Podcasts about sir mix

Shane talks the pros and cons of MC Hammer and Sir Mix-a-Lot in Season 11, Plus Episode 10.MC HAMMER ALBUM REVIEW:Please Hammer Don't Hurt 'Em (1990)SIR MIX-A-LOT ALBUM REVIEW:Mack Daddy (1992)See Shane's full ratings by visiting patreon.com/RatedRadio

Under-recruited running back from a collapsed American city — with a single mom and a dream — wins the Super Bowl. Sounds familiar, right? But NFL coach Deland McCullough's story, as told through his new book with Sarah Spain, has a twist all its own. (Thanks to a little help from Sir Mix-a-Lot.) P.S. One correction, at the 17:50 mark: Deland McCullough's senior year of college was 1995, not 2005. • Read "Runs in the Family": https://www.simonandschuster.com/books/Runs-in-the-Family/Sarah-Spain/9781668036280 Learn more about your ad choices. Visit podcastchoices.com/adchoices

Under-recruited running back from a collapsed American city — with a single mom and a dream — wins the Super Bowl. Sounds familiar, right? But NFL coach Deland McCullough's story, as told through his new book with Sarah Spain, has a twist all its own. (Thanks to a little help from Sir Mix-a-Lot.) • Read "Runs in the Family": https://www.simonandschuster.com/books/Runs-in-the-Family/Sarah-Spain/9781668036280 Learn more about your ad choices. Visit podcastchoices.com/adchoices

Under-recruited running back from a collapsed American city — with a single mom and a dream — wins the Super Bowl. Sounds familiar, right? But NFL coach Deland McCullough's story, as told through his new book with Sarah Spain, has a twist all its own. (Thanks to a little help from Sir Mix-a-Lot.) P.S. One correction, at the 17:50 mark: Deland McCullough's senior year of college was 1995, not 2005. • Read "Runs in the Family": https://www.simonandschuster.com/books/Runs-in-the-Family/Sarah-Spain/9781668036280 Learn more about your ad choices. Visit podcastchoices.com/adchoices

March 5th, 1993. A day that will live in infamy. On that date, Sir Nicolas Cage, Lord Samuel L. Jackson and director/activist E. Max Frye... solved... racism. Yes indeed. They did it with the help of a little film called Amos & Andrew (not Andy). You might doubt these claims, you might find them dubious... but need I remind you of the power of film. Indeed, Sir Mix-a-Lot said it best in the film's title theme when he declared "I may not look like Beaver but you don't either." Next week: Good God, we've been threatening this one for a while. What We've Been Watching: "Black Mirror" (season 7) "The Residence" Patreon: www.patreon.com/wwttpodcast Facebook: www.facebook.com/wwttpodcast Twitter: www.twitter.com/wwttpodcast Instagram: www.instagram.com/wwttpodcast Theme Song recorded by Taylor Sheasgreen: www.facebook.com/themotorleague Logo designed by Mariah Lirette: www.instagram.com/its.mariah.xo Montrose Monkington III: www.twitter.com/montrosethe3rd Amos & Andrew stars Samuel L. Jackson, Nicolas Cage, Dabney Coleman, Brad Dourif, Michael Lerner, Giancarlo Esposito, Tracey Walter and Bob Balaban; directed by E. Max Frye. Learn more about your ad choices. Visit megaphone.fm/adchoices

James Black RudeBehavior Radio SIR + Guest Mix on Sub FM 26th January 2025 - https://www.sub.fm

Fellow music lovers, you are in for a treat, because for this episode we are diving head-first into a full-on rock concert of epic proportions. Join us for the 13th annual SMooCH benefit show at The Showbox in Seattle, where our community, this year alone, has raised over $2.2 million dollars for Uncompensated Care at Seattle Children's Hospital. We've mentioned SMooCH before on the Nordy Pod way back in episode 3 with Megan Jasper, and again in episode 29 with Dr. Jeff Sperring, but we've never actually taken you to the show itself. If you're new to the Nordy Pod; SMooCH, which stands for Seattle Musicians for Children's Hospital, is an event that was started by Pete Nordstrom and his wife, Brandy, in 2012 after their own experience needing the care of Seattle Children's Hospital. In this episode you'll learn more about the Uncompensated Care program from return Nordy Pod guest, CEO of Seattle Children's Hospital, Dr. Jeff Sperring, you'll hear from one of the many patient families that have been directly impacted by the support of the Uncompensated Care fund, and you'll hear from Megan Jasper, CEO of Sub-Pop Records, who talks about what it takes to pull together a mind-blowing rock concert like SMooCH. On top of all that you'll get to hear from a few of the incredible musicians that agreed to come play the event this year. Since the very first show SMooCH has consistently managed to bring iconic artists to the Showbox, like Macklemore, Modest Mouse, Ben Gibbard, Iron and Wine, The New Pornographers, The Head and the Heart, Sir Mix-a-Lot, Phantogram, and so many more. This year's event is no different. Prepare yourself for this all-star lineup featuring Doug Martsch from Built to Spill, Sebadoh, Duff McKagen, of Guns n' Roses and Velvet Revolver, and the headliner, Nude Dragons, which are the reunited members from Soundgarden. We're very grateful to all of the musicians who showed up to donate their time and talents, we're grateful for those who helped organize the event, and we're super proud of our community that has donated to date over $30 million dollars to the Uncompensated Care fund. Thanks for tuning in to episode 77. We hope you enjoy it! Did you know that YOU can be on The Nordy Pod? This show isn't just a one-way conversation. We want to hear about what Nordstrom looks like through your eyes. Share your Nordstrom experience, good or bad, by giving us a call and leaving a voicemail at: 206.594.0526, or send an email to nordypodcast@nordstrom.com to be a part of the conversation! And, be sure to follow us on Instagram @thenordypod to stay up to date on new episodes, announcements and more.

Dombresky drops new music from LF System, Rokar, Easttown, Max Dean, Chris Lake, Riordan & Ellis Moss, Josh Butler and loads more on a fresh #ProcessRadio! 01. EASTTOWN - PHUNKY x RENEGADE 02. O'Flynn - Swiss Sensation 03. Kristin Velvet - The Funk Junk 04. Prunk - Heat 05. Easttown - Balancing 06. Josh Butler - Express 128 07. Sir Mix-a-lot - BABY GOT BACK (SAN PACHO EDIT) 08. ALTO - DAWG 09. LF SYSTEM - Meet Me In The Middle [HOTTEST TRACK] 10. Chris Di Perri - Space Modulation 11. Sonny Fodera, Jazzy, D.O.D - Somedays (Dombresky Remix) 12. Enzo is Burning - Cap 13. Max Dean, Azari & III - Reckless (2024) [Dub Mix] 14. Guille Placencia - Oye Como Va (GP Edit) 15. Mazos - Drivin Me Crazy 16. PAWSA - Collect The Commas 17. ANOTR, Kurtis Wells - 24 (Turn It Up) (Westend & Alterboy Edit) 18. Green Velvet - Percolator (Chris Lake Remix) 19. Riordan, Ellis Moss - GETAWAY 20. Gorgon City - 6AM (Rokar Remix)

Today on the Woody and Wilcox Show: Olympics round-up: Australian breakdancer, closing ceremonies, and more; Take the day off for Sir Mix-a-Lot's birthday; Airplane diverts to a different city because the pilot is not qualified to land in the original city; Jordan Chiles medal controversy; University of North Carolina's women's soccer coach is retiring; Cool Beans Remix; Woody's neighbor's kid has an inappropriate sticker on his phone case; People are burying alcohol in Golden Gate park; Huey Lewis' new tv show; And so much more!

Here in episode 179 of the No Name Music Cast, it is Joy's turn to pick the topic and she chooses to talk about the net worth of the artists of one hit wonders.We cover Toni Basil, Bobby McFerrin, Vanilla Ice and Sir Mix-a-Lot to name only a few!We also talk about electric cars, Psy, graduation music and debut the NNMC movie game!https://www.facebook.com/NoNameMusicCast/

In which The Curmudgeons revisit an era where the streets soared to the top of the charts...and then unleashed their danger on hip-hop's finest artists. The success of Dr. Dre's 1992 album The Chronic ushered in an era where cursing, threatening lyrical opponents with violence, drug use and other chicanery became acceptable fodder for the radio dial. And it gave artists who might not otherwise have enjoyed a broad-based platform an opportunity to shine--including a couple of guys named Tupac Shakur and Christopher "The Notorious B.I.G" Wallace. In this episode, we analyze the tremendous music this period produced and lament its unfortunate wrath.    Enjoy all of this awesome hip-hop music from the 1990s on our special Spotify playlist: https://open.spotify.com/playlist/5z7oEmg62kJeiAPRIKhxhS?si=e506f329ec4b4a26   Here's a handy navigation companion to this episode.    (00:52 - 04:50) - Arturo Andrade sets the parameters for our discussion   (05:06 - 15:52) - The Parallel Unvierse, featuring reviews of new albums from Oisin Leech and Eels   (16:37 - 01:11:11) - We celebrate the breakout of hardcore hip-hop from both coasts, with discussion of Dr. Dre, Snoop Dogg, Tupac, Wu-Tang Clan, Nas and Biggie Smalls   (01:12:37 - 02:10:15) - We rumble through a whole host of great '90s hip-hop singles, including entries from gang Starr, Sir Mix-a-Lot, Jay-Z, DMX, A Tribe Called Quest and Ol' Dirty Bastard   (02:11:14 - 02:55:04) - We meditate on the ballad of Tupac and Biggie and attempt to capture the legacy of 1990s hip-hop   Join our Curmudgeonly Community today! facebook.com/groups/curmudgeonrock   Hosted on Podbean! curmudgeonrock.podbean.com   Subscribe to our show on these platforms: https://podcasts.apple.com/us/podcast/the-curmudgeon-rock-report/id1551808911   https://open.spotify.com/show/4q7bHKIROH98o0vJbXLamB?si=5ffbdc04d6d44ecb   https://podcasts.google.com/feed/aHR0cHM6Ly9hbmNob3IuZm0vcy80M   Co-written and co-produced by Arturo Andrade and Christopher O'Connor - The Curmudgeons

SPONSORS: -Download the DraftKings Sportsbook app NOW and use code DANNYB -Sign up for a $1 per month trial period at https://shopify.com/dannyb On this episode of The Danny Brown Show, Insane Clown Posse stops by to talk about originality, new artists, and embracing being old school. Also, Danny apologizes to them about his show at The Gathering. They also discuss sampling, Slinkies, wild crowds, and the most violent show they've seen (you won't guess what band it was). Other topics: Kanye, Scarface, Sir Mix-a-Lot, and moving on from an ex. Finally, we get a couple freestyles that ICP have some thoughts about. Enjoy! You got a question or freestyle you want to send Danny's way? Hit him up at danny@thedannybrownshow.com or leave him a voicemail at (512)522-9256 Danny@TheDannyBrownShow.com (512)522-9256 https://xdannyxbrownx.com https://store.ymhstudios.com/ The Danny Brown Show Ep. 103 Learn more about your ad choices. Visit megaphone.fm/adchoices

Every now and then during today's lead-up to the Total Eclipse of the (Heart) Sun, I talk about the failed attempt to keep guys out of girls' locker rooms in Nebraska, Trump allegedly pressuring a Nebraska state senator, and a big gun control debate happening this week featuring Spike Cohen (who joins us for the discussion).  And, of course, a lot of jibber-jabber about the eclipse ... and Sir Mix-a-Lot songs.

