Podcast appearances and mentions of Steve Lacy

David Longstreth is here to discuss David Longstreth's Song of the Earth, Performed by Dirty Projectors and s t a r g a z e, life in Los Angeles in a tumultuous ecological era, working with s t a r g a z e and the influence of Gustav Mahler, the revenge of the Earth, orcas, and using gardens as a metaphor, despair and the Beatles, why Phil Elverum from Mount Eerie might be the poet laureate of nature, working with Steve Lacy, loving Stephen Malkmus and Pavement, production ideas, other future plans, and much more.EVERY OTHER COMPLETE KREATIVE KONTROL EPISODE IS ONLY ACCESSIBLE TO MONTHLY $6 USD PATREON SUPPORTERS. Enjoy this excerpt and please subscribe now via this link to hear this full episode. Thanks!Thanks to the Bookshelf, Planet Bean Coffee, and Grandad's Donuts. Support Y.E.S.S., Pride Centre of Edmonton, and Letters Charity. Follow vish online. Support vish on Patreon!Related episodes/links:Ep. #951: Mark Ibold, Scott Kannberg, Jeffrey Lewis Clark, Jed I. Rosenberg & Brian Thalken on ‘Louder Than You Think: A Lo-Fi History of Gary Young and Pavement'Ep. #933: Alex Ross Perry, Scott Kannberg, and Robert Greene on ‘Pavements'Ep. #924: Lance Bangs and Bob Nastanovich on ‘Pavements'Ep. #918: Mount EerieEp. #910: The Hard QuartetEp. #481: David BermanEp. #114: Nat Baldwin of Dirty ProjectorsSupport this show http://supporter.acast.com/kreative-kontrol. Hosted on Acast. See acast.com/privacy for more information.

The newest installment to my colors mix series. Features artists like Buju Banton, OutKast, Destiny's Child, Snoop Dogg, 2Pac, Vicious, and more. Press play and enjoy! #gfunk #funky #raggamuffin #basslines #mix

Enjoy a playlist featuring gems from around this jazz world, connected through a number of common threads… The playlist features Yaron Herman; Allison Philips; Ludovica Burtone [pictured]; Stefan Sirbu; Nils Agnas; and Steve Lacy. Detailed playlist at https://spinitron.com/RFB/pl/20416593/Mondo-Jazz [up to "Seven Down Eight Up"]. Happy listening!

Linktree: https://linktr.ee/AnalyticWelcome to the latest segment of Notorious Mass Effect, hosted by Analytic Dreamz! This segment dives into the rise of Malcolm Todd, the Los Angeles-born artist blending alternative R&B, indie pop, and bedroom pop. Born Malcolm “Todd” Hobert on September 15, 2003, Todd's influences include Steve Lacy and Omar Apollo. We explore his journey from 2022's Demos Before Prom to his 2025 self-titled debut album, spotlighting the lead single “Chest Pain (I Love).” Released December 3, 2024, via Columbia Records, it's a heartfelt track with groovy basslines and soulful vocals, peaking at #53 on Spotify's Global Chart and #19 in the US. Analytic Dreamz unpacks its TikTok-driven buzz, with over 200,000 creates, and its cultural impact among Gen Z. From Omar Apollo's 2024 tour to a projected Billboard Hot 100 debut, Todd's organic growth shines. Join Analytic Dreamz for insights into streaming trends, live performances, and Malcolm Todd's evolving artistry.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Linktree: https://linktr.ee/AnalyticIn this segment of Notorious Mass Effect, Analytic Dreamz dives into Malcolm Todd's rise with “Chest Pain (I Love),” a soulful lead single from his 2025 self-titled debut album. Born in Los Angeles, Todd blends alternative R&B and indie pop, drawing from Steve Lacy and Omar Apollo. The track's groovy basslines and heartfelt lyrics about longing have sparked over 200,000 TikTok creates, driving 1.85 million daily Spotify streams and a projected Billboard Hot 100 debut. Analytic Dreamz explores Todd's Gen Z connection, live performances on Omar Apollo's 2024 tour, and the song's cultural impact through organic growth and critical praise.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Send us a textWelcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: Goodbye Earl by Me First & the Gimme Gimmes (2006)Song 1: Mama Said Knock You Out by LL Cool J (1990)Song 2: On the Road Again by Canned Heat (1968)Song 3: Dark Red by Steve Lacy (2017)Song 4: How Much is That Doggie in the Window by Patti Page (1953)Song 5: Fireworks by Animal Collective (2007)Song 6: Still Frame by Trapt (2002)Song 7: Because the Night by Patti Smith (1978)Song 8: 9Mm Goes Bang by Boogie Down Productions (1987)Song 9: Ladyfingers by Herb Alpert (1965)Song 10: Peanut Butter Jelly Time by Buckwheat Boyz (2004)

Okayokayokayokay, we're heading to the Garden Shed this week and going back to November with Flower Boy, the hazy 2017 record from Tyler, The Creator! Find out whether this non-rap fusion record holds up or whether we have to unleash Connor, The Destroyer. We'll shine like Glitter, discover horrorcore, and eat all the ice cream we can handle as we learn about one of hip-hop's most provocative artists. The Mixtaper will try to trick us with a new game called Guess That Watch Amount and a racist goat from a Mountain Dew ad... Plus, Connor's got to choose a favorite feature! If you're Mr. Lonely, feeling Boredom, or Enjoying Right Now, Today, we hope we'll See You Again this week for another album review! (edited)Keep Spinning at www.SpinItPod.com!Thanks for listening!0:00 Intro4:37 About Tyler, The Creator10:16 About Flower Boy16:53 Awards & Accolades17:54 Fact Or Spin19:03 He Has His Own Flavor Of Ice Cream23:51 He Has His Own Ice Cream Flavor26:45 A Flavor Of Ice Cream, He Has27:22 He Created A Watch31:08 He Directed And Starred In A Banned Mountain Dew Commercial37:54 Album Art41:43 Foreword (feat. Rex Orange County)46:49 Where This Flower Blooms (feat. Frank Ocean)48:41 Sometimes...49:38 See You Again (feat. Kali Uchis)52:27 Who Dat Boy (feat. A$AP Rocky)56:11 Pothole (feat. Jaden Smith)57:51 Garden Shed (feat. Estelle)59:50 Boredom (feat. Rex Orange County & Anna Of The North)1:01:43 I Ain't Got Time!1:03:56 911/Mr. Lonely (feat. Frank Ocean & Steve Lacy)1:05:42 Droppin' Seeds (feat. Lil' Wayne)1:07:20 November1:10:17 Glitter1:12:31 Enjoy Right Now, Today1:14:17 Final Spin Hosted on Acast. See acast.com/privacy for more information.

