - Wild Pokemon Music (Pia) 44:29: Pokemon Sword & Shield - Pokemon Center Healing Theme (Pia) 45:11: StarCraft - Terran Theme 1 (Lasse) Spilleliste for lytting: https://www.youtube.com/watch?v=FEdbR0jnfvQ&list=PLoLcGNQIgjbEN2NaDJdIT4DWyVAW_hmVn

This week, we're joined once again by the wonderful Eilish Gilligan to recap Week 4 of Listen To Your Heart! Eilish shares her expertise as a singer, songwriter and fellow reality TV podcaster, as well as the first guest Bachelor of Hearts ever had!How do you open for Taylor Swift on the Red Tour and within a couple of years end up barely appearing on an episode of a Bachelor spinoff? How is Natascha like Vin Diesel? Does being from America's Mormon heartland make you more susceptible to reality TV's tricks? What makes Ryan a prototypical 'uni jazz boy'? And... is this show basically just SingStar?Check out Eilish's podcast, 'Barbra Ploise! An Australian Girl's Guide To Rupaul's Drag Race' wherever you find podcasts, and follow Eilish's Instagram (@eilishgilligan) for info on her Twitch live streams & upcoming releases![Click here to download MP3.]

Damas y caballeros, bienvenidos a Filispín. El primer podcast y newsletter con las noticias más destacadas del mundo de la creatividad, el marketing y la publicidad. Soy Chema García y les doy la bienvenida a este viaje por la autopista de la comunicación publicitaria. Detectan cientos de grupos que inflan la visibilidad de sus contenidos Investigadores de la Universidad de Nueva York han descubierto un ecosistema de grupos que garantiza mayor alcance a lo que hacen sus miembros en la plataforma mediante un sistema de “abuso recíproco”. Los investigadores analizaron hasta 1,8 millones de publicaciones en Instagram que habían sido colgadas por 111.455 usuarios diferentes, y que a su vez habían sido promocionadas en más de 400 grupos de Telegram. https://dircomfidencial.com/marketing-digital/un-estudio-detecta-cientos-de-grupos-que-inflan-artificialmente-la-visibilidad-de-los-contenidos-de-sus-miembros-en-instagram-20200502-0400/ Google aumenta en un 13% su facturación durante el primer trimestre Alphabet, la matriz de Google, ha desmontado toda previsión, creciendo a doble dígito pese a la amenaza del COVID19. El beneficio neto ha tenido un aumento del 2,6% respecto al mismo periodo del ejercicio anterior lo que deja cada acción de la compañía un beneficio de 9,87 dólares. Sin embargo, la directora financiera de Alphabet y Google, Ruth Porat, reconoce que han sufrido una significativa caída del negocio de gestión de anuncios en marzo. Los anuncios de Google suponen el 80% del negocio de Alphabet. https://lapublicidad.net/google-se-supera-en-terminos-economicos/ A pesar de estas buenas noticias económicas del gigante, Google recortará un 50% su presupuesto de Marketing. Esta medida de ahorro se junta a otras ya tomadas como la ralentización de nuevas contrataciones, los viajes y el recálculo de inversiones en centros de datos y equipamiento. ¿contradice esta noticia la comentada anteriormente? https://dircomfidencial.com/marketing-digital/google-recortara-a-la-mitad-su-presupuesto-de-marketing-a-causa-del-coronavirus-20200428-0401/ Google exigirá a todos los anunciantes que acrediten su identidad Para incrementar la transparencia, Google exigirá que todos los anunciantes deban proporcionar información oficial que confirme quiénes son y dónde se encuentran, para que cualquier usuario pueda verlo. La medida permitirá detectar intentos de manipulación o usos ilegales de la publicidad, así como la venta de productos falsos o a precios hinchados por lo que, en teoría, tanto usuarios como la propia industria de la publicidad saldrán