Head to https://factormeals.com/edb50 and use EDB50 to get 50% off!Visit https://thrivecausemetics.com/LAWNERD for 20% off your first order.Go to https://shopify.com/lawnerd now to grow your business – no matter what stage you're in.I have questions for Sir Mix-a-Lot! We talk about the music industry, UMG, TikTok, and AI! Anthony L. Ray is a rapper, songwriter, and record producer best known for his 1992 hit, "Baby Got Back". He was so generous with his time as we had this conversation during the Hannah Gutierrez - Rust Armorer trial. He shares words of wisdom for up-and-coming artists and his personal experience being a litigant in a lawsuit over his copyrights, licensing, and creations. Send him some love on his social media and his upcoming events!Connect with Sir Mix-a-Lot:https://www.instagram.com/therealsirmixalothttps://twitter.com/therealmixhttps://www.facebook.com/sirmixalotofficialhttps://www.youtube.com/@SirMixAlotChannelThis podcast uses the following third-party services for analysis: Podsights - https://podsights.com/privacyPodscribe - https://podscribe.com/privacyChartable - https://chartable.com/privacy

The Brazilian butt lift (or BBL) is the fastest-growing cosmetic surgery in recent memory ... but why? Anita learns about the ins and outs of the procedure from a plastic surgeon and a BBL recipient. Then a scholar puts our obsession with big butts in historical context — tracing the conversation from Sir Mix-a-Lot to Kim Kardashian.Meet the guests:- Dr. Kelly Bolden, a clinical assistant professor at Howard University and Medical Director and plastic surgeon at CulturaMed, details the procedure and safety factors to consider with a BBL- Ronte' Jentel, a Youtube vlogger and personality, shares why he got a BBL and what the surgical process and recovery were like- Dr. Alisha Gaines, an associate professor of arts and sciences in the department of English at Florida State University, explains the historical roots of the cultural forces propelling the BBL to popularityRead the transcript | Review the podcast on your preferred platformFollow Embodied on X and Instagram Leave a message for Embodied

Gavin and Dan Belson are on the show and... things happen. With two of the greatest lists compiled by any guest*Does the world end with chlamidia wielding koalas on sharks? is it the Blobby Illuminate led by Noel Edmunds that does us in? or is it all a mystery meat?Belson linkysBelson TwitterBelsons ApplesWebsite – TotalCultZone.ComElectronic mail – FKingHello@gmail.comMUSICArmageddon vacation introСукины Сыны / Sons Of Bitches (RU) – Мальчи…Ad breaksLobo Loco – Helges Friend woke upThe Elevator Bossa Nova – Bensound.comGiorgio De Campo – Freesound Music – Swinging i…End of the world music"Baby got back" - Sir Mix a lot*this is a lieWebsite - TotalCultZone.ComElectronic mail - FKingHello@gmail.com Hosted on Acast. See acast.com/privacy for more information.

This time the guys share the sad news of Skateworld Tacoma's closure, Crypticon, burger battles, concerts, and much more! 00:00 – Justin kicks off this episode discussing the closure of Skateworld Tacoma, how people can get involved with the podcast on Discord, and special episodes Patriots can catch. Justin talks about their plans to hang out at Crypticon, hopes to connect officially with GCP bestie Ken Carlson, and they talk about why they love the smaller conventions like Crypticon. 18:15 – Justin expands on the news of Skateworld Tacoma's forced closure, they make plans for the movie Skate Wolf to save Skateworld, and the ghost whores above Alfred's. They talk about Burger Ranch being a franchise, discuss the Reddit debate over Jubilee Burger and Burger Ranch, and Jeff talks about places that can for sure mess up burgers. 36:18 – Scott talks about the bar in Puyallup that used the bar as a front for selling drugs, Justin reads the reviews of both burger places, and what one ended up at the top. The crew shares their favorite burger places, Jeff talks about doing a video shoot with Sir Mix-a-Lot, and reflects on the first time he heard the artist. 53:59 – Scott recalls being on stage in a cage with Korn, Derek talks about bands he met while on various street teams, and Justin shares upcoming plans to watch the rock band Orgy. Derek poses the GCP question, Jeff takes a trip back in time sharing Radiskull & Devil Doll, and the author getting picked up by Shockwave Studios.

It's the 177th episode of SOSS! Maya explains why she's never been to Benihana. The ladies try to remember how this podcast started. The ladies break down SOSS icon Ian Ziering's street fight with a mini bike gang. They also discuss Gypsy Rose Blanchard's release from jail and her back story. Racquet Report: The two warring tennis coaches are suddenly getting along? Amy's been taking a deep dive into 90s hip hop this week. Maya doesn't remember being really into Sir Mix-a-Lot. Nelly and Ashanti are back together! Amy reviews Matthew Perry's book. 177th Episode special treat! We interview Producer Tyler's parents about being 77 years old. Tom and Sandy (Producer Tyler's parents) reveal the things that amazed them most in their lifetime. They also declare age 77 is the sweet spot.  --- Send in a voice message: https://podcasters.spotify.com/pod/show/the-spirit-of-77/message

Larry Mizell, Jr. revisits 1988 with Nasty Nes Rodriguez, a DJ formerly based in Seattle. Together, they explore the proliferation of hip-hop in the Pacific Northwest through the power of radio and the one-and-only Sir Mix-a-Lot.  Interview by Larry Mizell, Jr.  Audio production by Roddy Nikpour.  Podcast managed by Isabel Khalili.  Support the podcast: kexp.org/50hiphop See omnystudio.com/listener for privacy information.

The Big Mates discuss the history of rock music, torn posters, pressing mistakes, and the early days of R.E.M..Adam, Steve, and Lucas start at the beginning, talking about the individual members of R.E.M., how they grew up, and then follow them through the early days of music making in Athens, Georgie. They touch on the musical landscape of the time, the legacy of rock music, and chart the band's musical progression all the way up to their first single release, Radio Free Europe, and the release of their debut EP, Chronic Town.The Big Mates go track-by-track on the EP, offering up analysis, opinions, and context from three differing perspectives on music, from being deeply into analysis and music, to not caring for art or critique, and everything in between.How did R.E.M. form? Is Steve punk? What was Sir Mix-a-Lot knighted for? Find out on this episode of What Is Music?Our next episode is out on Monday November 20th and will feature insightful audio commentary for an early R.E.M. show!Join the conversation on:Twitter: https://twitter.com/whatismusicpodInstagram: https://www.instagram.com/whatismusicpodE-mail: whatismusicpod@gmail.comGet access to more shows, exclusive bonus content, ad-free episodes of this show, and more music discussion by subscribing to our Patreon!Head to patreon.com/whatismusicpod and receive up to two new episodes of our various shows every week (including shows about Manic Street Preachers and monthly themed playlists!), ad-free archives of What Is Music?, and access to our Patron-only Discord server for even more music (and non-music) discussion!Support our show when starting your own podcast!By signing up to Buzzsprout with this link: https://www.buzzsprout.com/?referrer_id=780379Check out our merch!https://whatismusicpod.redbubble.comDonate to our podcast!https://ko-fi.com/whatismusichttp://whatismusic.buzzsprout.com/Support the show

“I like big butts and I cannot lie.” No, that wasn't a Winston Churchill quote. It's the iconic first lyric of Seattle-based rapper Sir Mix-a-Lot's 1992 smash hit “Baby Got Back”. While your grandma's out cuttin' a rug at the wedding reception to a song about anacondas and gettin' sprung, it can often be forgotten that the song is actually an anthem of body positivity. His music tends to walk a fine line between well-intentioned and super horny, so this week, we'll dial 1-900-MIXALOT and see if we can kick some thoughts about why he could never repeat the success of this song. If you like the show, be sure to rate, review, and subscribe. Email us at onehitthunderpodcast@gmail.com. Also, follow us on our social media: Twitter: @‌1hitthunderpod Instagram: onehitthunderpodcast Wanna create your own podcast? Contact us at We Know Podcasting for more information. Visit Punchline: A Band Called Punchline | Pittsburgh, PA for Punchline tour dates, news, and merch. Sign up for more One Hit Thunder on our Patreon One Hit Thunder | Patreon Learn more about your ad choices. Visit megaphone.fm/adchoices

The Boys return after just a little too much extended weekend, or abbreviated business week, depending on your perspective.Krang throws himself on the mercy of Krang Gang Court.We talk Las Vegas Aces and spankings while you struggle to get your minds out of the gutter.Saki prays that "Baby Got Back" continues to bring Sir Mix-a-lot oodles of residual income. Mercy is not granted to the Cretin of the Week on the grounds that he sucks!Support this podcast at — https://redcircle.com/the-shred-head-podcast/donations

Vous avez déjà peut-être vu passer sur les réseaux sociaux des vidéos venues tout droit des Etats-Unis où des clientes désagréables demandent à se plaindre au responsable d'un restaurant car leur eau est arrivée sans glaçon. Ou pire encore, qui appellent la police à tout bout de champ dès qu'elles se sentent “en danger”. Ces femmes, ce sont les “Karen”, un terme entré dans le langage courant dans les pays anglo-saxons. Le terme tire son origine de la chanson de 1992 du rappeur Sir Mix-a-Lot, Baby got back dont l'introduction est une discussion entre deux adolescentes blanches qui se moquent du corps d'une femme noire. Pourquoi "Karen" ? Quelles sont les caractéristiques des "Karen" ? Est-ce problématique de dire "Karen" ? Écoutez la suite de cet épisode de "Maintenant vous savez". Un podcast Bababam Originals, écrit et réalisé par Maele Diallo. À écouter aussi : Que vont devenir nos skyblogs ? Qu'est-ce que le syndrome du Truman Show ? Comment savoir s'il faut s'éloigner de nos ami-es ? Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode of The Jacob Buehrer Show, I was pleased to spend sometime interviewing Sir Mix-a-Lot the man behind one of the best songs of all time! You all have heard the song at least a hundred times. Listen to find out more about Sir Mix-a-Lot and how he creates music. He even offers some great advice so listen this interview!!