Send us a textGuitarist, improviser and research diver Henry Kaiser visits YMAAA and introduces Al to Captain Beefheart's 1972 album The Spotlight Kid. Henry talks about his personal connections to Captain Beefheart's backing ensemble, The Magic Band, and particularly his connection to Elliot Ingber, who passed away just days before this episode was recorded. Henry recalls how seeing a live performance of one of the tracks from The Spotlight Kid led to him taking up the guitar, and how he developed as both a fan and a colleague of Captain Beefheart and the Magic Band. Henry also talks about his deployments as a research diver in Antarctica, as well as some of his recent musical projects, including his work on Two Views of Steve Lacy's The Wire.Henry had mentioned that he found a video of the Captain Beefheart and the Magic Band performance at Tufts University that inspired him to become a guitarist. You can find it here: https://www.youtube.com/watch?v=fzDaFDhkv9A. The specific moment that Henry mentioned begins at 5:19.You can find Henry's music on his website, http://www.henrykaiserguitar.com/, as well as on the Cuneiform Records YouTube channel (https://www.youtube.com/@CuneiformRecords). Among many other videos, that's where you can find Henry's recent Elliot Ingber tribute video (https://www.youtube.com/watch?v=WpoVA6qkEX0).Al is on Bluesky at @almelchior.bsky.social. This show has an account on Instagram at @youmealbum. Subscribe for free to You, Me and An Album: The Newsletter! https://youmealbum.substack.com/. You can also support the show on Buzzsprout at https://www.buzzsprout.com/1542814/episodes or at the link at the bottom of these show notes.1:24 Henry joins the show1:45 Henry talks about the important role that Elliot Ingber played in his life8:58 Henry explains why The Spotlight Kid was not loved by The Magic Band10:49 Henry recounts the first time he met Ingber and other members of The Magic Band12:52 Henry talks about his first experience with listening to The Spotlight Kid16:15 Henry discusses his YouTube videos, including his tribute performances18:48 Henry talks about how The Spotlight Kid was a different kind of album for Captain Beefheart20:00 Henry explains why he chose The Spotlight Kid for this episode and what it's like for him to listen to it now22:15 Al picks his favorite tracks from the album and explains what he gets out of them29:10 The Spotlight Kid gets overshadowed by several other Captain Beefheart albums29:54 Henry cites his favorite tracks from the album31:36 The Spotlight Kid had some commercial success32:41 Henry's Captain Beefheart fandom was shaped by his inside knowledge of the band's workings36:01 Henry identifies what makes The Spotlight Kid unique among blues rock albums38:05 Henry talks about becoming a diver and his path to becoming a scientific diver in Antarctica43:00 Henry discusses his recent Steve Lacy cover album collaboration46:33 Henry enjoys reworking some of his favorite music48:13 Henry talks about his recent projectsOutro music is from “Esteem” by Ackley-Chen-Centazzo-DeGruttola-Kaiser-Manning.Support the show

There's a new Record Store Day ritual in the jazz world - archival live releases from one of the many labels Zev Feldman has a hand in running.  This year's two RSD days saw several releases on labels like Resonance, Reel to Real, and Elemental Music and the boys take a gander at one release from each of these wizards of the archive as well as pondering a brand new live release recorded (as well as let into the wild) in 2024.  Recorded in Brooklyn because, well, of course it was.  Emily Remler – LIVE FROM THE 4 QUEENS; Mal Waldron and Steve Lacy – THE MIGHTY WARRIORS; Charles Tolliver – LIVE AT THE CAPTAIN'S CABIN; The Fury – LIVE IN BROOKLYN.

This episode of The Other Side of the Bell, featuring trumpeter Aaron Smith, is brought to you by Bob Reeves Brass.  About Aaron : Aaron Smith is an active freelance trumpet player in Los Angeles, CA. He also writes, arranges, and publishes music through his small business, TrumpetSmith Publishing (ASCAP). In addition, he serves on the Hearing Board for the American Federation of Musicians (AFM) Local 47 and on the Board of Directors for the Recording Musicians Association Los Angeles (RMALA).  Raised in an Army household with musician parents who played jazz and r&b, and later to receive classical conservatory training, Smith thrives on versatility, consistency, and accurate delivery of musical intent. As a trusted freelance musician in Los Angeles, he performs regularly for live orchestral events, musical theatre, films, independent recording projects, streaming, television, and video games.  He has recorded on film/tv projects for celebrated composers including Alan Menken, Bear McCreary, Branford Marsalis, Germaine Franco, Heitor Pereira, Kris Bowers, Rob Simonsen, and Terence Blanchard; on sound recordings for Adrian Younge, Austin Wintory, Charles Gaines, Dr. Dre, Joachim Horsley, John Daversa, and X Ambassadors. He has performed as a sideman in bands on the Academy Awards, Dancing with the Stars, Disney's Encore!, Ellen, the LATE LATE Show, and The Voice. He's also appeared as a sideman onscreen for films including Babylon and Joker: Folie à Deux; and tv commercials for Capital One and Microsoft. He's backed major artists including Beyoncé, Billie Eilish, Common, Danny Elfman, Jennifer Holliday, Josh Groban, Kelly Clarkson, Labrinth, Lady Gaga, Sigur Rós, Steve Lacy, and more. He has also performed for contemporary/new music ensembles and series including Alarm Will Sound, the Industry's Hopscotch Opera, Jacaranda, Southwest Chamber Music, wasteLAnd, WildUp, Green Umbrella, Monday Evening concert series, and Noon to Midnight Festival. In the L.A. theater world, Smith performs regularly at the Hollywood Pantages, Dolby, La Mirada Theaters and Pasadena Playhouse. Some notable shows from these theaters with Smith on solo trumpet include Back to the Future, Beetlejuice, Color Purple, Jelly's Last Jam, Les Misérables, Moulin Rouge, Wicked, and the Wiz.  As a composer, Smith strives to curate a top-tier experience for brass players especially. The primary focus is exploring boundaries while expressing a story; both through adapted arrangements structurally sound to the composer's intent and through his own original compositions. His work has been performed internationally. He has also created original chamber music commissioned by Marissa Benedict for University of Minnesota, Jim Self for University of Southern California, also by the Interlochen Center for the Arts, and Stomvi-USA.  Smith's training as a music performance major includes a Master of Fine Arts degree from California Institute of the Arts where he studied with Edward Carroll and John Fumo; and a Bachelor of Music degree from the Eastman School of Music with professor James Thompson. He is also a graduate of the Interlochen Arts Academy with Stanley Friedman.

polleNation, a hive of music broadcasting through the B Beats podcast channel. 002 ~ jakey https://www.instagram.com/pollenation23/ Title / Artist What You Need (feat. Charlotte Day Wilson) / KAYTRANADA A Hero's Death (Soulwax Remix) / Fontaines D.C. Dance Dance Dance Dance / KAYTRANADA 24K / Tkay Maidza Don't Play (feat. Mood Talk) / Jungle Voyager / Daft Punk Separated / IAMNOBODI Topdown / Channel Tres Who I Am / Toro y Moi Dancing Elephants / Rochelle Jordan Expressing What Matters / Disclosure Let it Happen (Soulwax Remix) / Tame Impala You Know What / N.E.R.D I'll Take Care Of U / Gil Scott-Heron & Jamie xx better / Joy Orbison & Léa Sen Fever Dreamer / SG Lewis, Charlotte Day Wilson & Channel Tres Live Without Your Love / Love Regenerator, Steve Lacy, Calvin Harris raingurl / yaeji

This week on Bottoms Up we're trying something new?!?! No guests, just Fannita and her Producer Devon talking through recent pop cultural moments. They talk about Wicked, Drake and Steve Lacy's feud, who will win Album of the Year at the Grammys, and SOOOOO much more! So pour up your favorite drink, sit back and get ready to have a ki with the girlies!!!!! Fannita: https://www.instagram.com/fannita/ https://www.tiktok.com/@fannita Learn more about your ad choices. Visit megaphone.fm/adchoices

2024/12/04 ~ Episode 454 - Ready for something different Today we're switching gears on the Church Solutions Podcast! Buckle up for an interview with Steve Lacy and Phil Thompson by the awesome team at PressOnCon.com. Get ready to dive into our story, our vision, some laughs along the way, and maybe even a few things you never knew, next on a different Church Solutions Podcast.

Crooners welcome! to this episode of Morning Glory with Sofia. Starting of with Lysandre going into Steve Lacy's Jazz (no, not that Steve Lacy) followed by an interview with Uncle Quentin on their new platonic love single, MISSING. Finished by an an hour of Fontella Bass, Afro-Peruvian Classics (David Byrne's words, not mine), Laraaji, MIKE, Standing On The Corner, and Lou Apple.   A full course. Gracias a Tuning Fork

ROY HARGROVE “GRANDE-TERRE” Abril, 1998, Pointe-a-Pitre, GuadaloupeB and B, Afreaka, Priorities Roy Hargrove (t) Frank Lacy (tbn) Sherman Irby (sa) Jacques Schwarz-Bart (st) Ed Cherry (g) Larry Willis, Gabriel Hernandez (p) Gerald Cannon (b) José Luis “Changuito” Quintana, Julio Barreto (perc) Willie Jones III (dr) KOTKA “KOTKA 10” Marzo 6, 2024, Madrid, España.Parts I, II & IIIGuillermo Bazzola (g) Risto Vuolanne (b) Fernando Lamas (dr) GIL EVANS “GIL EVANS & TEN” Hackensack, N.J., September 6, 1957 Remember, Ella speedJohn Carisi, Jake Koven (tp) Jimmy Cleveland (tb) Bart Varsalona (b-tb) Willie Ruff (fhr) Lee Konitz (as) [as Zeke Tolin (as) ] Steve Lacy (sop) Dave Kurtzer (bassoon) Gil Evans (p,arr,cond) Paul Chambers (b) Jo Jones (d) Hackensack, N.J., September 27 & October 10, 1957 Big stuffAdd: Louis Mucci (tp) Nick Stabulas (d) replace John Carisi, Jo Jones Continue reading Puro Jazz 01 de noviembre, 2024 at PuroJazz.