beneficiados. https://lapublicidad.net/google-exigira-a-todos-los-anunciantes-que-acrediten-su-identidad-para-poder-seguir-operando/ Facebook se recupera del shock publicitario Pese al duro golpe infligido por la pandemia en Facebook, el gasto publicitario da síntomas de mejoría en los mercados norteamericanos y europeos. En el periodo comprendido entre diciembre y mediados de marzo la inversión publicitaria protagonizó un merma de casi el 50% en tierras norteamericanas. Pero según un un reciente informe de Socialbakers, hay ya un claro incremento en la inversión publicitaria y en el CPC en Norteamérica y en Europa Occidental, lo que sugiere que Facebook ha vuelto a recuperar el control sobre estos dos mercados. https://www.marketingdirecto.com/digital-general/social-media-marketing/facebook-recupera-shock-publicitario-aboco-coronavirus?fbclid=IwAR3jjWnBBRTec2gOxXjtvNGKR6rZY-fpE8Gt99MIVz1IjQseMndP9xcWBuM Messenger Rooms permitirá videollamadas de hasta 50 personas Facebook se suma a Microsoft y Google y presenta su aplicación con funciones que imitan a las de zoom como son hasta 50 usuarios simultáneos, fondos personalizables, permitir ver a todos los usuarios al mismo tiempo en el formato grid, etcétera. Con Messenger Rooms se podrán crear habitaciones que aparecerán en nuestro perfil de Facebook y en las que, si damos nuestro consentimiento y las creamos públicas, se podrá unir todo aquél que quiera. Facebook asegura que no recopilará ninguna información del audio y el vídeo durante una videollamada. https://www.xataka.com/aplicaciones/asi-messenger-rooms-alternativa-facebook-a-zoom-videollamadas-50-personas Las publicaciones de páginas o cuenta con alto alcance en Facebook e Instagram mostrará el origen geográfico. Dada la relativa cercanía de las elecciones presidenciales en este país y la enorme controversia que surgió en los comicios anteriores, Facebook quiere lavarse las manos. Su compromiso es aumentar la transparencia mostrando el origen geográfico de publicaciones de páginas o cuentas de alto alcance, tanto en su aplicación principal como en Instagram, sobre todo de cara a las que están administradas desde fuera del país pero llegan a muchos estadounidenses. Además, también se indicará el origen mayoritario de los seguidores de esa página o cuenta. https://dircomfidencial.com/marketing-digital/facebook-e-instagram-mostraran-el-origen-geografico-de-cada-publicacion-de-una-pagina-o-cuenta-con-alto-alcance-en-eeuu-para-prevenir-desinformacion-20200424-0400/ Linkedin supera los 690 millones de miembros Según los resultados presentados por la red profesional que compró Microsoft en diciembre de 2016, Linkedin ha sumado 15 millones de cuentas nuevas en los tres primeros meses del año elevándose a un total de 690 millones de usuarios(no usarios activos) Además, ha publicado que las conexiones han crecido un 26% y que han alcanzado niveles «récord» de engagement, gracias al lanzamiento de funciones como las reacciones. El confinamiento global ha hecho que su plataforma learning ha visto aumentada sus horas de visualización en un 50% respecto al mes anterior. Les invitamos a que reacciones a la publicación de Linkedin que encontrarán en mi perfil. https://www.linkedin.com/in/chemagarciacat/ https://www.trecebits.com/2020/04/30/linkedin-supera-los-690-millones-de-miembros/ 21 carteles españoles se sitúan entre los mejores del mundo en los premios Graphis De entre los más de 500 trabajos seleccionados en los «Posters Anual 2021», 21 son españoles y, en pocos meses, los seleccionados serán publicados en el Anuario de la editorial, un archivo muy valorado por el sector del diseño. Cabe destacar los Oros han sido para el cartel en