National pina colada day. Entertainment from 1992. Death Valley hottest temp ever recorded, Wyoming became 44th state, Elephant stampede killed 24. Todays birthdays - Fred Gwynne, Ronnie James Dio, Greg Kihn, Neil Tennant, Gary LaVox, Sofia Vergara, Adrian Grenier, Chiwetel Ejiofor, Jessica Simpson. Omar Sharif died.Intro - Pour some sugar on me - Def Leppard http://defleppard.com/Two pina coladas - Garth BrooksBaby got back - Sir Mix-a-LotI saw the light - WynonnaBirthdays - In da club - 50Cent http://50cent.com/Rainbow in the dark - DioThe breakup song - The Greg Kihn bandOpportunities - Pet Shop BoysFast cars and freedom - Fast cars and freedomI wanna love you forever - Jessica SimpsonExit - It's not love - Dokken http://dokken.net/

Swimsuit season is upon us, and not everyone is feeling as confident as 81-year-old Martha Stewart on the cover of Sports Illustrated.  But it's not just swimsuit season where we feel the pressure to look a certain way, effortlessly, while exuding unwavering confidence... this pressure has been with us for as long as we can remember! Join us as we reflect on our own experiences of growing up in the Kate Moss era of the 90s; facing puberty; dealing with eating disorders; trying to meet body goals at every stage of life (for the wedding! vacation! postpartum!); navigating changing body trends; the effort we put into looking good, how we're just as likely to be criticized for "trying too hard" as we are for not meeting impossible standards; and how all of these things shaped the relationship we have with our bodies today.   We also reference Sir Mix-a-Lot, remember Snackwells and Olean, and try to get really vulnerable while Jessica is being attacked by fruit flies - a type of body-distress that we hope no one else is feeling right now. If you're a woman who lives in a body, this episode is for you! And if you know any other women who live in bodies (and we know you do!), please SHARE this episode with a friend! DO YOU LOVE HONEST WOMEN?! Please leave us a 5⭐ rating and a review - we love to hear from you! CONNECT WITH US: Follow Honest Women Podcast @honestwomenpodcast Follow Jessica: @jlhutchisonlcpc Follow Andrea: @andreaburkly Learn more about the Honest Women Podcast: www.honestwomenpodcast.com Honest Women is the podcast for every woman juggling the demands of modern life (while trying to keep her shit together) and finding that it's all just a little more difficult than she thought it would be. Your hosts, Andrea Burkly and Jessica Hutchison, are two very real mental health professionals who are taking honest conversations from inside their offices to the outside world. Disclaimer: Please note while this podcast features two therapists, and may feel very therapeutic, this is not therapy! Please be entertained, and know that through our creative content, we are not providing mental health care. No diagnosis. No treatment. No medical advice. Just creative content. Please seek appropriate mental health support in the real world. Learn more about your ad choices. Visit megaphone.fm/adchoices