ROY HARGROVE “GRANDE-TERRE” Abril, 1998, Pointe-a-Pitre, GuadaloupeB and B, Afreaka, Priorities Roy Hargrove (t) Frank Lacy (tbn) Sherman Irby (sa) Jacques Schwarz-Bart (st) Ed Cherry (g) Larry Willis, Gabriel Hernandez (p) Gerald Cannon (b) José Luis “Changuito” Quintana, Julio Barreto (perc) Willie Jones III (dr) KOTKA “KOTKA 10” Marzo 6, 2024, Madrid, España.Parts I, II & IIIGuillermo Bazzola (g) Risto Vuolanne (b) Fernando Lamas (dr) GIL EVANS “GIL EVANS & TEN” Hackensack, N.J., September 6, 1957 Remember, Ella speedJohn Carisi, Jake Koven (tp) Jimmy Cleveland (tb) Bart Varsalona (b-tb) Willie Ruff (fhr) Lee Konitz (as) [as Zeke Tolin (as) ] Steve Lacy (sop) Dave Kurtzer (bassoon) Gil Evans (p,arr,cond) Paul Chambers (b) Jo Jones (d) Hackensack, N.J., September 27 & October 10, 1957 Big stuffAdd: Louis Mucci (tp) Nick Stabulas (d) replace John Carisi, Jo Jones Continue reading Puro Jazz 01 de noviembre, 2024 at PuroJazz.

On this episode of Below the Radar, our host Am Johal is joined by Hank Bull, an artist and curator whose administration and advocacy work has greatly contributed to artist-run culture in Canada. Hank discusses his work with the Western Front and Centre A, and he also brought along some props to give us a taste of what his past radio art sounded like! Full episode details: https://www.sfu.ca/vancity-office-community-engagement/below-the-radar-podcast/episodes/254-hank-bull.html Read the transcript: https://www.sfu.ca/vancity-office-community-engagement/below-the-radar-podcast/transcripts/254-hank-bull.html Resources: Hank Bull: https://hankbull.ca/ The HP Show: https://wavefarm.org/ta/archive/works/vae2da Western Front: https://westernfront.ca/ Centre A: https://centrea.org/ Vancouver Art Gallery: https://www.vanartgallery.bc.ca/ Bio: Hank Bull was born in 1949 in Moh'kins'tsis/Calgary and grew up in Toronto and small towns in southern Ontario. He became interested in art and music at an early age, mentored by a librarian, Graham Barnett, and encouraged by high school instructors Paavo Airola and David Blackwood. After travels in Europe in 1968, he studied drawing and photography in Toronto under Robert Markle and Nobuo Kuobota. In 1973, he moved to xwməθkwəy̓əm (Musqueam)/Vancouver to join the newly formed artist-run centre Western Front. In this interdisciplinary setting, he was exposed to mail art, poetry, ceramics, improvised music and video. He produced a weekly radio broadcast, cabaret performances, shadow theatre and telecommunications projects. During the 1980s he travelled in Asia, Africa and Europe, organized international exchanges and helped to develop a Canadian network of artist-run centres. He has worked in collaboration with a wide range of artists, including Kate Craig, Glenn Lewis, General Idea, Robert Filliou, William S. Burroughs, Kathy Acker, Michael Snow, Mona Hatoum, Antoni Muntadas, Steve Lacy, Tari Ito, Rebecca Belmore, Germaine Koh, Khan Lee, Cornelia Wyngaarden and many others. He has filled a variety of roles as artist, curator, writer, organizer and administrator. Throughout his career, he has continued an individual practice of painting, music, photography, video, sound and sculpture. He lives at the Western Front and spends a fair amount of time in swiya, territory of shíshálh Nation, as a member of the Storm Bay Art and Conservation Society. Cite this episode: Chicago Style Johal, Am. “The World Accordion To Hank — with Hank Bull.” Below the Radar, SFU's Vancity Office of Community Engagement. Podcast audio, October 22, 2024. https://www.sfu.ca/vancity-office-community-engagement/below-the-radar-podcast/episodes/254-hank-bull.html.

Alayna Rodgers and Alana Linsey have toured the world and performed on TV as background vocalists with artists such as Anderson .Paak, Steve Lacy, Raphael Saadiq, Harry Styles, Madonna, John Legend, The Masked Singer, and many more. They're the electric duo that's been on stage singing background vocals with Anderson .Paak, and now they're stepping to center stage with their own artist project, GAWD.They just dropped their album Cathedral City Supreme and are going on tour with Anderson .Paak, pulling double duty by both opening the show as GAWD and singing background vocals with Anderson. We talk about how the project came together, stepping out and taking the risk of focusing on their artist project, developing their sound, working with producer (and drummer) Stanley Randolph, and much more.We've loved Alayna and Alana for years, and now we love GAWD! Hope you enjoy this interview with them, and make sure to check them out everywhere. GAWD is awesome.‘Go with Elmo Lovano' is a weekly podcast where Elmo interviews creatives and entrepreneurs in music on HOW they push forward every day, got where they are in their careers, manage their personal lives, and share lessons learned and their most important insights.Please SUBSCRIBE / FOLLOW this podcast to catch new episodes as soon as they drop! Your likes, comments and shares are much appreciated!Listen to the audio form of this podcast wherever you get your podcasts: https://rss.com/podcasts/gowithelmoFollow GAWD:https://www.instagram.com/gawdherself/Follow Alana:https://www.instagram.com/lanadelpay_me/Follow Alayna:https://www.instagram.com/thebiglayback/Follow Elmo Lovano:https://Instagram.com/elmolovanohttps://Twitter.com/elmolovanoFollow Go With Elmo:https://Instagram.com/gowithelmohttps://twitter.com/gowithelmopodGo With Elmo Lovano on YouTube:https://youtube.com/@gowithelmoFollow Jammcard:https://Instagram.com/Jammcardhttps://TikTok.com/Jammcardhttps://Twitter.com/JammcardJammcard is the Music Professionals Network - https://jammcard.comThe Jammcard app is an invite only social network for vetted music professionals. You can apply to join at https://jammcard.typeform.com/to/g58t0g

Scrump and Drew are joined by Steve Feese to talk about the music of Backstreet Boys; Spice Girls, Steve Lacy, Manu Chao, 21 Savage, Metro Boomin, Frank Turner, Chingon, A Tribe Called Quest, The Wonder Years, MASS OF THE FERMENTING DREGS, Driveways, and more! Quit Playing Games (With My Heart)-Backstreet Boys 2 Become 1-Spice Girls Static-Steve Lacy Je ne t'aime plus-Manu Chao No Heart-21 Savage & Metro Boomin Mittens-Frank Turner Malaguena Salerosa-Chingon Can I Kick It?-A Tribe Called Quest I Don't Like Who I Was Then-The Wonder Years Dramatic-MASS OF THE FERMENTING DREGS October Forever-Driveways Special thanks to Matt Damon for the outro.   Patreon Merchandise   Social Media: Twitter Instagram 