homenaje al diseñador Ivan Chermayeff, del estudio Pep Carrió de Madrid, y para el de la València Capital Mundial del Diseño 2022, del estudio Ibán Ramón. https://graffica.info/21-carteles-de-estudios-espanoles-ganadores-de-los-premios-graphis-2020/ Los premios eficacia, los EFI, promueven un ahorro de costes y de tiempos de preparación Han establecido para esta XXII edición una serie de medidas que faciliten su desarrollo. La primera es la ampliación del plazo de inscripción, que se moverá del 29 de mayo al 15 de junio. Además, los casos se presentarán exclusivamente en formato Word y, en ningún caso, el Jurado tendrá acceso a videocases. De igual modo, recomiendan que la de asunción de costes de inscripción corresponda a la empresa anunciante. El 29 de octubre, fecha prevista para la Gala, en el Teatro Real que se realizará o bien de modo presencial o bien de manera virtual, se plantea que sea un homenaje de unión de la industria publicitaria. https://prnoticias.com/comunicacion/prcomunicacion/20178392-los-premios-a-la-eficacia-un-ahorro-de-costes 4 escenarios posibles en la nueva normalidad Daniel Graff ha diseccionado los 4 cambios posibles que sufrirán las marcas tras la experiencia del Coronavirus. En primer lugar, el retorno a los valores tradicionales. El coronavirus volverá poner de relieve las estructuras locales. Segundo, la modernización progresiva. El mundo ha tomado por fin conciencia de que no es invencible y cosas que antaño se daban por sentadas son contempladas actualmente con un remozado aprecio. El tercer cambio será focalizarse en lo esencial. La gente ha visto que en situaciones críticas lo importante es lo básico. El cuarto punto es el optimismo desbordado. Puede que las actuales restricciones no hagan sino azuzar nuestras ganas de reunirnos, salir, festejar o viajar. Tal vez sean varios de estos escenarios los que ocurran de forma sucesiva. O no. Lo cierto es que ante una situación tan excepcional lo más recomendable sería estar preparado para todo y adaptarse lo más rápidamente posible. https://www.marketingdirecto.com/anunciantes-general/anunciantes/adios-viejo-conocido-4-cambios-coronavirus-inoculara-quizas-marcas/ El marketing deportivo y su adaptación a las nuevas tendencias En España, solo LaLiga, representa el 1,37 % del PIB nacional y genera casi 200 000 empleos. El fútbol profesional contribuye a la recaudación de alrededor de 4100 millones de euros en impuestos en España. El patrocinio crece cada año y está en constante evolución. Ante la situación actual, por lo tanto, sufrirá algunos cambios de tendencia como una Menor importancia de las activaciones con escasa aportación de valor, la consolidación del abanico de ventanas de acceso a contenido audiovisual, así como la consideración del contenido como «desestacional» y «deslocalizado» , la simbiosis, y complementariedad al mismo tiempo, entre el mundo «físico» y el «digital» y Un incremento sustancial de las activaciones de patrocinio con un claro sentido social, que beneficien a la sociedad y al público objetivo de patrocinio, favoreciendo los «hechos» por encima de las «palabras». https://lapublicidad.net/el-marketing-deportivo-se-adaptara-a-las-nuevas-tendencias/ Bipi aumenta un 200% las solicitudes de suscripciones de vehículos La desconfianza a la hora de usar el transporte público, así como la necesidad de algunos colectivos de usar un coche durante la actual situación o la imposibilidad para comprarse un coche, son algunas de las razones que han generado que la empresa tecnológica Bipi haya recibido un 200% más de solicitudes. https://lapublicidad.net/bipi-aumenta-un-200-las-solicitudes-de-suscripciones-de-vehiculos-por-la-inseguridad-de-usar-el-transporte-publico/ Burger King regala Whoppers a los que usen sus vallas publicitarias como fondos en las videollamadas David Buenos Aires y Burger King se dieron cuenta que con el confinamiento, nadie podía ver su publicidad exterior. ¿La solución? regalar hamburguesas a todo aquel que, como fondo en sus videollamadas vía Zoom, utilice sus creatividades. https://www.marketingdirecto.com/marketing-general/publicidad/burger-king-regala-whoppers-a-los-que-usen-estos-fondos-para-sus-videollamadas Ikea lanza una colección de fondos descargables para las videollamadas La colección puede descargarse de manera gratuita en http://backgroundsbyikea.com. Pero si los de Ikea no le convencen, les dejamos también un enlace con los de la compañía de pinturas Behr, que ha lanzado 17 fondos también totalmente gratuitos. https://behryourbackground.com Además de los fondos Ikea lanza su nueva campaña: Nänä No sé si pronuncia así. No domino mucho el idioma. Nänä es un acción dentro de su nueva campaña de comunicación dirigida a fomentar el buen descanso en la que Ikea ofrece a los socios Ikea Family la experiencia exclusiva de conseguir una habitación diseñada por los interioristas de IKEA teniendo en cuenta los consejos de los expertos de la Sociedad Española del Sueño. A través de https://www.family.ikea.es/nana/ , así como Facebook e Instagram, los usuarios deben cantar una nana y conseguir dormir al vecindario. Para ello necesitarán una buena entonación, tal y como ocurre con el popular videojuego Singstar. Ya saben, descansen bien y suscríbanse a nuestra newsletter. Un buena decisión. https://lapublicidad.net/ikea-lanza-su-nueva-campana-nana/ Pornhub presenta el porno más limpio Pornhub acaba de presentar la campaña "The Cleanest Porn Ever", cuyo objetivo es concienciar sobre la importancia de la higiene en tiempos de coronavirus. El año pasado quisieron denunciar los residuos y la basura de nuestros mares y playas con The Dirtiest Porn Ever y este año han querido dirigir el mismo mensaje adaptado a las circunstancias actuales. Esta campaña realizada por la agencia madrileña Officer & Gentleman, anima a los usuarios y a otras estrellas porno a alumbrar sus propios vídeos (todos limpios) y compartirlos en las redes sociales con el hashtag #cleanestpornchallenge. Si alguna vez quisiste dedicarte al cine X, quizás sea tu última oportunidad. https://www.marketingdirecto.com/marketing-general/publicidad/pornhub-demuestra-esta-campana-porno-puede-ser-mas-limpio-chorros-oro Starbucks regresa a la publicidad tras el parón Desde que el coronavirus se convirtiera oficialmente en pandemia, Starbucks decidió reducir a cero sus acciones de marketing y publicidad. El regreso vendrá con la intención presentar sus nuevas bebidas de cara a la primavera, de reactivar a los miembros de sus programas de fidelización, de informar a sus clientes de sus "happy hours" y de recordarles que pueden pedir café con leche de soja a través de su app. Además, pondrán en relieve su acuerdo con Uber Eats en unos mensajes que se lanzarán en televisión y formato online. Será un buen termómetro en el que medir si realmente la gente va a castigar a todas las empresas que no se han mojado durante la pandemia, tal y como vaticinan los expertos. https://www.marketingdirecto.com/anunciantes-general/anunciantes/starbucks-vuelve-meterse-cafeina-publicitaria-vena-tras-paron-covid-19 Esto es todo por esta semana. Recuerden que en nuestra newsletter tienen los enlaces para poder leer y ampliar todas estas noticias. Pueden suscribirse a través de la web filispin.es y escuchar los podcast desde su plataforma preferida: iVoox, iTunes y Spotify. Besos, abrazos y gratitudes.