Comparing the crew to Cardinals players + Sir Mix a Lot + Classic movies

The playbook for artists to go viral on TikTok has changed a lot since 2019. Sean Taylor aka “BrandMan Sean” has written and executed that playbook for his clients since the early days of TikTok. He's the co-founder of the ContraBrand Agency, which specializes in TikTok marketing for music talent. The agency has helped artists like Macy Gray, 24kGoldn, and Trap Beckham, among others.Sean and his team just released a global report on How Artists are Going Viral on TikTok. The report is packed with insights on artist virality on the platform. According to the report, artist-generated content (AGC) is the key to going viral today. It's more impactful than not user-generated content (UGC) from fans and other users. AGC not only works, but it's also a cost-effective way for independent artists to break through.However, Sean points out that virality isn't as easy as before. TikTok has matured, and overnight success is harder to achieve. Still, with the right strategy, Sean believes TikTok is still a second-to-none top-of-funnel marketing play. We broke down this tested TikTok system in our discussion. Here's everything we covered about the platform:[1:51] TikTok entering its maturation stage[5:39] Second wave TikTok music artists vs. first wave[9:10] Biggest shift on TikTok for artists[17:13] No, artists don't have to post dance content[24:00] YouTube shorts lack of culture[26:29] YouTube's advantage over TikTok[31:31] The problem with IG Reels[33:32] TikTok pushing Google for search dominance[38:55] TikTok as a marketing funnel[42:21] The rise of TikTok live[46:10] Predicting where TikTok will be in three yearsHow Artists are Going Viral on TikTok in 2022 report:https://www.contrabrand.agency/tiktokglobalreport2022Listen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Sean Taylor, @brandmanseanEnjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapitalTrapital is home for the business of music, media and culture. Learn more by reading Trapital's free memo.TRANSCRIPTIONTrapital #Sean Taylor[00:00:00] Sean Taylor: One of the problems that people were having were them blowing up right? Without being able to connect to an actual face, right? So it solves so many of the problems that come with that, and even helps the problem of TikTok's algorithm where people just hop on and start running things up with ads and you haven't really even understood what your content looks like, that creates some algorithmic problems, which probably aren't worth getting into, here, or maybe they are, but yeah. Man, artists generate content. It's gonna be a love hate relationship for sure with artists, the labels, all of us, right? But, if anything, it'll force collaboration and synergy between teams, in ways that it hasn't before.[00:00:42] 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 the executives in music, media, entertainment, and more. Who are taking hip hop culture to the next level.[00:00:42] Dan Runcie: All right, today we are joined by my guy, Brandman Sean, Sean Taylor, who is back on the podcast for a second time now, and I wanted to have him on because there's so much that's happening with TikTok, with short form video and how artists are using it. And his company, the contraband agency just put out a report that dives deep into this, and he talks about this often on his platform, the Brandman Network. So Sean, let's level for a little bit, and I feel like TikTok is in such an interesting place right now, 2023. It's not some of that same rapid growth that it may have had a couple years ago, but it's still so essential for artists. How do you feel about where the platform is right now?[00:01:51] Sean Taylor: I think it's in a really good space actually. It's in a maturation space. The problem with that is people aren't seeing hits come as easy on the platform. and they're actually using that to downplay the platform and say, TikTok isn't that impactful, or it's not that big of a deal. It's hard to get a hit on TikTok. The difference is it's now a normal marketing infrastructure within your whole overall marketing stack. So yeah, there was this hot period where you were getting like gains that you probably didn't even deserve. Right. Every shock, swish, nothing but net. Now you have to do what you're supposed to do in every other space. So I think a lot of the pain that people are feeling isn't necessarily TikTok not being effective. It's TikTok not being unreasonably effective, unbelievably effective. The thing that made me get on TikTok, back in 2019. It's in an interesting space, but I think it's in a good space actually. And I can go deeper into that specific argument and why I see it that way. Cuz there's some numbers and milestones that I kind of think of it and approach it from, but yeah, that's where I think TikTok is right now. It's new, it's a viable marketing channel, but it's not the marketing channel that everybody is going to be as excited about as they were.[00:03:24] Dan Runcie: I'm glad you said this because there's been a bunch of reports about how TikTok has slowed down about how artists are starting to complain, and I've heard many A-list artists, even privately and publicly complain that things are popping the way they used to. But this isn't 2019 anymore. It may take some actual marketing expertise since some clever thinking about how to find things in. I remember one of the reports I said was talking about how you can't just give some post or some link to Addison Rae and then hope that someone like that goes and blows the whole thing up for you and makes you a superstar. You have to find your niches and build from there. And in reading that, it's like, well that sounds like what it's like to grow any type of career, and that's probably how it should be, right?[00:04:11] Sean Taylor: Exactly. Should it be that you pay one person and everything just blows up. Not really. I would love it to be that way for me, you know? But look, that's just the reality of how marketing works. So you can still get that number to grow and get millions of streams, but that millions might come a little bit slower. And now when it hits that 2 million mark, 3 million mark, probably even before that, it's gonna take a lot more heavy lifting to get it over the hump where, That thing could just keep going like a rocket ship straight to 2030 and not stop, right? So it's a great space to get things off the ground and create the spark, but going beyond that spark is more difficult.[00:04:59] Dan Runcie: In past years, we saw record labels signing a bunch of artists that came from TikTok, and I would assume that because of this rocket ship success, people didn't have the infrastructure behind them. A lot of those stories probably didn't end up panning out the way that they thought they would, maybe even at a lower rate than the average hit rate for. Otherwise artists at a record label are assigned. But I would think now that things have matured a bit, the artists that are actually coming to the forefront are likely gonna have more behind them. And because of that, B, the potential to actually maybe have a more sustainable career than that first wave of artists who just benefited from a very aggressive area.[00:05:39] Sean Taylor: Yeah. I mean, I think the thing is people hadn't really seen anything like that before, right? Like yeah, there had been one hit wonder. That has happened and someone who's seasoning the game probably understands what needs to take place. But to constantly have day after day someone popping out of nowhere like a breakneck speed level and trying to figure out how to bring infrastructure up, up under all these artists at the same time is a completely different story. Cuz it's also a different story when you have these artists housed under you, and then things take off really fast. You're taking them, you're trying to create a deal and figure out how to sign them, and then create infrastructure. By the time some of these deals take place, a lot of that moment is already missed, right? So, it was a really weird space, and I'm sure there's labels that have more of an infrastructure that's prepared for that situation. It's like, oh, if we bring somebody in from that particular climate, then there's a specific path that we can take 'em. Whether we expedite some things or we start here versus there, I'm sure that's there. But TikTok was really weird watching in the beginning because you had all these people blowing up and many didn't even wanna blow up, right? Like you had kids just using the platform and blowing up, they were an artist or just a regular influence or whatever you call 'em. They were just doing what kids normally do on apps and became stars overnight, which is very different from the artist who wants to be an artist. And then they take off. These are kids who are in their experimentational experimentation phase, kind of just having fun playing with things. And then it might be a hit song, right in a bed without even them trying to pursue it. So it created this really interesting space on TikTok and unfortunately, where I saw early on there were so many artists I don't wanna say artists, actually, less artists, more general content, creators falling prey to opportunist managers and companies because artists fortunately, have had a lot of education in these pages. I'm not saying artists don't ever have bad deals and situations, but there's a very common knowledge almost at this point that's been put out for artists getting in bad deals, avoiding bad deals, what you should do, in the culture, that education is out there as a regular content creator. That information isn't out there. Right. But it's very similar. So I actually saw like a lot of kids being signed by managers who had nothing to do with the industry at all. They're just like, "Hey, I'm just about to sign 51 situation I'm literally thinking about and he's telling me, yeah man, I just signed 50 content creators right to a management deal." And then thinking of it only from the standpoint of if I leverage these 50, then I'm gonna be able to get me a bigger deal, hopefully. But he doesn't have any relationships in place. There's no individual incentive to make any of the individual influencers blow up. It's more just, Hey, let me get stable so I can leverage the stable and, most of those deals fell apart, down the road. Or hopefully the parents kind of figured it out. But I know some who got burned really bad, but things were moving so fast. Like it was crazy. So a lot of parents were. Okay, this guy knows two or three people in the industry and you know, but everybody in the industry knows two or three people. So, but for people who don't have a child in the entertainment industry, and they never had any plans and they have no idea what to do, that sounds good. So TikTok was very crazy at the beginning. It was the wild, wild west. Now we're in this period where I think everybody has figured it out. Not everybody, but many people have figured out how to create more infrastructure. The problem is now the game is harder and that's how life works, right? It's like, dang, the moment I figured this shit out. Right? Things change a little bit. but you referenced my report earlier. I think the thing that was the biggest shift was the artist has to do more work. And that's what people feel more than anything. We could do everything and the artists were doing nothing and we were blowing songs. and now it's like, dang, I gotta get my artist to participate. And we all know how hard it can be to get the artist to participate in some things, especially content, right? but you know, that's created a space for those artists who truly do have a knack for content and that drive and honestly stamina to play that content. They've been able to make a lot happen, get a lot of organic streams, which makes it so much easier on the team cuz you still gotta do your job and make it, blow from there. But I know several artists that we work with who are getting their songs to 500,000 streams, 1 million streams, 10 million streams. Right. Any other form of marketing, just their content. So that's a huge benefit, and that's what I think the silver lining needs to be. The fact that we have that is still something we did not have in 2018 for music specifically, so that we need to appreciate and have gratitude for our blessings.[00:11:00] Dan Runcie: Let's dive into this a little bit because I think this point about artist generated content versus user-generated content is key. And I know it is a big part of your report as well, because I think for years now, we've heard so many people, even TikTok Head of Music just said this at the Nylon conference a couple days ago, was talking about how it's so key to be able to get the fans, to make the videos and get involved and things like that. And while that's still important, you're saying what actually can move the needle even more is getting the artist, even if they're reluctant to do it, getting the artist to do it themselves and having the two of them together and even more so the artist piece of it can really help push things forward.[00:11:42] Sean Taylor: Right. 100%. See, we realized this in 2020, in the trenches, you see this guy post a video, right? And we construct this concept. and you get a hundred thousand streams and just off of your video. Right? And that was amazing at that time to really see that he got a hundred thousand streams. And oh, by the way, there weren't really any replications to his video or sound. It had nothing to do with the dance. It hadn't had anything to do with influencers at all. He had the right creative concept, right? Hundred thousand streams. And for the artist that he was, you know, you're talking about pretty much no listeners, that's a massive number, especially just from one post and even better a post from him. Right. With not much of a following at all. He probably only had like 20,000 followers on Instagram at the time. Right? So we saw that and then I devised this campaign with the artist. Ironically, I just got off a call with this artist. We did like a little Google chat named Fash and Kid in Australia, right? He has some followers, probably a hundred thousand, 200,000 at this time. literally never dropped the song a day in his life at this moment, right? And he's like, “Yo, Sean, I've watched some of your videos and stuff on YouTube, and like, I wanna figure out how to release this song. I'm releasing it next week. What should I do? First of all, "Hey, don't release it next week", you know what I mean? Like, let's talk. Right? So, we made it a month from there, we created this entire narrative driven campaign. And just from him posting it was all based on his post, right? I actually took the marketing method that I blew up my music festival with, before I was doing, like working with artists, and it was all organic posts, right? So I had a structure that I used, and that was literally just him posting on his page. He got 1 million streams on his very first song, right? So, It wasn't one single post that made everything take off, but it was a system of post, and those were all pre, well, primarily pre-release. And then there were some things that were done, but this is 2020, so we're like, man, just posting all right on your page can take you far. The problem, I won't even say the problem was, but the thing is, paying influencers were still working like crazy at that time, right? So we didn't have an incentive to like to lean in it as heavy for artists that, you know, we would, were a little bit harder to get onto the platform and make work. Now, it's one of those things where, okay, look, we really want you to start here because the way things are set up today. If you don't do this and create this foundation, a lot of that other stuff won't bring anywhere near as big of a gain as it did. But yeah, back then we saw success with, or artist generated content, influencers. There were things that we called TikTok creators. We saw all these different types of games, but literally paying influencers was working so great at that time it was like, ah, why do anything else But yeah, artist generated content. Man, it's the way, man, it is the foundation of how I believe. things should be ran today. But of course, the caveat with every artist still has a different path, right? So your artist generated content might look different or artist generated content. There are outliers where that just won't be prevalent for you, but as a general way in a business approach. I love the fact that, one, you're creating fans in visibility for no money, right? You know, however much it costs to create your content, but generally speaking, no money. Two, you're testing. Songs before you actually put money behind them. Right? Three, if something blows, you already have a presence on the platform to connect people to. Because one of the problems that people were having was, were them blowing up right? Without being able to connect to an actual face, right? So it solves so many of the problems that come with that, and even helps the problem of TikTok's algorithm where people just hop on and start running things up with ads and you haven't really even understood what your content looks like, that creates some algorithmic problems, which probably aren't worth getting into, here, or maybe they are, but yeah. Man, artists generate content. It's gonna be a love hate relationship for sure with artists, the labels, all of us, right? But, if anything, it'll force collaboration and synergy between teams, in ways that it hasn't before.[00:16:16] Dan Runcie: Yeah, I got the impression that from the TikTok head of music, making the comments about user-generated content, of course there's plenty to back that up, but I also saw it as a bit of a positioning to not take the stance that I think some of the labels have taken, where I think that the labels have come a bit of the public enemy of the artists who don't wanna be active on TikTok. We all saw the viral post that happened last towards the end of 2022. It was Florence, Florence of the machine and Halsey and others saying like, Hey, the label's making me do this. But I feel like there's so many ways to go about making short form videos and making content. How involved do you get with that piece of it? Cuz I think some of that is because people still think that artists need to be doing one of these like, you know, vertical TikTok dances that fit in something like they're Jason Derulo or something like that, but you don't necessarily have to do.[00:17:13] Sean Taylor: No, you do not. So again, this is one of those things that I was telling people back in 2020, but the problem was, again, dancers were working so hard and so well, no one's gonna believe you. Right? But we were only seeing the commercial level, right? And everything has levels to it, just like the industry, right? You have pop music and there's some genres that. For less far reaching than pop, but they're successful. Right. So that's what I attribute seeing Dances in 2020 work on TikTok. However, there were other things that were working right? like people thought you had to be a super upbeat hip hop song, cash pages song that blew, was nothing of the sort. Right? But so I think that for one, people have to understand that it just goes back to being creative. At the end of the day, and unfortunately many artists stop thinking creatively once they leave the studio, right? And I don't think it's all the artists now. I used to just blame it on the artist where it's like, bro, you're supposed to be an artist. You wanna be creative, right? Artist means more than a musician. Musician is just music, but artist creativity, that's what we're looking at you for. You have to show creativity and how you present yourself in this content. But I think what happened was there was so much working in terms of these trends, and they saw so many. Finding success so fast, it kind of demoralized them into thinking I have to follow these specific formats to find success myself. Right? So when I hear TikTok, I hear TikTok in a specific way, not just another platform that I can distribute my video on. You know what I mean? It would be like, oh yeah, you could create a movie, but it has to be a romcom. That's kind of what they're hearing, right?. That's not the truth though, right?[00:19:08] Dan Runcie: It reminds me too, of what you used to hear of MTV back in the day as well. Right. A lot of artists, especially late eighties, early nineties, a lot of artists that went on to be huge music video artists resisted it and they would always have a bit of a you know, high brow about it. Like, oh, I'm not trying to be like the Sir Mix-a-lot baby who got back a music video, like dancing on, you know, butts and booty shaking and stuff like that. But they found their own way to make the platform unique years down the road when it became the main thing.[00:19:38] Sean Taylor: That's it, because it's you. At the end of the day, you can create the content and the platform is just how you distribute it. Now, I think there's something to be said for using the unique qualities of a platform, right? Just like albums. what people created, just like CDs impacted what people created. Just like the internet and internet culture has impacted, oh, shorter songs cause shorter intention, span longer songs. Cuz now we have more space to create. Like all those things were like, music has always been impacted by the mediums and the culture around it. Right. And I think for some reason we constantly fall into this trap of, you know, oh, SoundCloud music, TikTok music. You know, at one point in time there was I mean, well, people complain about, I've seen people complain about tape cassettes. You know, like when you look up enough, you're gonna find everybody complaining about everything, right? And then the Grammy's, what's the Grammy's formula? Everything has its success, but truthfully, I'm in their own formula for success. But truthfully, you know, especially in this independent business, you know, you don't have to play every single game. I think sometimes we find ourselves wanting things that cause us to play a game we don't want to, which is like that weird love hate thing. It's like, oh, you know, black people shouldn't pay attention and value the Grammys yet. We still want Grammys. Right. You know what I mean? It is that love and hate relationship. I think everybody's doing that with different platforms in, in, in some form of fashion. and you asked earlier, Deep and involved that we get in people's content creation. It's varying, right? we don't do it with every project, every person. It depends on the vision and also their willingness and the need that's there. But, you know, we've gone as deep as recording things ourselves. I remember one campaign. This wasn't artist generated content, it was an influencer, but we bought something off of Amazon to send her for her to wear in it because it connected with the idea. And she had like 5,000 followers at the time. And the video ended up doing like 2 million. Right. So we were like really A and R ing, cuz sometimes it's, you know, TikTok is about narrative and with the presentation, so just hold, let me go to how many followers. Cuz the beauty of TikTok is you can not have a lot of followers and still get a lot of views.But if so, if you find the right person and can contrast it in the right way. Right. You can make it move. Right. I don't want to get into that campaign cause it might be semi uncontroversial in a way. I gotta explain[00:22:23] Dan Runcie: We'll save that one for offline then,[00:22:25] Sean Taylor: yeah. We'll say that one for, offline. For sure. For sure. But yeah, man, I mean, I think what I've seen is, if people can just open their mind and not start what's moving on a platform and just think literally in Word out, "Hey, what do I want to communicate now? How do I communicate that on this platform?" It'll save a lot of stress, particularly for the artists, because artists wanna do music videos. This is nothing but another video, right? So why can't I in 60 seconds? Be creative. Use that box. That box is a framework that will inspire creativity. How can I communicate and make something really dope in 60 seconds? We've had an artist last August blow up, his profile from like 20K to 400K and did 2 million streams in about a month with very, very high quality videos. And everybody thinks you gotta be really low. To find success on TikTok and record it from your phone and have the bubbles. These were very, very high quality shots and editing, and it's darker and it worked. Right. So it's really just about dope content at the end of the day.[00:23:35] Dan Runcie: Yeah, for sure. Let's switch gears a bit. I want to talk. Talk's, competitors that are also in this space wanna talk YouTube and Instagram. But let's start with YouTube first, because you had recently put out a video where you were talking about YouTube shorts, their efforts there, and you said you're not concerned about YouTube shorts' impact because it just doesn't have the culture that exists on TikTok. Can you talk more about that?