Post Malone's been mixing his own music since high school. Fusing hip-hop and pop, he now has a new country album! I recap his discography, year-long promotion for F-1 Trillion, and the tracks' early rankings. Theme Song: "Dance Track", composed by Jessica Ann CatenaText the show, Support the showPost Malone's YouTube ChannelGrand Ole Opry livestream (8/15/24) (starts at 19 min mark)CBS Sunday Morning interviewApple Music interviewNBC Elvis Presley's 50th Special (2018)"Jackie Chan" music videoACMs 2024: "Never Love You Again" & "I Had Some Help""Rambling Man" tribute"Pour Me a Drink" @ CMA FestRelated Episodes:Ep. 12 - Top 40 Songs of 2019 (Part 1)Ep. 30 - Post Malone's "Circles" - Chart HistoryEp. 156 - Steve Lacy's "Bad Habit"Ep. 169 - Top 40 Songs of 2022 (Part 2)Ep. 234 - COWBOY CARTER & EvolutionEp. 235 - Eclipse PlaylistEp. 237 - The Tortured Poets Department - ReviewEp. 249 - Shaboozey's "A Bar Song (Tipsy)"

CECIL TAYLOR TRIO “JAZZ ADVANCE” Boston, September 14, 1956Bemsha swing, Charge 'em blues (1)Steve Lacy (sop-1) Cecil Taylor (p) Buell Neidlinger (b) Denis Charles (d) IVO PERELMAN / MATTHEW SHIPP “MAGICAL INCANTATIONS” Brooklyn, NY?, Lanzamiento mayo, 2024Thirteen, Three, Eleven Ivo Perelman (sax), Matthew Shipp (p) ILLEGAL CROWNS “UNCLOSING” New Haven, CT, June 20, 2022Crooked frame, Unclosing, Osmosis crownTaylor Ho Bynum (cnt,flhrn) Benoit Delbecq (p) Mary Halvorson (el-g) Tomas Fujiwara (d) Continue reading Puro Jazz 09 de agosto, 2024 at PuroJazz.

CANNONBALL ADDERLEY / BILL EVANS “KNOW WHAT I MEAN?” New York, January – March, 1961Waltz for Debby, Goodbye, Know what I mean ?Cannonball Adderley (as) Bill Evans (p) Percy Heath (b) Connie Kay (d) STEVE NELSON “BROTHERS UNDER THE SUN” New York, December 9, 2016The more I see you, Soul-Leo, It never entered my mindSteve Nelson (vib) Danny Grissett (p) Peter Washington (b) Lewis Nash (d) STEVE LACY “EVIDENCE” Englewood Cliffs, NJ, November 14, 1961Evidence, Let's cool one, San Francisco holidayDon Cherry (tp) Steve Lacy (sop) Carl Brown (b) Billy Higgins (d) Continue reading Puro Jazz 08 de agosto, 2024 at PuroJazz.

This time around we start with a rendition of "Portrait of Jennie" with strings followed by a portrait by a string player named Jenny… a portrait of Ornette Coleman by violinist Jenny Scheinman to be precise. That's followed by tributes to Nusrat Fateh Ali Khan, Steve Lacy and Hariprasad Chaurasia, as well as a love letter to NYC. The playlist features Franco Ambrosetti; Jenny Scheinmann; Lux Quartet; Dan Weiss; Roberto Ottaviano, Danilo Gallo, Ferdinando Faraò; Nasheet Waits [pictured]. Detailed playlist at https://spinitron.com/RFB/pl/19310530/Mondo-Jazz (from "Portrait of Jennie" to "Snake Stance"). Happy listening! Photo credit: Jimmy Katz

Mit «Bando Stone & the New World» verabschiedet sich Schauspieler Donald Glover («Atlanta») von seinem musikalischen Alter Ego Childish Gambino. Er zieht alle Register, die ihn über vier Alben zu einem der vielseitigsten Rap-Künstler gemacht haben, und übertrifft sich selbst (und wohl alle anderen). Vintage Schlafzimmer-Soul? Geht die Gehörgänge runter wie warmes Öl. Politisch aufgeladener Trap? Stachelt an. Dancefloorsturmwütiger Club-Rap? Hell yeah. Einfach so aus Spass etwas beim Pop-Punk-Revival mitschunkeln? Hochgradig witzig. Khruangbins Thai-Funk adoptieren, um etwas herunterzukommen? Beste Überraschung. Hat er da The Prodigy gesampelt und dort Steve Lacy mitproduzieren lassen? Sind das Jorja SmithUND Thai-Funk adoptieren, um etwas herunterzukommen? Beste Überraschung. Hat er da The Prodigy gesampelt und dort Steve Lacy mitproduzieren lassen? Sind das Jorja SmithAmaarae? «Bando Stone & the New World» lässt ungläubig zurück - und umgehend noch einmal «Play» drücken: Was zur Hölle war das? Aber es war gut. * «Note 10!» - Sounds! Hip Hop Experte Pablo Vögtli

Greg catches us up on his week and then fills us in on Kendrick Lamar's Juneteenth Concert. Officially called ‘The Pop Out - Ken & Friends,' the show has been described as a victory lap that united Los Angeles. Lamar's friends ended up being Dr. Dre, YG, Tyler, the Creator, Roddy Rich, Schoolboy Q, Steve Lacy, and others. Reports also referenced a large attendance by celebrities, athletes, and both members of the Bloods and the Crips. Aside from joining with the crowd to celebrate his victory in his Drake beef, Lamar focused his message on unity and it seems to have resonated. It is already being called one of the biggest moments in hip hop history and Snoop has declared Kendrick Lamar the West Coast King.Song: Kendrick Lamar - “Not Like Us (Juneteenth Live)”Jay brings us some new rock songs this week, curated in the Classic Rock section of Loudersound.com. The guys give their opinions on ‘the best new rock songs you need to hear right now.'Songs:iNi Kamoze, Salaam Remi - “Here Comes The Hotstepper”Massive Wagons - “Missing On TV”Bones UK - “Bikinis”Orange Goblin - “The Fire At The Centre Of The Earth Is Mine”Mr Big - “Up On You“Finally, Nick breaks the news that our end credit music generation provider, Suno.ai, is being sued alongside Udio by the RIAA & all four major record labels for copyright infringement. The AI music generation services are being accused of plagiarizing unlicensed music digested and fed into the AI models. Suno CEO claims they refused discussing the matter and Udio has a nice song in response to the accusations. It's all new ground for the courts and sure to be interesting to follow as both services claim the index of songs digested to be proprietary information.Song: Sam Evian - “Wild Days”

Linktree: https://linktr.ee/AnalyticMustard & Travis Scott: Parking Lot Paves the Way for "Faith of a Mustard Seed"Earlier this week, Mustard officially confirmed a fiery collaboration with none other than Travis Scott on the aptly titled "Parking Lot." This single serves as a taste of Mustard's forthcoming album, "Faith of a Mustard Seed," dropping July 26, 2024. With his last album, "Perfect Ten," debuting at No. 8 on the Billboard 200, anticipation is high for Mustard's next project.Travis Scott's Arrest and Social Media ShenanigansBeyond the studio, Travis Scott found himself in the headlines for a recent arrest in Florida for disorderly intoxication and trespassing. True to his form, Scott took a lighthearted approach, sharing a humorous mugshot edit on social media, even capitalizing on the situation with merchandise featuring the altered mugshot.Kendrick Lamar's Juneteenth Concert: A Celebration of West Coast Hip-HopThe hip-hop world witnessed a powerful moment of unity at Kendrick Lamar's Juneteenth concert at the Forum in Inglewood, California. The star-studded event featured fellow West Coast giants like Tyler, The Creator, Steve Lacy, YG, Schoolboy Q, Ab-Soul, Jay Rock, and a surprise appearance by Dr. Dre himself. The highlight? A rousing performance of "Still D.R.E." and "California Love" with Dr. Dre joining Kendrick on stage. This concert further solidified Kendrick's commitment to West Coast unity, bringing together a diverse range of LA artists for a historic night.Lamar vs. Drake: The Feud Heats UpThe simmering feud between Kendrick Lamar and Drake reached a boiling point with Lamar's final verse on his recent hit "Not Like Us." This verse critiques Drake for inauthenticity and even uses the term "colonizer." The longstanding beef, originating from Lamar's verse on Big Sean's "Control" in 2013, highlights the contrasting styles of these two hip-hop titans. Drake is known for his focus on wealth, memes, and constant collaborations, while Lamar is celebrated for his introspective concept albums and minimal social media presence.Join us as we unpack these stories and analyze their impact on the ever-evolving landscape of hip-hop.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