Retrouvez le conducteur et toutes les infos sur lacazretro.fr

Seit 1995 gibt es sie. Ursprünglich als Erweiterung zum Super Nintendo Entertainment System geplant, schuf sich Nintendo durch fragwürdige Entscheidungen einen ebenso erbitterten, wie auch erfolgreichen Konkurrenten: Die Sony Playstation. Grund genug, einmal die Geschichte Revue passieren zu lassen. Leider gelingt auch uns nicht, 25 Jahre in drei Stunden zu pressen, verzeiht daher, wenn wir das eine oder andere vergessen haben oder nur kurz anreissen. Nintendo Playstation :: The weird history of the Super NES CD-ROM Nintendo Playstation Auktion :: Prototyp gefällig? Für eine halbe Million zu haben. Playstation 1 :: Specs und Sondermodelle der Playstation 1 NeGcon von Namco :: Erster analoger Controller fuer die Playstation Lenkräder :: Damit gibt's das ultimative Fahrfeeling bei Rennspielen Tanzmatten :: U, U, D, D, L, R, L, R, B, A, |> DualShock :: Evolution des Playstation Controllers Swap Trick :: Wie man Backups auf der Playstation abspielen kann Modchips :: Wikipedia über Modchips Wipeout :: Wipeout Gran Turismo :: Gran Turismo Tekken :: Tekken Wiki Tekken Ball :: Tekken Ball Final Fantasy :: Final Fantasy JRPG Serie Playstation 2 :: Specs und Sondermodelle der Playstation 2 Rez :: Rez (Spiel) Rez TranceMat :: Sex in Games: Rez+Vibrator PS2 Linux :: Linux auf der Playstation 2 PS2 Linux Live-DVD :: Live-DVD fuer PS2 Linux PS2 Linux :: Howto install PS2 Linux HDLoader :: HDLoader HDLoader :: HDLoader (Wikipedia) HDAdvance :: HDAdvance FreeMCBoot :: FreeMCBoot (Homebrew starten auf der PS2) FreeMCBoot :: FreeMCBoot (Homebrew starten auf der PS2) EyeToy :: Kamera für die PS2 Singstar :: Singstar Singstar :: Singstar Burnout 2 :: Burnout 2 GTA III :: Grand Theft Auto 3 Bully :: Canis Canem Edit DJ Decks & FX Vol. 1 :: Beste DJ-Simulation bis heute Ico & Shadow of the Colossus :: Ico und Shadow of the Colossus DJ Turntable :: Plattenspielercontroller zum Spiel DJ Hero Guitar Hero :: Guitar Hero Buzz :: Buzz Quiz mit speziellem Controller PSP :: Tech Specs und Modellvarianen der Playstation Portable Pandora's Battery :: Akku mit Debug-Modus Remote Play :: Remote Play PS3 auf der PSP PSP Go!Cam :: Kamera für die PSP PSP Go!Explore :: GPS Empfänger fuer die PSP Eye of Judgement :: Eye of Judgement LocoRoco :: Singende Bälle hüpfen lassen Patapon :: Patapon Fandom Wiki (Fever!) Mercury :: Archer McLean's Mercury Echochrome :: Echochrome Playstation 3 :: Tech Specs und Modellvarianten der Playstation 3 Yellow Dog Linux 6.1 :: Installing YDL 6.1 on the PS3 Skateboard Controller :: Tony Hawks Skateboard Controller Move Controller :: Playstation Move Controller GTA IV :: Grand Theft Auto 4 GTA V :: Grand Theft Auto 5 Red Dead Redemption :: Red Dead Redemption 1 Uncharted :: Uncharted Angriff auf das PSN :: Angriff auf das Playstation Network im Jahr 2011 GeoHot :: George Hotz Jailbreak :: Geohot releases PS3 Jailbreak for firmware 3.55 Flower :: Flower Journey :: Journey PSVita :: Tech Specs und Modellvarianten der Playstation Vita Playstation 4 :: Tech Specs und Modellvarianten der Playstation 4 (inkl. Pro) No Man's Sky :: No Man's Sky Red Dead Redemption 2 :: Red Dead Redemption 2 Unravel :: Unravel Far: Lone Sails :: Far: Lone Sails Untitled Goose Game :: Untitled Goose Game Bound :: Jump 'n Run mit einer Ballerina My Name Is Mayo :: Klopf-klopf? Venty :: Tamedia erfindet "Venty" Venty erfolgreich :: "Venty" kommt angeblich gut an Venty abgesetzt :: "Venty" wird nicht weitergeführt Ha-Ha! :: Böser Tweet an die Anfänger von 20Min File Download (179:00 min / 181 MB)