[00:24:00] Sean Taylor: yeah. So the thing that made TikTok so unique, early on was it developed a culture, like once it hit that network effect, I knew it wasn't gonna go away overnight cuz there's too much money involved outside of the government stuff. But that's a different story. Right? And then culture, like people, have a different presentation and expectation on how you act on TikTok. It's looser than Instagram. That was the beauty of it, right? So that created a culture. YouTube has an established culture and relationship that they have. their audience. YouTube isn't as interactive. It's a little closer to tv. You know what I mean? And Instagram's a little bit more of a resume. Most people are putting on their best, their Sunday best, if you will. TikTok, we're involved in this together. People feel like they have the power to blow a song up on TikTok. the users feel like they're giving heavy feedback. You should drop this song. When is this gonna come out, right? It's a completely different culture that you can't just copy overnight. That's where competitive advantages get created, right? Culture. Cause it's very, very hard to mimic that. I think it's gonna be successful, but it's just not going to be a threat to TikTok in that specific way where, you know, it's like a TikTok killer or something. It's like the Jordan Stoppers. Oh yeah. You know, Jordan only scored 39 instead of 35. Cool. You might see.[00:25:26] Dan Runcie: So if it's thinking about the Kobe stopper thing, so if TikTok is Kobe Bryant then is YouTube shorts, Ruben Patterson.[00:25:37] Sean Taylor: You too might wanna take offense to that, but in this analogy, yes.[00:25:42] Dan Runcie: Yeah, but I've been thinking a lot about the YouTube piece, and I will give them credit. I think the trajectory of YouTube is greater than Ruben Patterson. No disrespect, but I do think that Lyor Cohen had said something interesting. Of course, he's the head of YouTube and one of his big things is that the fact that YouTube shorts has the connection directly to the platform [00:26:04] Sean Taylor: Yeah.[00:26:04] Dan Runcie: on-demand listening happens, he feels like that conversion rate and that connection is stronger. And he didn't name TikTok specifically, but he was essentially talking about the fact that TikTok doesn't have that same type of win. I know they have Rezo, but it's just not the same. What do you think about that? Cuz I think the underlying aspect of that is conversion and just being able to transport an audience from one to the other. What have you seen from that perspective.[00:26:29] Sean Taylor: I think Lyor Cohen is extremely smart and savvy, and reading that statement. It was hilarious cuz you know the elephants in the room that he's addressing and it was like this competitive moment happening. It was like, come on man. Say their name. Say their name. But you're like, I'm not gonna give them any clout that was really, funny to read. But I think that they do have an advantage that TikTok doesn't. Right in that way, the long form content and that mentality, I think it's gonna be a lot harder for TikTok to get people to consume shorts on their platform than it is for No. It's gonna be a lot harder for TikTok to consume long form content on their flat platform than it is gonna be for YouTube people to consume short form. Does that make sense?[00:27:19] Dan Runcie: Yeah, that makes sense. And I feel like part of it too is the conversion rate is one thing. I don't doubt that there's likely could be a higher conversion rate, but I think that absolute number is still what makes the difference at the end of the day. And I just don't know if the overall absolute number of people that are converting from. Hearing a song on TikTok and then going to stream that artist and then becoming a follower and an avid fan of that artist is necessarily going to be a number that's ever smaller than what we may see otherwise from YouTube. I think YouTube has still had great strides in that area, but I just don't see it coming to that level.[00:27:56] Sean Taylor: no. Cause again, it's about that culture, right? So two things, I'll get to the YouTube TikTok second. But when we first got on TikTok and started working with some people on TikTok, it was ridiculous to see the conversion of people who left TikTok and went to Spotify. Instagram, these other places, but specifically, let's talk about Spotify. Why was it so ridiculous? Because at that time, TikTok did not acknowledge the music on the platform at all, right? You had people hearing the song and then googling the lyrics to find the song name and then going to stream it, and it was happening in droves. That much friction told us, holy shit, when they get rid of this friction, it's gonna go. And of course TikTok got rid of that friction. But pa the fact that people were doing that, like I remember telling some artists, yo man, you got like a dollar sign and this version of the song, and then it's like no dollar sign. Like, and so people were having difficulty finding it. It's like, bro, you're ruining people's ability to stream your song. Like that was a thing. And then people started to rename their songs or added lyrics in the parentheses, right? Because of the culture. And that was happening and they wanted to make sure people could find the song right. Now we see less of that. It goes back to like the mediums and how things are influencing. Now we see less of that cuz you can figure out what it is within TikTok and people know how to name it. So that transferability from TikTok to other platforms has just been there for so long and people almost expected it. It's almost like TikTok is the megaphone, the amplifier. But then you don't even really expect to go super deep on TikTok, right? YouTube, you kind of do expect to go deep, but when we. Look at the platforms that TikTok converted to, and this is where I say the competitive advantage of YouTube goes. YouTube was one of the greatest conversions from TikTok that we would see. Like so many people left TikTok to go to Spotify and YouTube. Instagram was last particularly for artists. Right? So now, yes, being on YouTube already, Is a great competitive advantage. I think there's some fluidity issues that they need to solve. Like right now, from the phone, from your phone, I could take this video that we're creating right now and say, yeah, I want 10 seconds to 20 seconds, and take that into a short and it'll automatically be connected. But I can't make a cool edited short that's specific to the short format, and then say it's from this video. Right. And that'll make things even smoother because it's hard to take a snippet from the long form content just from timestamps and that would be a good piece of short form content. So people have to be able to edit and then connect it back for that to really come into place. And also they would have to make it a little bit more obvious that you can do that because the culture is not yet to go from long. I'm in short form to long form within YouTube. I know it happens, but people aren't naturally having that expectation. Oh shoot. This is probably from a larger video that's on this platform. What people are seeing more on YouTube is actually, mm, it's the opposite of what allowed TikTok to become what it became, and I don't know how it's gonna play out, so I'll tell you what I'm saying.[00:31:23] Dan Runcie: What are your thoughts on Instagram reels? I think you talked a little bit about it, how it's a bit of a resume but where do they stand?[00:31:31] Sean Taylor: I don't like reels, in terms of the value add yet, it's very inaccurate. So you'll get higher numbers, less engagement, where it's pretty clear it's not going out to the right people. The best people you know, they're, padding the numbers, so to speak. Right. It's cool that it got more reach, but if it wasn't accurate and I didn't get that much following, what does it really mean? That's where reels are at large. Now, can reels work and has it still helped some songs? Yes. It's just not it's not at the proportion that TikTok has been, and I think YouTube shorts are going. definitely, beat reels.[00:32:11] Dan Runcie: Yeah. I think the clear desire from Instagram to try to turn your entire feed into a for you page is forcing this content to not necessarily hit the right people, which is why. Yes, it could be good from a viral discovery thing where, okay, if you have a post that's doing better than 80 or 90% of your other posts, then yeah, it may reach a larger than initially intended audience, but I don't know if it could be necessarily relied on in the same type of way.[00:32:41] Sean Taylor: Yep. I agree with you there. We'll see if they figure it out maybe they should focus less on the Metaverse.[00:32:52] Dan Runcie: Another thing that you had brought up a little bit earlier was about search in general and just how powerful that's become on TikTok. I think it's clear that they want to, well, I think TikTok is trying to do anything and everything. I know this is something for folks that follow Trapital been writing about this recently, all the things they're getting involved with. But I do think search is one of those interesting things because they are trying to take on a Google Head on, and people have seen how, especially Gen Z, they may be more likely to look up something through TikTok than looking it up through Google. What do you see as the potential of that moving forward, and do you think that would be a credible threat to Google at some point?[00:33:32] Sean Taylor: yes. You know why tutorial culture, that's what TikTok cut into. And Instagram never did that. It was never really a place that you went to look up tutorials, right? So it's less about music and entertainment and that side of things. It's the fact that people are looking at recipes, right? How to fix things. And then once you have that, that's what creates the. For looking things up in the, at the seo, right? it's not that it can't be created in other ways, but that's like a hack. If I know I can go find this and, oh man, I can find it done in 60 seconds versus three minutes or 10 minutes because on YouTube the video's not as valuable and might not go as far if I don't do an intro and all this leads in, right? Oh, these videos won't go straight to it. So they have a lot of ground to make on YouTube. But I think they're going to succeed, I'm not into the speculation of which one's gonna be number one. There might be days where it beats YouTube or whatever, but it's going to be, a legitimate search engine. You know, Yahoo, Google at least.[00:34:43] Dan Runcie: I do think that the tutorial piece is key, and I'm even thinking about times I've used it in the past. We bought a mattress recently, and of course you could Google search, what does this mattress like? But sometimes it's easier to just put it in TikTok and have someone show me some unboxing video to show me what that's like and compare a few. I liked it for that. I think more broadly in terms of all of the search pieces of it. I think that what Google has done in this space and even thinking about, you know, decades back about how they beat Legos and Alta Vistas, some of those others, I think it will be hard to ever replace that for everything that's possible, that people would wanna search. But I do think that the video tutorial piece of it, which is a subsection of it, but I do think that that's a unique place where they can, if you get core to the market there, you can figure things out. I also think that either misinformation or wasted just credibly have or understanding for users to know, okay, "What is legitimate?, What is not legitimate? Is a concern, and I think it's maybe harder to do in a way where I think text, you can have some of those clear things come up where I think the nature of a viral platform wants to show things that you know, may be sensationalized to some extent through video. That may take time, but I think that's one thing that will need to develop, especially on the TikTok side of things for sure.[00:36:02] Sean Taylor: See what you're explaining is the different personalities of seo. Just like we talk about the different personalities of TikTok, Instagram and YouTube. So Google dominates damn near Monopoly. You couldn't just be a Yahoo or actually, truly become a threat, but what you could. Was be Amazon and eventually have so much shit on there that people just think, "Oh, if I want a table, I'm gonna go Amazon, look for a table, I'm not gonna go to Google", right? Or you could be a YouTube, right? And have so many videos. If I want a video tutorial, I'm just gonna go to YouTube, right? So you enter the search engine market from the side versus, you know, the [inaudible] so I think TikTok has successfully gotten there. and even that personality being short form is something that attributes to that and the personality that Google will probably hold on to,in the long term for sure is probably gonna be the more scholarly approach, right? The more credible approach because of those other platforms. that's almost in conflict with what makes things move and the way people use them, and incentives that are in place.[00:37:15] Dan Runcie: Right. That makes sense. That makes sense. The other thing too, that it'd be good to get your thoughts on with TikTok is I think a lot of this conversation and a lot of how people have been measuring the success for TikTok is that conversion from TikTok and broader social engagement to streams, what are you seeing though from the next level down? From how looking at TikTok itself can eventually translate to concert ticket sales, or whether it's V I P clubs or other high end opportunities that fans are engaging it with an artist.[00:37:50] Sean Taylor: It's there. We've already had artists do that. The difficulty is the geography of it all. So you can do that, but you aren't completely sure that the video is going to go viral enough within your own audience, right? Because still, especially like most of last year, you still can drop a TikTok and it's mostly gonna be seen by new people, especially for people earlier on, right? So if all of your followers aren't necessarily going to see your posts, it's gonna be new. then that creates this issue with going deep with your audience, right? It's great for going viral and gaining and blowing up fast. That's why it happened, right? That built TikTok in a sort of way to show it to more new people than people who are following you. But then at some point it becomes, well, what are my followers really worth? right on TikTok. And I think some people are starting to figure that out. Like, man, I don't know if this really matters all that much. It really only matters what the individual video itself does, right. So the problem with that, if I'm doing a show and I don't know if my followers will see it, or I have no idea if it's good, or enough of video because it's outside of my normal format to get enough people to see it in general. Then, man, that's not predictable enough. It could be my strategy, but it's not predictable enough. Now, the advertising might come into play, which is a different conversation, but there's that, and then again, also, who's gonna see it geographically in the world? We have no, you know, way of controlling that. Again, outside of ads so far. It's definitely something that's useful for selling things like merch, for creating awareness for your shows, but the best way we've seen it with shows for the most part, is almost to talk about your tour as a whole, right?. So you bring awareness that multiple are going to happen, and then if your artist is down for it and it kind of works within your format, you can also vlog in a way, or like let people know, oh yeah, I'm gonna be in Atlanta tonight. Right? So they see and get reminded that you are on tour, right? So it's trying to create this awareness of all the spaces and places that they will be going. And then also reminding them that you're in process of this to remind them, oh yeah, when he's gonna, when is he gonna beat in my city? That's kind of like the best middle ground we've found. But it's hard to be like, Hey, I'm gonna be in Atlanta next week and all my Atlanta people and expect all the Atlanta people to actually see that and convert.[00:40:27] Dan Runcie: Right. it's a funnel at the end of the day, right? And TikTok sits at the top of it, even higher than some other social media platforms, right? And then from there, it's always going to be hardened, honestly foolish to an extent. If your main message on the top of the funnel awareness platform is, "Hey, Join my V I P club or join my Patreon or buy tickets to my concert, right?" You need to introduce people, let them know who you are, and maybe at that next level of engagement, then you can start to push more of those things. Then you can start to have more of these things come through, because there's just gonna be less friction there and you're doing the job that should be done at each level of the.[00:41:08] Sean Taylor: I agree man. I think, like you said, at the end of the day, it always goes back to the fundamentals of it and there might be aberrations. Give us more for moments of time, but things are always gonna default back to that basic infrastructure and use the thing with the right expectations versus expecting everything from it.[00:41:30] Dan Runcie: right. The other thing that I've thought a lot about for this conversation is, and even for reading the report and rolling into the show notes, so others can take a look at it as well, but thinking about how artists generate content and having artists push is what the wave is. At least at this particular moment. And I think there's a lot of reasons to think that yes, this is what makes sense now moving forward, but we also know how quick these things change and how things have evolved. Do you see another element, like I know eventually gaining steam eventually, I know that we talked about ads, we talked about influencer campaigns and just UTC and how a lot of these things were stronger and now relatively weaker to artists generated campaigns. Is there another thing that you think is going to play a role or that we may see another shift in this.[00:42:21] Sean Taylor: The dark horse is TikTok lives. Everybody's actually. Investing more in a live culture in general when you look at YouTube, as well. but TikTok lives the way they use that for you. Page is ridiculous, man. On Instagram, you're gonna see the lives of people that you're following. Again, on TikTok, you can go live and people will discover, right? It'll pop up on the people's For You page, and that's a different paradigm, right? I've seen it live when my partner was live where all of a sudden, like thousands of people came in, right? Because TikTok was feeding him to so many people. and then he would see it also trickle off. Whereas like experimenting, they wanna find a live that's engaging in a way that content isn't, moves up the algorithmic letter, right? So they're, look, that's how they display lives. So the fact that you can blow up doing lives, it's a completely different paradigm because it's like having a show but the people who do it well, they're getting money in these lives. A lot of money. I've seen people make a lot of money in their lives, but it's also a great format to build a relationship far deeper than you can through individual content and lead people over to buy tickets. We've used lives to like getting emails and, I mean, I did one campaign even back in 2020. , that artist Fash we probably got 10,000 emails more so from him going live, not more so, only from him going live. Actually, he even use a little bit of IG live. So the fact that you can do that is going to create this other performance skill that artists will have.[00:44:06] Sean Taylor: Almost like being a salesman, right? But doing it in a way where you give the presentation and the ask isn't so blatant. it's, we're going into this climate that's going to breed so many different types of artists like that have these, you know how you could be an artist that plays an instrument or you could be an artist that sings, maybe you could do multiple, where there's now these soft skills that we'll see artists, oh man, this dude is, he's just a salesman and he knows how to entertain people on live. And that's how he plays his game. This person still is just a pure musician, or this person creates a really dope content in the box of the regular feed. There's gonna be things like that. And the thing is, these other platforms are, you know, homogenous in many ways. They keep copying each other. So that culture that starts on TikTok, it's not just a TikTok thing. I always communicated it as a new language to learn because the new generation would be used to hearing and seeing things and consuming things in this format. So they'll wanna see it on other platforms. And inevitably, right, like we have an hour podcast, two hour podcasts, and people were like, Hey man, can you make this in 60 seconds? Like they expect to be able to learn something really valuable that's gonna change their. You know, in literally 60 seconds. I mean, we literally have had those conversations and seen those comments, but everything's not, you know, how you bake a cake? People like you can't rip at everything and change your artist's career in 60 seconds. But that's what we're seeing, like live is truly a dark horse, and I think it is gonna become more prevalent in TikTok and YouTube as well, to be honest.[00:45:45] Dan Runcie: No, I can see that happening definitely just with the way things are going. But, last question before we let you go here though. So let's fast forward three years. 2026. Is TikTok still in the dominant position that it is right now? And if it isn't, is it because of geopolitical concerns or is it because of another competitor that now has the next big thing?[00:46:10] Sean Taylor: If it isn't geopolitical, I think it's gonna be pretty dominant from what I've seen. in terms of their vertical integration and investment, particularly in music. It's just nothing like any other platform like you've seen, I mean Sound On, right. Rezo. Right. It's just different in what they're trying to do. They have deals that they've offered artists. Right. Which is really nice. Right. And unique because, oh, you're on, sound on and you. You have a song that blows up using their distribution platform. They have all the data. So now we can offer you a deal and you don't have to pay it back cuz it's gonna be paid back through the royalties. We're probably using the algorithm to calculate how much we should give you anyway. Right? This is already happening. Right. So the way they invest in it, I think it's just gonna be hard to get a pool away from it in three years. again, it's going to. More of a norm, less hot in its way, but I think they're gonna be pretty dominant in three, three years down the road. Yeah. I'll, I'll leave that at that.[00:47:10] Dan Runcie: Yeah, I'm with you on that. I think three years, because even though I do think that TikTok has been the fastest to grow to a billion users, at least what we've seen from a social app, I do think that the next app will probably be even shorter just thinking about how much faster adoption is, but. It still took TikTok several years to get to this point, so I think maybe five, six years would be a different conversation. But no, I agree with you. Three years. If it ends up being shut down, it'll be for some geopolitical concerns, but we'll see between now and then. We'll have to check in again at some point if any of that ends up going in that direction. But Sean, it's been a pleasure man. Thank you for coming on and for people that wanna learn more about your insights on TikTok and the stuff you're doing at Contraband Agency, where should we reach out?[00:47:56] Sean Taylor: Brandman Network on YouTube is a nice place to start. You know, you watch the podcast or you just go to no labels necessary on, Spotify, but no labels necessary is our podcast. So type in no labels necessary on YouTube or, or Spotify. At the moment, I think the podcast is probably the best place to go. But if you're immediately interested in services and want to speak with our team, that would be contraband.agency. There's no.com, www.contrabrand.agency[00:48:28] Dan Runcie: Good stuff. All right. Thanks again, Sean. Appreciate you.[00:48:31] Sean Taylor: Always good speaking with you man.[00:48:33] Dan Runcie Outro: If you enjoyed this podcast, go ahead and share it with a friend. Copy the link, text it to a friend, post it in your group chat. Post it in your Slack groups. Wherever you and your people talk, spread the word. That's how Trapital continues to grow and continues to reach the right people. And while you're at it, if you use Apple Podcast, go ahead. Rate the podcast, give it a high rating, and leave a review. Tell people why you like the podcast. That helps more people. Discover the show. Thank you in advance. Talk to you next week.