This time we felt like exploring the interplay of basketball and jazz, focusing in particular on a great jazz advocate like Kareem Abdul Jabbar [pictured], on the soundtrack of the HBO series "The Winning Time", on an oneiric game played with a basketball fish, and on Stanley Clarke's tribute to this sport, to which he devoted as many hours as he did to the study of the bass, while growing up in Philly. The playlist features Nicholas Britell, Robert Glasper; Jeff Beal; Poncho Sanchez, Tito Puente; Steve Lacy, Don Cherry; Freddie Hubbard; Kris Allen; The Jazz Passengers; and Stanley Clarke. Detailed playlist at https://spinitron.com/RFB/pl/19064879/Mondo-Jazz (up to "Basketball") Happy listening!

Quest'anno cadono i cinquant'anni dalla morte di Duke Ellington, 24 maggio 1974, ma anche i centoventicinque dalla sua nascita, 29 aprile 1899; e i novant'anni dalla nascita di Steve Lacy, 23 luglio 1934, e i venti dalla sua morte, 4 giugno 2004. Rendiamo omaggio a entrambe queste grandi figure riscoprendo Ten of Dukes + Six Originals, un album pubblicato nel 2002 dalla etichetta francese Senators Records, e passato largamente inosservato, ma che rappresenta un prezioso unicum nella discografia di Lacy, perché è il solo album in cui il sassofonista si dedica in maniera estesa a materiale ellingtoniano. Lacy nel '99 era stato invitato a partecipare a San Francisco alle celebrazioni per il centenario della nascita di Ellington, e aveva allestito un programma di dieci brani - selezionati e messi a punto con un lavoro certosino - da eseguire in solo al sax soprano. Nella fase successiva Lacy ripropose in solo il programma ellingtoniano in altre occasioni, e fu anche filmato da Franco Maresco allo Spasimo di Palermo proprio interpretando questi brani. L'album è stato ricavato da una esibizione di Lacy in Giappone nell'ottobre del 2000.

THIS WEEK's BIRDS: Ava Mendoza & Dave Sewelson; Fay Victor & Herbie Nichols SUNG; Herbie Nichols himself, w/ trio; Mal Waldron w. Steve Lacy; Romanian song from Dona Dumitru Siminica, as well as  Dumitru Ridescu & Mituța Ridescu; Balkan music from Ilieve Glogovac Vaska and Ivo Popasov; Anthony Braxton's #296 (w/ quintet;) Algerian cha'abi from Amar el Achab, Cheikh el Hasnaoui, Dahmane el Harrache; Lebanese song from Ziyad Al Rahbani; Liba Villavecchia Trio w. Luis Vicente; Antillean flute from Max Cilla;  Cecil Taylor's Orchestra of Two Continents; Rumbavana (from Cuba) as well as Santeria/ Rumba from Martha Galarraga and others; and of course, much, much more!!!!  Catch the BIRDS live on Friday nights, 9:00pm-MIDNIGHT (EST), in Central New York on WRFI, 88.1 FM Ithaca/ 88.5 FM Odessa;. and WORLDWIDE online via our MUSIC PLAYER at WRFI.ORG. 24/7 via PODBEAN: https://conferenceofthebirds.podbean.com/ via iTUNES: https://podcasts.apple.com/us/podcast/conference-of-the-birds-podcast/id478688580 Also available at podomatic, Internet Archive, podtail, iheart Radio, and elsewhere. Always FREE of charge to listen to the radio program and free also to stream, download, and subscribe to the podcast online: PLAYLIST at SPINITRON: https://spinitron.com/WRFI/pl/18952193/Conference-of-the-Birds and via the Conference of the Birds page at https://www.facebook.com/groups/conferenceofthebirds/?ref=bookmarks FIND WRFI on Radio Garden: http://radio.garden/visit/ithaca-ny/aqh8OGBR Contact: confbirds@gmail.com  

We've got an extra special edition of Daydreams this week, featuring a guest mix from Louisville to Brooklyn luminary Dom Haley! sddp starts us out with some moody 2 step but Dom gets real deep real quick, selecting cuts from the likes of Karizma, Steve Lacy & Tlim Shug to name a few. JPB & sddp go two for two in the last 45 minutes to end us out.For more info and tracklisting, visit: https://thefaceradio.com/daydreams/Tune into new broadcasts of Daydreams, Saturdays from 4 - 6 PM EST / 9 - 11 PM GMT.//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

Et notre focus Talking Heads (3/4) TRACKLIST Stex - Still Feel the Rain Sabrina Carpenter - Espresso Crumb - The Bug Rapsody - 3:AM (ft. Erykah Badu) Daft Punk - Voyager Mach-Hommy - (...) The Mighty Bop - Freestyle Linguistique Smokey Robinson & The Miracles - The Tracks Of My Tears Muddy Monk - Lili Pacino Daryl Hall & John Oates - Out of Touch Steve Lacy - Bad Habit Talking Heads - Once In a Lifetime Talking Heads - Born Under Punches (The Heat Goes On) A.G. Cook - Luddite Factory Operator Busta Rhymes & Mariah Carey - I Know What You Want (ft. Flipmode Squad) Tom Tom Club - Wordy Rappinghood Talking Heads - Burning Down the House Sunny Ade & His African Beats - Ja Fun Mi Chic - I Want Your Love (Todd Terje Edit) Yaya Bey - eric adams in the club (ft. Exaktly)

This is a special edition of Mondo Jazz focusing on soon-to-be collector's items which were released on the occasion of the first Record Store Day of 2024. The playlist features Cannonball Adderley [pictured]; Omar Sosa, NDR Big Band; Bill Evans; Mal Waldron, Steve Lacy; and Yusef Lateef. Detailed playlist at https://spinitron.com/RFB/pl/18910139/Mondo-Jazz [up to "Yusef's Mood"]. Photo credit: Roberto Polillo. Happy listening!

Nick was invited by his brother, Alex, to see Tool CFG Arena in Baltimore. Unaware of this, Jay self-gifted himself a great floor seat to the same show. Today, they join forces for another round of Tales from the Concert.Nick's Songs:Umphrey's McGee featuring Huey Lewis & Jeff Coffin - “Let's Dance”Tool - “Jambi”Jay's Songs:Tool - “Rosetta Stoned”The Black Crowes - “Wanting & Waiting”Greg came across this post containing the advice that Thelonius Monk wrote down for Steve Lacy in 1960. These are words of wisdom that any musician should consider and reflect upon. Confident there are more out there, Greg went ahead and made this a bit. Get ready to receive some “Sage Advice.” Song: John Coltrane & Thelonius Monk - “Epistrophy”

We had the pleasure of interviewing Jesse Boykins III over Zoom video!Alternative R&B artist / songwriter / producer Jesse Boykins III. On August 25th the Jamaican-American talent will announce his new album, New Growth, and unveil another single from the project.“Honestly I'm A Threat” is a hypnotic offering that showcases the best of Boykins. His buttery smooth vocals shine as they cascade effortlessly over the undeniable groove of the song's sultry, minimalist production. The Chicago-born, LA-based artist took a hiatus from music after the release of his acclaimed 2017 album ‘Bartholomew' and founded a “Creative Sanctuary Agency” named New Growth Creative Activities. This endeavor serves as an incubator for his vast artistic pursuits: including creative directing Masego's self-titled album and crafting a "A Love Letter To Black Women'' with actor Keith Powers for BUMBLE. In addition, Boykins has collaborated with artists including Charlie Puth, Calvin Harris, Kilo Kish, and notably earned a GRAMMY nomination for co-writing Steve Lacy's single "Playground". Jesse reemerged in 2023 with a surprise new single "No Love Without You". Although the track first premiered during a COLORS session in October 2021, the song officially released in May 2023. With subsequent releases "Kind And Nasty" and "No Pussy For Losers".Jesse Boykins III's new album New Growth is out now!We want to hear from you! Please email Hello@BringinitBackwards.comwww.BringinitBackwards.com#podcast #interview #bringinbackpod #JesseBoykinsIII #NewMusic #ZoomListen & Subscribe to BiBhttps://www.bringinitbackwards.com/followFollow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpod

Slow Jamz Radio is back on the internet, this time we're doing live visual sets from Slow Jamz Gallery. Episode #009 features DJ Hustle from Real Love Vancouver and a mix for a sunny drive on the coast. "Curating mixes has always been an expression of how I'm feeling at that exact moment. This mix is a combination of feel good R&B and chill rap-love songs. Featuring artists like bLAck pARty, Steve Lacy, Daniel Caesar, The Internet, Solange, Ryan Leslie, D'Angelo, 112, Slum Village, Kaytranada, Joesef, Brandy, N.E.R.D. and more." -Hustle Tracklist: Dancing by bLAck pARty I Found My Smile Again (Remix) by D'Angelo Thug Love by 50 Cent f. Destiny's Child Diamond Girl by Ryan Leslie Only You (Remix) by 112 All I Need by Method Man f. Mary J. Blige Ur The Best Part (Remix) by Daniel Caesar f. H.E.R. Tainted by Slum Village Can't Get You Off My Mind by Mary J. Blige Die Hard by Kendrick Lamar f. Blxst & Amanda Reifer C U Girl by Steve Lacy Always Be My Baby (Jermaine Dupri Remix) by Mariah Carey & Da Brat SkeeYee Soda by Sexxy Redd Crush On You by Junior Mafia Something New by Ty Dolla $ign U-Turn by Usher Sittin' Up In My Room by Brandy Run To The Sun by N.E.R.D. You Know What's Up by Donell Jones & Left Eye BOYFRIEND, GIRLFRIEND by Tyler, The Creator f. YG drive ME crazy! by Lil Yachty It's Been a Little Heavy Lately by Joesef Dontcha by The Internet Cranes In The Sky (Kaytranada Edit) by Solange So What by Field Mob f. Ciara I Like The Way by Sammie Shorty Swing My Way by KP & Envy Rich Baby Daddy by Drake f. SZA & Sexxy Red

2023/12/20 ~ Episode 412 - There are a ton of people on social media, so why shouldnt my church stream there Steve Lacy and Phil Thompson take a look at the benefits and drawbacks to streaming your church services on social media.

We're feeling ourselves on this week's interview with photographer Quil Lemons. Quil was kind enough to host us in Hannah Traore Gallery, where his latest solo show Quiladelphia is on display until the end of the year, to get deep on maturity and working on yourself, art is back in NYC, avoiding cheese at openings, checking in on the black male psyche, the corporate response to black bodies, how horny is he really, being born awesome and transferable skills, the big balls mindset, collaborating with Sky High Farm and whether farm boys indeed do it better, tips for dick pics, reconciling fine art pursuits with commercial bag chasing, That Bitch Sr. raising That Bitch Jr. right and paying it forward to mom, why he had to leave Philly, refusing to miss Vivienne Westwood before she passed despite a raging skin infection, bonding with Ice Spice on set over Lana Del Rey and the American dream, his best-dressed boy Steve Lacy, indulging us by describing in detail what it's like to hug Salma Hayek, the wonders of drag, fits that make the eye dance, the power of words of affirmation, the Tumblr years, high school's Abercrombie tee war of attrition, playing Santa for his siblings, beating the gay allegations thanks to his Jordan reselling uncle and much more on this artsy fartsy episode of The Only Podcast That Matters™. For more Throwing Fits, check us out on Patreon: www.patreon.com/throwingfits.

MTV's VMAs (Video Music Awards) will air 9/12, 8pm. Before then, I "announce" prediction winners from 9 of its categories: Best Pop, Best Hip-Hop, Best R&B, Best Rock, Best Alternative, Best Collaboration, Song of the Year, Artist of the Year, and Video of the Year. Hear my picks, and follow this podcast's social media pages to check how I'll score during and after the show!Music Notes with Jess' social media links:FacebookTwitterInstagram2023 VMAs categories: vmas.mtv.com/Linkin Park's "Lost" music video comparisions: https://www.youtube.com/watch?v=QlfrXbyTkpI&pp=ygUQbG9zdCBsaW5raW4gcGFyaw%3D%3DRelated Episodes:Ep. 41 - Nicki Minaj Top 10 HitsEp. 68 - Radio Disney (1996-2021)Ep. 94 - MTV's Music Impact - 40thEp. 141 - Class of 2007 PlaylistEp. 150 - VMAs 2022 PredictionsEp. 156 - Steve Lacy's "Bad Habit"Ep. 168 - Top 40 Songs of 2022 (Part 1)Ep. 169 - Top 40 Songs of 2022 (Part 2)Ep. 172 - Miley Cyrus' "Flowers" Ep. 176 - Linkin Park's "Lost"Ep. 181 - BET/VH1 History & MergersEp. 187 - Ed Sheeran Top 11Ep. 191 - 2023's Hot 100 #1s RecapEp. 196 - Olivia Rodrigo's "Vampire"Ep. 197 - Foo Fighters' "Rescued"Ep. 199 - Doja Cat's "Attention"Ep. 203 - Barbie: The Albums

We've got t-shirts! Shoot us a message on instagram and we'll get you a sweet sweet shirt (designed to be worn in the pool and to sop up blood). We got tired of talking at each other about what makes us happy (Max: candy, Michael: supplements), so we brought on another guest.  Lock the doors, we have known thrill seeker, Kevin Saucier on today!  We noodle quite a bit for a while- the boys are jamming and the jam is jelly, and brother- that's a compote.  Extreme hobbies?  Keep it moving, pal- no one wants to see that.  Traffic justification- explain your parking, explain your light job, keep your hands on ten and two.  Michael is the masked singer."You're cool- fuck your friends"Patreon: https://www.patreon.com/intheminivanFollow us on instagram: @intheminivanpodMax: @maxfine_Michael: @michaelrowlando_oFollow us on twitter: @intheminivanFollow us on TikTok: @intheminivanpodcastWe're on YouTube: https://www.youtube.com/channel/UCTxCtwpkBssIljyG6tdJbWQGet in the Discord: https://discord.gg/YWgaD6xFN3Episode Playlist: https://open.spotify.com/playlist/2kJ23SyFkOKP59VxWehp5n?si=ae3b5812009940a6THE MASTER PLAYLIST: https://open.spotify.com/playlist/2saxemA3MOXcjIWdwHGwCZ?si=ee3444c085714c46Support the show