Seit 1995 gibt es sie. Ursprünglich als Erweiterung zum Super Nintendo Entertainment System geplant, schuf sich Nintendo durch fragwürdige Entscheidungen einen ebenso erbitterten, wie auch erfolgreichen Konkurrenten: Die Sony Playstation. Grund genug, einmal die Geschichte Revue passieren zu lassen. Leider gelingt auch uns nicht, 25 Jahre in drei Stunden zu pressen, verzeiht daher, wenn wir das eine oder andere vergessen haben oder nur kurz anreissen. Nintendo Playstation :: The weird history of the Super NES CD-ROM Nintendo Playstation Auktion :: Prototyp gefällig? Für eine halbe Million zu haben. Playstation 1 :: Specs und Sondermodelle der Playstation 1 NeGcon von Namco :: Erster analoger Controller fuer die Playstation Lenkräder :: Damit gibt's das ultimative Fahrfeeling bei Rennspielen Tanzmatten :: U, U, D, D, L, R, L, R, B, A, |> DualShock :: Evolution des Playstation Controllers Swap Trick :: Wie man Backups auf der Playstation abspielen kann Modchips :: Wikipedia über Modchips Wipeout :: Wipeout Gran Turismo :: Gran Turismo Tekken :: Tekken Wiki Tekken Ball :: Tekken Ball Final Fantasy :: Final Fantasy JRPG Serie Playstation 2 :: Specs und Sondermodelle der Playstation 2 Rez :: Rez (Spiel) Rez TranceMat :: Sex in Games: Rez+Vibrator PS2 Linux :: Linux auf der Playstation 2 PS2 Linux Live-DVD :: Live-DVD fuer PS2 Linux PS2 Linux :: Howto install PS2 Linux HDLoader :: HDLoader HDLoader :: HDLoader (Wikipedia) HDAdvance :: HDAdvance FreeMCBoot :: FreeMCBoot (Homebrew starten auf der PS2) FreeMCBoot :: FreeMCBoot (Homebrew starten auf der PS2) EyeToy :: Kamera für die PS2 Singstar :: Singstar Singstar :: Singstar Burnout 2 :: Burnout 2 GTA III :: Grand Theft Auto 3 Bully :: Canis Canem Edit DJ Decks & FX Vol. 1 :: Beste DJ-Simulation bis heute Ico & Shadow of the Colossus :: Ico und Shadow of the Colossus DJ Turntable :: Plattenspielercontroller zum Spiel DJ Hero Guitar Hero :: Guitar Hero Buzz :: Buzz Quiz mit speziellem Controller PSP :: Tech Specs und Modellvarianen der Playstation Portable Pandora's Battery :: Akku mit Debug-Modus Remote Play :: Remote Play PS3 auf der PSP PSP Go!Cam :: Kamera für die PSP PSP Go!Explore :: GPS Empfänger fuer die PSP Eye of Judgement :: Eye of Judgement LocoRoco :: Singende Bälle hüpfen lassen Patapon :: Patapon Fandom Wiki (Fever!) Mercury :: Archer McLean's Mercury Echochrome :: Echochrome Playstation 3 :: Tech Specs und Modellvarianten der Playstation 3 Yellow Dog Linux 6.1 :: Installing YDL 6.1 on the PS3 Skateboard Controller :: Tony Hawks Skateboard Controller Move Controller :: Playstation Move Controller GTA IV :: Grand Theft Auto 4 GTA V :: Grand Theft Auto 5 Red Dead Redemption :: Red Dead Redemption 1 Uncharted :: Uncharted Angriff auf das PSN :: Angriff auf das Playstation Network im Jahr 2011 GeoHot :: George Hotz Jailbreak :: Geohot releases PS3 Jailbreak for firmware 3.55 Flower :: Flower Journey :: Journey PSVita :: Tech Specs und Modellvarianten der Playstation Vita Playstation 4 :: Tech Specs und Modellvarianten der Playstation 4 (inkl. Pro) No Man's Sky :: No Man's Sky Red Dead Redemption 2 :: Red Dead Redemption 2 Unravel :: Unravel Far: Lone Sails :: Far: Lone Sails Untitled Goose Game :: Untitled Goose Game Bound :: Jump 'n Run mit einer Ballerina My Name Is Mayo :: Klopf-klopf? Venty :: Tamedia erfindet "Venty" Venty erfolgreich :: "Venty" kommt angeblich gut an Venty abgesetzt :: "Venty" wird nicht weitergeführt Ha-Ha! :: Böser Tweet an die Anfänger von 20Min File Download (2:59 min / 181 MB)