Heather Radke joins Jordan to talk about Butts: A Backstory, the playful invitation of the book's title, the general unruliness of bodies, and the joys of a JSTOR deep-dive. MENTIONED: Jodie Foster's Coppertone ad "Baby Got Back," Sir Mix-a-lot Elizabeth Alexander's "The Venus Hottentot" The Normman & Norma Statues Heather Radke is an essayist, journalist, and contributing editor and reporter at Radiolab, the Peabody Award­–winning program from WNYC. She has written for publications including The Believer, Longreads, and The Paris Review, and she teaches at Columbia University's creative writing MFA Program. Before becoming a writer, Heather worked as a curator at the Jane Addams Hull-House Museum in Chicago. For more Thresholds, visit us at www.thisisthresholds.com Be sure to leave us a review on your favorite podcast platform! Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, we take a brief pit stop in our crazy ride through 1992 for something extra juicy: an unfiltered, free-flowing chat with rapper-producer Sir Mix-a-Lot, the man behind the most famous pop song about behinds ever made. In an expanded interview from our first episode, we chat about the origins of his hit No. 1 single “Baby Got Back,” the on-set drama during the making of its music video, and why Mix thinks the track helped spark the body positivity movement and change representation of Black women in the media. Plus, he reveals his least favorite use of the song in popular culture, explains why Nicki Minaj personifies “Baby Got Back,” and offers some advice to Lizzo. Be sure to tune in Wednesday, January 4, when we return to our regularly scheduled 1992 programming. In that episode, we'll tell the story of Sinéad O'Connor and her scandalous 1992 performance on Saturday Night Live, during which she ripped up a photo of the Pope and told audiences to “fight the real enemy.”See omnystudio.com/listener for privacy information.