ShakeDown Radio - June 2023 - Episode 637 - House Music feat DJ Mix The Aston Shuffle.oh this is a lovely little surprise. Coming in hot THE ASTON SHUFFLE drops a brilliant 60 min mix.  DJ, producer, former triple j radio presenter, and Only 100s host, Vance Musgrove (The Aston Shuffle) has consistently delivered quality dance music for over a decade.  His releases have topped well over1 50 million streams and been supported by the likes of Patrick Topping, Diplo, Dom Dolla, Claptone, and Pete Tong.On his latest single he teams with Chambray for an essential vocal house tune.  To celebrate (and we love a party...) Vance drops a sick mix set with some monster tunes and tidy edits (omg the Steve Lacy edit slays !!!).   Podcast: https://www.podomatic.com/podcasts/chris-carragher1977Website: http://www.shakedownradio.comMixcloud: www.mixcloud.com/chriscaggsApple Podcasts / iTunes: https://apple.co/3tfyyDPGoogle Podcasts: https://bit.ly/3AbB1StiHeart Radio: https://ihr.fm/3ss7wr2Amazon Podcast: https://bit.ly/3MD8Br8Tune In App: https://bit.ly/3qTGsPFCastbox: https://bit.ly/3maXTcbFollow Chris Caggs on Social Media:Facebook Friend Page www.facebook.com/chriscaggsFacebook Fan Page www.facebook.com/chriscaggsradioTwitter www.twitter.com/chriscaggsInstagram www.instagram.com/chriscaggsTikTok @ChrisCaggsHashtag #ChrisCaggs #ShakedownRadio Over the span of 25 Years across 15 Radio Stations - Chris Caggs has been on air at:Groove FM 96.9FM & 94.5FM - SydneyGroove FM 97.3FM - BrisbaneDJ-FM 87.6FM -  Sydney2RDJ 88.1FM - Sydney2NSB 99.3FM - Northside Radio  SydneyPump FM 99.3FM - Sydney2ICR Radio - SydneyMix It Up Radio - BrisbaneSTR8OUT Radio - MelbourneMixxbosses Radio - SydneyUrban Movement Radio - BrisbaneLiquid Radio - Sunshine Coast - DanceStarter FM - Sydney - DanceTune 1 Radio - Perth - Dance4PLAY Radio - Queensland - DanceV1Radio - Melbourne - DanceTracklistTHE ASTON SHUFFLE MIX SET1. Chambray & The Aston Shuffle feat. Liz Jai - Give It To You2. Chris Lorenzo - Pump It3. Odd Mob - XTC4. The Aston Shuffle - Too Close5. ESSEL - Sweat6. Baltra - Brush Strokes7. TIBASKO - Hawt (Willo Remix)8. The Magician & The Aston Shuffle - Differences (Club Mix)9. SHADED - Naughty Mofo10. SHEE - Get Up And Dance11. Tori Amos - Professional Widow (Armand van Helden Star Trunk Funkin' Mix / The Aston Shuffle Edit)12. ESSEL - Lennon13. Steve Lacy - Static (The Aston Shuffle Edit)14. Moderat - COPY COPY (Logic1000 & Big Ever Remix)

ShakeDown Radio - June 2023 - Episode 637 - House Music feat DJ Mix The Aston Shuffle.oh this is a lovely little surprise. Coming in hot THE ASTON SHUFFLE drops a brilliant 60 min mix.  DJ, producer, former triple j radio presenter, and Only 100s host, Vance Musgrove (The Aston Shuffle) has consistently delivered quality dance music for over a decade.  His releases have topped well over1 50 million streams and been supported by the likes of Patrick Topping, Diplo, Dom Dolla, Claptone, and Pete Tong.On his latest single he teams with Chambray for an essential vocal house tune.  To celebrate (and we love a party...) Vance drops a sick mix set with some monster tunes and tidy edits (omg the Steve Lacy edit slays !!!).   Podcast: https://www.podomatic.com/podcasts/chris-carragher1977Website: http://www.shakedownradio.comMixcloud: www.mixcloud.com/chriscaggsApple Podcasts / iTunes: https://apple.co/3tfyyDPGoogle Podcasts: https://bit.ly/3AbB1StiHeart Radio: https://ihr.fm/3ss7wr2Amazon Podcast: https://bit.ly/3MD8Br8Tune In App: https://bit.ly/3qTGsPFCastbox: https://bit.ly/3maXTcbFollow Chris Caggs on Social Media:Facebook Friend Page www.facebook.com/chriscaggsFacebook Fan Page www.facebook.com/chriscaggsradioTwitter www.twitter.com/chriscaggsInstagram www.instagram.com/chriscaggsTikTok @ChrisCaggsHashtag #ChrisCaggs #ShakedownRadio Over the span of 25 Years across 15 Radio Stations - Chris Caggs has been on air at:Groove FM 96.9FM & 94.5FM - SydneyGroove FM 97.3FM - BrisbaneDJ-FM 87.6FM -  Sydney2RDJ 88.1FM - Sydney2NSB 99.3FM - Northside Radio  SydneyPump FM 99.3FM - Sydney2ICR Radio - SydneyMix It Up Radio - BrisbaneSTR8OUT Radio - MelbourneMixxbosses Radio - SydneyUrban Movement Radio - BrisbaneLiquid Radio - Sunshine Coast - DanceStarter FM - Sydney - DanceTune 1 Radio - Perth - Dance4PLAY Radio - Queensland - DanceV1Radio - Melbourne - DanceTracklistTHE ASTON SHUFFLE MIX SET1. Chambray & The Aston Shuffle feat. Liz Jai - Give It To You2. Chris Lorenzo - Pump It3. Odd Mob - XTC4. The Aston Shuffle - Too Close5. ESSEL - Sweat6. Baltra - Brush Strokes7. TIBASKO - Hawt (Willo Remix)8. The Magician & The Aston Shuffle - Differences (Club Mix)9. SHADED - Naughty Mofo10. SHEE - Get Up And Dance11. Tori Amos - Professional Widow (Armand van Helden Star Trunk Funkin' Mix / The Aston Shuffle Edit)12. ESSEL - Lennon13. Steve Lacy - Static (The Aston Shuffle Edit)14. Moderat - COPY COPY (Logic1000 & Big Ever Remix)

ShakeDown Radio - June 2023 - Episode 637 - House Music feat DJ Mix The Aston Shuffle. oh this is a lovely little surprise. Coming in hot THE ASTON SHUFFLE drops a brilliant 60 min mix.   DJ, producer, former triple j radio presenter, and Only 100s host, Vance Musgrove (The Aston Shuffle) has consistently delivered quality dance music for over a decade.  His releases have topped well over1 50 million streams and been supported by the likes of Patrick Topping, Diplo, Dom Dolla, Claptone, and Pete Tong. On his latest single he teams with Chambray for an essential vocal house tune.  To celebrate (and we love a party...) Vance drops a sick mix set with some monster tunes and tidy edits (omg the Steve Lacy edit slays !!!).    Podcast: https://www.podomatic.com/podcasts/chris-carragher1977 Website: http://www.shakedownradio.com Mixcloud: www.mixcloud.com/chriscaggs Apple Podcasts / iTunes: https://apple.co/3tfyyDP Google Podcasts: https://bit.ly/3AbB1St iHeart Radio: https://ihr.fm/3ss7wr2 Amazon Podcast: https://bit.ly/3MD8Br8 Tune In App: https://bit.ly/3qTGsPF Castbox: https://bit.ly/3maXTcb Follow Chris Caggs on Social Media: Facebook Friend Page www.facebook.com/chriscaggs Facebook Fan Page www.facebook.com/chriscaggsradio Twitter www.twitter.com/chriscaggs Instagram www.instagram.com/chriscaggs TikTok @ChrisCaggs Hashtag #ChrisCaggs #ShakedownRadio  Over the span of 25 Years across 15 Radio Stations - Chris Caggs has been on air at: Groove FM 96.9FM & 94.5FM - Sydney Groove FM 97.3FM - Brisbane DJ-FM 87.6FM -  Sydney 2RDJ 88.1FM - Sydney 2NSB 99.3FM - Northside Radio  Sydney Pump FM 99.3FM - Sydney 2ICR Radio - Sydney Mix It Up Radio - Brisbane STR8OUT Radio - Melbourne Mixxbosses Radio - Sydney Urban Movement Radio - Brisbane Liquid Radio - Sunshine Coast - Dance Starter FM - Sydney - Dance Tune 1 Radio - Perth - Dance 4PLAY Radio - Queensland - Dance V1Radio - Melbourne - Dance Tracklist THE ASTON SHUFFLE MIX SET 1. Chambray & The Aston Shuffle feat. Liz Jai - Give It To You 2. Chris Lorenzo - Pump It 3. Odd Mob - XTC 4. The Aston Shuffle - Too Close 5. ESSEL - Sweat 6. Baltra - Brush Strokes 7. TIBASKO - Hawt (Willo Remix) 8. The Magician & The Aston Shuffle - Differences (Club Mix) 9. SHADED - Naughty Mofo 10. SHEE - Get Up And Dance 11. Tori Amos - Professional Widow (Armand van Helden Star Trunk Funkin' Mix / The Aston Shuffle Edit) 12. ESSEL - Lennon 13. Steve Lacy - Static (The Aston Shuffle Edit) 14. Moderat - COPY COPY (Logic1000 & Big Ever Remix)