Welcome to another fun-filled episode of Last Save Loaded as Colm and Justin have woken up happy on a Saturday morning in February 2020. Listen along as they discuss more nonsense about their lives, and the games they are playing. On the show this week, Justin is now getting tweets to Agatha. When will he change his name back? Colm has been very busy, including actually watching one of Justin's streams. Justin has been has been to the cinema and starting a new D&D campaign. Games we've been playing include Diablo 3, Tales Of Hearts R, Reverie, Spider-Man, Singstar, and Borderlands 2. Listener comments finish off the show (with a few out-takes). You can send us yours by sending emails to lastsaveloaded@gmail.com, or by tweeting @lastsaveloaded, @Solm67, or @Onyersix.

Witajcie, tym razem z racji trochę spokojniejszego okresu jeżeli chodzi o nowe premiery omawiamy gry muzyczne. Singstar dla śpiewających, Just Dance dla tańczących i Guitar Hero Live dla lubiących pograć na wiośle. Druga część tego odcinka to nasze wrażenia o najgorętszej premierze filmowej 2015 roku. Niech pad będzie z Wami.

Hey Listeners! It's your host Chief Swiftwater and Co-host PIXIE here jumpin in. We got a jam packed episode featuring an interview with Saintbreaker at the Tradewinds Social Club. We also talk to Jeffro Bodean chillin, reppin his homie in the music biz Lil Woo. Fantasia and Hugo Ross return for another round of GLOBAL SINGSTAR!! Featuring contestants E-Normus-Dik, Gunder and Brian Richards. Do they have what it takes!? or will Hugo finally be pushed over the edge. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/localobscene/message Support this podcast: https://anchor.fm/localobscene/support

Jula er en tid for å krangle om hvorvidt det er en krig mot jula på gang, men det er OGSÅ en tid for ettertanke, analyse og tilbakelent sutring over hvor mye værre verden har blitt siden en sjøl var søtten. Så i dagens sending går programledelsen grundig inn på verdenshistoriens store spørsmål, og det... The post Spillmatic #423: Hvordan Singstar skapte mumle-rap appeared first on Spillmatic.

This episode, deKay, Toby and Zo are joined by special guests Mike Daw and Charlie Scott-Skinner off of Infinite State Games to talk about Actual Video Games (including theirs) with topics like Google Stadia, the end of Singstar, the RetroFlag GPi, New Improved Sonic, Netflix series Love, Death and Robots, and some games. Games!

Welcome to show 145. This week Chinny is MIA, but not to worry as The Daddy and Duke hold the fort and play lots of games including Dishonored, Naughty Bear:Trouble in Paradise, Divinity 2, Black Mesa and other games that Duke picked up because he now has Windows 7. VlaDOS gave us Johnny Carnage to check out on the indie games and we also covered off all the recent news stories including the rumored Valve Space MMO, Singstar going free to play and The WarZ details, along with the usual woffle! We round out the show with emails and twidders. Enjoy. Follow us on twitter @veterangamersuk and if you have any opinions or questions, send Emails to: podcast@veterangamers.co.uk Gamertags Chinny – 360 ChinChinny, PS3 Chinny1985, The Daddy – 360 Big Daddy Blast, PS3 xXBig-DaddyXx Duke – 360 Dukeskath, PS3 Dukeskath