Thirty years ago, Sir Mix-a-Lot sang “Baby Got Back.” But the fascination with the derriere is as old as time itself. Heather Radke is an essayist and contributing editor and reporter at Radiolab. She joins host Krys Boyd to discuss our understanding of the backside – from evolutionary biology to its sexualization – and why power points in its direction. Her book is “Butts: A Backstory.”

Rog and Davo break down Lionel Messi and Argentina's semifinal triumph over Croatia. Plus, special guests, Ben Gibbard of Death Cab for Cutie and Postal Service; Sounders goalkeeper Stefan Frei; and hip-hop legend Sir Mix-a-Lot. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

We're live from LA! Thank you Seattle for an interesting show and an even stranger night. First, shoutout to the legend Sir Mix a Lot for creating the BBL. We had easily our most fun couples which included the “Peter North” of Seattle. The most fun/controversial part of the night was Mal ending another couple's relationship, thus ending his drought of not breaking up couples. Prior to the show, Mal and Julian visited the best dope spot in the country…the original Starbucks. Meanwhile, Rory walked around in the rain listening to SZA. After the show, we went to a bar where we watched Mal and Peeje have a krump battle. Everyone went home alone…in separate Ubers. For today's episode we're joined by the legend Peeje who shared the story from his night in jail. We landed in LA and immediately got mixy. Rory and Julian went to Bootsy Bellows, Soho House, then went back to the hotel to split a bottle of tequila until 6am (nasty). SZA is NAS and Rory will do all he can to convince you that makes sense. We do a lyric breakdown of “F2F” and Mal drops another gem, which involves hoes and rental cars. Hoes complicate things so why not make it a legal binding contract, aka an NDA. Lori Harvey sparks an interesting debate about whether or not we'd sign the NDA. Unsurprisingly, Mal wouldn't sign it. Ultimately, Rory and Mal pinky swear to remain friends forever while everyone discusses their marriage potential. Listen in as the guys discuss all of this + more P.S. LA we'll see you tomorrow night!

What's the true story behind Sir Mix a Lot and Baby Got Back? There was a mission in creating it only to learn that it wasn't almost released.

What's the true story behind Sir Mix a Lot and Baby Got Back? There was a mission in creating it only to learn that it wasn't almost released.

Hey, all you Luke Perry fanboys! In this blood-sucking episode, our creepy High-School-Girl Watchers Brennon & Adam, are tumbling over Buffy the Vampire Slayer, the movie! So grab your stake, shake hands with Pee Wee Herman, and come feel crampy with us, on Super 90s Bros! Featuring Baby Got Back by Sir Mix-a-lot. --- Send in a voice message: https://anchor.fm/super90sbros/message

“Oh… my… God, Becky. Look. At. Her. Butt.” It may be one of the most unforgettable opening lines of a song in the history of popular music. Say those words and they instantly conjure images of rump-shaking models, a pair of very annoying Valley girls, Cosmopolitan magazine, Jane Fonda, Ross and Rachel's baby on Friends, Shrek, high school dances, bar mitzvahs, keggers, karaoke parties, and wedding receptions. The impact of Sir Mix-a-Lot's “Baby Got Back” was massive, its legacy undeniable. The song was big, thick, and juicy then, and it will forever be big, thick, and juicy.  This week, we talk to the director of the “Baby Got Back” music video, the MTV exec who initially refused to air it, Mix himself, and the iconic, big-bootied model at the center of it all. See omnystudio.com/listener for privacy information.

Happy Halloween, book jerks! Starting our fourth annual spookfest, we're reading The Stepford Wives, which should actually be called The Stepford Husbands (they're the scary ones, after all, and credit to Amanda Davis for the appellation). We discuss Ira Levin's 1972 horror-satire to return to some familiar questions: what are husbands for? Why are neighbors such creeps? If you could make a robot wife, how big would you make her boobs? We reflect on genre, bourgeoisification, liberal feminism, and Sir Mix-a-Lot. We read the 2002 William Morrow reprint with introduction by Peter Straub. Check out Jennifer Rhee's The Robotic Imaginary: The Human and the Price of Dehumanized Labor for more on bots bots bots! Find us on Twitter, Instagram, and Facebook @betterreadpod, and email us nice things at betterreadpodcast@gmail.com. Find Tristan on Twitter @tjschweiger, Katie @katiekrywo, and Megan @tuslersaurus.

Grynch Paper Route (feat. Sir Mix‐A‐Lot) from the 2022 self-released album Born in '86. Nearly fifteen years after dropping his debut full-length, My Second Wind, Grynch is back with his first solo record since 2014 titled Born in ‘86. While it may be a solo record, that doesn't mean the Seattle-born-and-bred rapper isn't still open to sharing the mic. The deeply collaborative artist invited artists like Boom Bap Project, Blake Lewis, Prometheus Brown, and Daz Dillinger to help add color to the nostalgia-hued record. But there's no collaboration more deeply Seattle than our Song of the Day. “Paper Route” sees none other than the big-booty-loving Sir Mix a Lot join Grynch for a song that recognizes the resilience it takes to continue on the winding and fickle journey of being a longstanding musician. “I could never do a thing that I aint about,” Grynch spits on the chorus, “Suckers out here running miles /Chasing clout /But when it's all said and done and they faded out /I'm gonna still be getting mine on my paper route.” Watch Grynch's KEXP in-studio performance of fan-favorite “My Volvo” from all the way back in 2010 and read the full post at KEXP.org.Support the show: https://www.kexp.org/donateSee omnystudio.com/listener for privacy information.

What do Sir Mix-a-lot, post-hardcore screamo, Marvel, and Killer Clowns from Outer Space have to do with following Jesus? Join Steve Rice (Youth Ministry Assistant), Patrick Kelly (Technical Director), and James Haldane (Executive Pastor) to find out! Learn more about JaxNaz Church at jaxnazchurch.com or, better yet, come to our Sunday services at 9:30 & 11:15a in-person or online at http://jaxnazchurch.online.FacebookInstagramYoutubeChurch Online

#30-26Intro/Outro: Poison by Bell Biv DeVoe30. Baby Got Back by Sir Mix-a-Lot29. Wannabe by Spice Girls28. Black Hole Sun by Soundgarden *27. Cannonball by The Breeders26. Sabotage by Beastie Boys *Vote on your favorite song from today's episodeVote on your favorite song from Week 2* - Previously played on the podcast

Before Sarah Michele Gellar, Kristy Swanson brought Joss Whedon's iconic vampire slaying heroine to the silver screen. Does this 90s relic hold up to scrutiny sans nostalgia? listen to our latest episode to find out. Artwork by Dusting Goebel (@dgoebel00 on Instagram) Synopsis Buffy the Vampire Slayer, before she was an iconic television heroine was first found on the silver screen starring Kristy Swanson. Considering this movie is 30 years old, I'm not sure many people remember it, let alone the WB television show. However, Joss Whedon, it's writer is well known, having written and directed some of the highest grossing films of all time in the last decade. Buffy in this film is the stereotypical Valley Girl of the 90s. The type that opened Sir Mix a Lot's hit single of the same year “I Like Big Butts”. She is vapid, dumb, and flaky. When an infestation of vampires begin to invade LA and her high schools Hawthorne High, a mysterious man in a trench coat named Merrick shows up. Merrick informs Buffy that she has been chosen to be the latest in a long line of vampire hunters throughout history. Buffy has no interest, but she finds she has a natural knack for Slaying. She decides to team up with Merrick and train so that she can defeat Lothos, the ancient vampire that is the leader of the cause of the recent uptick in vampire activity. https://youtu.be/pnZkV_aR_9w Review of Buffy the Vampire Slayer (1992) I have a lot of nostalgia for Buffy the Vampire Slayer. I watched it several times in the 90s as a prepubescent little fat kid. I remember it having some iconic performances and moments, but upon checking the Rotten Tomatoes critics score, it sits at 36%. Was I so out of touch? No, it's the critics who are wrong. Watching it yesterday, I tried to put off nostalgia and be unbiased. It has some good bones. There are some great performances and Joss Whedon's writing does shine through, but it is bogged down by poor direction. Kristy Swanson, Donald Sutherland, Paul Rubens, Rutger Hauer, and Luke Perry all bring the appropriate amount of gravitas and goofiness that the high concept screenplay demands. The dialogue is top notch, creating compelling characters while placing it squarely in 90s LA. Where it has problems is when it comes to establishing stakes (no pun intended) and establishing the lore in a compelling way. This is often blamed on changes made to Joss Whedon's original script, which resulted in him walking away from the set halfway through production. In a comic book series called Buffy the Vampire Slayer The Origin, you can read the original vision Joss Whedon had for the film. It really is nearly identical except for a few key scenes. Where the film starts to fall apart is the choppy and sometimes confusing editing and direction. It's clear that the studio and/or director wanted to de-emphasize the darker elements of the story and focus more on the light hearted comedic aspects. What they didn't understand is that those dark moments help to sell the comedy and make it a much more compelling film if executed right. The stakes are never truly established, because we're never shown that Buffy particularly cares about her school or any of her other similarly vapid friends. We are given scant details of the main villain, and when the main confrontations occur, they seem arbitrary and rushed. In the end, while it still holds a special place in my heart, I can see the flaws in the movie, and it's just aight. Score 4/10 Buffy the Vampire Slayer Add it to your collection or rent it now.Click here to buy

July 1-7: Eddie Murphy is a player who gets played, Tom Hanks makes a comeback, comedy jams get def, Sir Mix-a-Lot has likes and dislikes, Bow Wow is Like Mike, origin stories for the Powerpuff Girls and Spider-Man (again), Oliver Stone is a savage, and Katy Perry's in 3D. All that and more, this week on Thirty Twenty Ten.

DJ NASTY-NES Talks History With Sir Mix Alot, Tupac, NWA, Mc Hammer, Run DMC, Cypress, Fugees & More on this one on one sit down with Cards Face Up Podcast. Nasty Nes is not only the partner of Sir Mix Alot, he is known as Seattle's Godfather of Hip Hop, a title he earned by being the first DJ in Seattle to play Hip Hop, he is also responsible for breaking some of the biggest rap artist of all TIME records before they were known. Tune in as we discuss the legendary career of on of the greatest DJ'S in hip hop.#tupac  #nwa #seattle SUBSCRIBE-SUBSCRIBE-SUBSCRIBE-SUBSCRIBE-SUBSCRIBE-SUBSCRIBE-SUBSCRIBE-SUBSCRIBEPLEASE VISIT US AT OUR OFFICIAL WEBSITE - WWW.CARDSFACEUPPODCAST.COMAUDIO IS AVAILABLE ON ALL STREAMING PLATFORMS SUCH AS "APPLE/GOOGLE/SPOTIFY/ETCSUBSCRIBE TO OUR SISTER PAGE ALSO AND GET MORE EXCLUSIVE CARDS FACE UP PODCAST CONTENT @WWW.YOUTUBE.COM/CARDSFACEUPPODCAST

It's a freestyle episode, boys and girls! You know what that means: the Dragon's Milk is flowing, the tangents are plentiful, and Paul and Arlo just can't get enough Dick's. Now, now, get your mind out of the gutter–we're talking Dick's, the iconic Seattle burger chain. In addition to chowing down on their favorite regional burgers (Arlo shouts out Akron's very own Swenson's), the boys are very much on their bullshit throughout. Arlo recounts the entire A Nightmare on Elm Street franchise, Paul experiences Stranger Things with a fella named Obi-Wan Kenobi, and Arlo gets progressively more inebriated.   NEXT: welcome, travelers of the night, to another MCUTV installment with Hollywood wonder boy Michael Holland. This time, we're discussing Moon Knight.     LINKS Dick's Drive-In Swenson's Drive-In     MUSIC “Posse on Broadway” by Sir Mix-a-Lot, Swass (1988) “Who Let the Dogs Out (As Made Famous by Baha Men)” by Karaoke DJ, Karaoke Hit Music the 00's Vol. 2 - Instrumental Sing Alongs From the 2000's (2010) “Are You Ready for Freddy” by Fat Boys, Coming Back Hard Again (1988)     GOBBLEDYCARES Abortion Funds in Every State: https://bit.ly/AbortionFundsTwitter National Suicide Prevention Lifeline: https://suicidepreventionlifeline.org/  Support AAPI communities and those affected by anti-Asian violence: https://www.gofundme.com/c/act/stop-aapi-hate Support the AAPI Civic Engagement Fund: https://aapifund.org/ Support Black Lives Matter and find anti-racism resources: https://blacklivesmatters.carrd.co/ The Trevor Project provides information and support to LGBTQ youth: thetrevorproject.org Trans Lifeline: https://translifeline.org/  US (877) 565-8860 Canada (877) 330-6366 National Center for Transgender Equality: transequality.org Advocate for writers who might be owed money due to discontinuance of royalties: https://www.writersmustbepaid.org/  Help teachers and classrooms in need: https://www.donorschoose.org/ Do your part to remove the burden of medical debt for individuals, families, and veterans: https://ripmedicaldebt.org/ Register to vote: https://vote.gov/

TipperEdits - A Thousand Miles to Lose Yourself (Vanessa Carlton v Eminem) oneboredjeu - Rollin' For a Thousand Miles (Vanessa Carlton v Limp Bizkit ft Wu-Tang Clan) DJ Cummerbund - Blurry In the USA (Puddle of Mudd v Miley Cyrus) Marc Johnce - Do You Believe in Payphones (Maroon 5 v Huey Lewis & the News v Kelly Clarkson v Berlin) CTMusic - Water Under the Bridge (Adele v Red Hot Chili Peppers) Bass211 - My Superstitious Brain (Stevie Wonder v Run DMC v Cypress Hill v Beastie Boys) CTMusic - It's Gonna Be Rock n Roll (NSYNC v Avril Lavigne) DJs From Mars - Sweet Child of Mr Brightside (Guns N Roses v The Killers) Wax Audio - Enter You (Metallica v Bryan Adams) Ray C - Joel Division - Only the Good Tear Us Apart (Joy Division v Billy Joel) Joseph James - Don't Talk About Bruno One More Time (Encanto v Britney Spears) Instamatic v iWillBattle - Beatles Got Back (The Beatles v Sir Mix a Lot)

What does Sir Mix-a-Lot and Stay-at-Home-Moms have in common (besides a lot of hyphens)? THIS EPISODE!! Natalie and Ali quickly dive into what it means to be a Stay-at-Home-Mom now-a-days. They peel back the layers of Natalie's daily life to uncover all the good, the bad, and all of the chaos in-between. Part 1 of SAHM focus begins here, hang tight for Part 2 that will be coming soon!! #wearemothern

Our Friends James, Bree, and Az join us from down under for some laughs and a trip down memory lane! We force James onto the Mormon Trail, compare politics in our two countries, remember the good old days of trying to avoid a drunken brawl at a Sir Mix-a-Lot show and reminisce about the glory days of Satanic Panic. --- Support this podcast: https://anchor.fm/fhebadmormons/support

West Coast hip hop means much more than LA, argues Dr. Daudi Abe, a professor of humanities at Seattle Central College. In Emerald Street: A History of Hip Hop in Seattle (University of Washington Press, 2020), Abe argues that Seattle deserves an honored spot in the cultural geography of hip hop in the United States. Although less well known than Los Angeles, New York, or even Atlanta and New Orleans, Seattle has spawned two Grammy-award winning artists (Sir Mix-a-Lot and Macklemore) and has had an active hip hop, graffiti, and breaking scene since the early 1980s. Hip Hop, as Abe argues in the book, is all about making yourself known and representing where you're from as a means of communicating to others what it's like being from that place. In that regard, Seattle has consistently been a loud and proud voice in that regard, with the city's hip hop sitting alongside grunge and indie rock as parts of the musical landscape of the Pacific Northwest. Dr. Stephen R. Hausmann is an assistant professor of history at the University of St. Thomas in Minnesota. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this Episode, We Talk About: How too many of us allow obstacles to keep us from greatness. Questions to ask yourself to gain awareness around the obstacles that are holding you back. The mindset shift that will help you move forward and take action! The power of setting boundaries!   Resources + Links:   Download our FREE Goal Getter Bundle HERE   Follow The Freedom Parents on Instagram | @thefreedomparents Subscribe to the Youtube Channel | The Freedom Parents YOUTUBE Find more resources on our website | thefreedomparents.com   Order The Freedom Parents book on Amazon The Freedom Parents by Samantha & Harold Prestenbach Connect with Samantha on Instagram | @samantha_prestenbach Show Notes: We like BIG “WHY's” and we cannot lie! You'll hear us refer to “but's” multiple times in this episode, and we're not talking about the kind in the catchy Sir Mix-a-lot song! All too often we allow obstacles and excuses to keep us from taking action towards our goals. They keep us from having the experiences we want to have, from creating the freedom we desire for our families, and at the end of the day all we're doing is keeping ourselves from reaching our potential. It's part of being human! The good news is, we can work through this by changing our mindset, and taking action! Tune in to this episode as we share some of our own “big but's” and how focusing on our WHY has helped us create the success we have in our business, relationships, and life.    01:30 Is your “BUT” bigger than your “WHY”? 04:50 Strengthening our awareness of when we slip back into making excuses. 09:00 Obstacles are real - How can I work through them? 12:30 The time you called me out on my excuses. 17:40 Are you saying “yes” to too many things? 18:50 The power of getting out of your own way.