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

Thundercat's music education and evolution, from 1. Messing with his dad's Billy Cobham records with his brother Ronald → 2. Growing up with two musician parents, and going to gigs with his dad → 3. Befriending Kamasi Washington and their teacher Reggie Andrews taking them under his wing → 4. Forming the Young Jazz Giants and gigging all over town, including at Laker games → 5. Joining a boy band and touring Europe as a teenager → 6. Playing in Suicidal Tendencies and learning how to be tough on stage → 7. Being encouraged to make his own records by his friend Flying Lotus Thundercat (Stephen Bruner) is a multiple Grammy Award-winning bassist, vocalist, producer, and composer from Los Angeles. His most recent album, It Is What It Is, released in the spring of 2020, won Best Progressive R&B Album at the 63rd Grammy Awards and features musical contributions from Ty Dolla $ign, Childish Gambino, Lil B, Kamasi Washington, Steve Lacy, Steve Arrington, BADBADNOTGOOD, Louis Cole, Pedro Martins, and Zack Fox. Thundercat produced the record with his longtime partner Flying Lotus. That album followed Bruner's game-changing third album, Drunk (2017), which completed his transition from virtuoso bassist to bona fide star and cemented his reputation as a unique voice that transcends genre. Previous releases include The Golden Age of Apocalypse (2011) and Apocalypse (2013), followed by EP The Beyond / Where The Giants Roam featuring the modern classic “Them Changes.” He was later “at the creative epicenter” (per Rolling Stone) of the 21st century's most influential hip-hop album, Kendrick Lamar's To Pimp a Butterfly, which earned him a Grammy for his collaboration on the track “These Walls.” He has continued to collaborate with Lamar, in addition to recent collaborations with Silk Sonic (Bruno Mars and Anderson .Paak), Haim, H.E.R., and Kaytranada, as well as contributing bass and vocals for “Black Gold,” the theme song of Netflix's anime series Yasuke (scored by Flying Lotus), and an original song for the final season and soundtrack of HBO's Insecure. In addition to music, Thundercat recently made his acting debut with a recurring role as The Modifier in the Star Wars series The Book of Boba Fett, appeared as the face of recent fashion/brand campaigns with Kerwin Frost x Beats and Salehe Bembury x New Balance, and was a guest at Paris Fashion Week and other events from Spanish luxury designer Loewe. The name Thundercat refers to the cartoon he's loved since childhood and an extension of his wide-eyed, vibrant, often superhuman approach to his craft.  Follow Silverlake Conservatory of Music at @silverlake_conservatory  For more information on Parallel, visit parallel.la Follow Cadence13 at @cadence13 Follow Thundercat at @thundercatmusic Follow Flea at @flea333 To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

We had the pleasure of interviewing RIZ LA VIE Zoom video!Los Angeles-based alt-pop musician RIZ LA VIE shares his highly anticipated debut album Haven out everywhere now including a limited run on vinyl. Alongside the release, LA VIE shares the album's title track with an accompanying video. The album's title track explores loss, but even in the deepest depths of sadness, it sees LA VIE determined to find the silver lining. The track swiftly embodies the thesis of the album as its themes speak to the album as a. whole.Its accompanying video, directed by Quinton Dominguez, opens with LA VIE seated in a movie theater, ready to watch a movie of his newfound life in Los Angeles. The film and the track's lyrics follow LA VIE's emotional effort to hold onto optimism, freedom and safety.With Haven, his debut studio album out today, RIZ LA VIE expands on the vibrant sonic world he's built with previous releases, but this time, shares more of himself with his fans. Experimenting with new production elements and blending genres, LA VIE pushes boundaries like never before, culminating in his most realized, ambitious work to date. Over 15 tracks, LA VIE embarks on a search for a sense of safety and security, both internally and externally–within himself, in his relationships, community, environment, and in the world at large.In perpetual pursuit of hope and optimism, the project chronicles LA VIE's courage in the face of adversity as he ultimately discovers his own strength and confidence.Collaborators on the album include Vic Wainstein (Tyler the Creator, Mac Miller), Daniel Hartzog (Tom the Mailman, ericdoa), Lucy Blomkamp (6LACK, Mallrat) and Johan Lenox (BROCKHAMPTON, Metro Boomin, Shawn Mendes). It was mixed by KES (Ed Sheeran, Jacob Banks) and mastered by Mike Bozzi (Kendrick Lamar, Steve Lacy).The previously shared single "FYP," offers LA VIE the space to express the discomfort and fear that accompany a cross-country move, and the aftermath of leaving home to land in a new environment, surrounded by new people while the place he once called home remains.LA VIE's 2018 hit "Napkins," has become a fan favorite, with over 38M+ streams on Spotify to date, and like the artist himself, shows no signs of slowing down. In addition to a 30-date tour in 2021, LA VIE performed at festivals like Governor's Ball and Lollapalooza. The artist has consistently turned heads of several leading tastemakers in recent years, including Billboard, Pigeons & Planes, Ones to Watch, and more. We want to hear from you! Please email Hello@BringinitBackwards.com. www.BringinitBackwards.com#podcast #interview #bringinbackpod #RIZLAVIE #Haven #NewMusic #ZoomListen & Subscribe to BiBhttps://www.bringinitbackwards.com/follow/ Follow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpod

Today on The Breakfast Club, we are joined by the artist with the number one song in the world, Steve Lacy. Later on during Freaky Friday, we talk threesomes.... And during Rumor Rumor report, we talk about Joy Behar saying she has had sex with "multiple ghosts" See omnystudio.com/listener for privacy information.

Steve Lacy Talks #1 Song "Bad Habit", Mac Miller, Love Life, Working With Kanye West + MoreSee omnystudio.com/listener for privacy information.

It's the song that launched a thousand TikTok videos – or over 500,000 to be exact: Steve Lacy's “Bad Habit.”  The track is a smooth, psychedelia tinged ode to yearning, currently spending its third week on the top of the Billboard Hot 100. Lacy is an artist dedicated to shifting form and convention, from his records with alternative R&B band The Internet to his productions for artists like Mac Miller and Vampire Weekend. Even in his solo work, his songs are unpredictable, deftly moving through genre in the vein of artists like Prince and Stevie Wonder.  “Bad Habit” specifically, though, is rooted in the genre of bedroom pop, a scene slowly gaining mainstream traction. With this track, Lacy is taking the sound that's seeped through TikTok and Spotify to the top of the charts. On this episode of Switched On Pop, we dig deep into Lacy's career and his ability to craft immaculate melodies. Songs Discussed: Steve Lacy, “Bad Habit” Sam Smith, Kim Petras, “Unholy” The Internet, “Dontcha” The Internet, “Special Affair” The Internet, “Palace/Curse (feat. Tyler, The Creator & Steve Lacy) Steve Lacy, “C U Girl” Steve Lacy, “Dark Red” Steve Lacy, “Only If” Steve Lacy, “Like Me” Steve Lacy, “Playground” Steve Lacy, “Static” Stevie Wonder, “Signed, Sealed, Delivered” Learn more about your ad choices. Visit podcastchoices.com/adchoices

On today's episode of Who's There, our weekly call-in show, we accidentally tackle So. Much. Who. Spon. There's Antoni and JVN's [redacted], Chloe Bailey's Trident song (ft. Mouth Noises), Teyonah Parris's ClearBlue spon, and Keyshia Ka'Oir's NON-ClearBlue spon. Plus: Steve Lacy's viral smash, India Royale's alleged breakup, the La Brea Tar Pits, and more! Call 619.WHO.THEM to leave questions, comments & concerns, and we may play your call on a future episode. Support us and get a ton of bonus content over on Patreon.com/WhoWeekly. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices