Podcasts about Universal Music Publishing Group

Adam James is a songwriter originally from Loami, Illinois. He has written songs for Kenny Chesney, Luke Combs, Cody Johnson, Jelly Roll, and many others. He recently achieved his first #1 hit with Chesney's “Knowing You,” which was also nominated for ACM Song Of The Year. Adam is published by Universal Music Publishing Group.In this episode we discuss the "country flip," Knowing You, AI, writing and finding success with your friends, and many other stops along the way.This episode's "stat of the week" is brought to you by https://chartmetric.com/.New Episodes every Tuesday.Find the host Troy Cartwright on Twitter, Instagram. Social Channels for Ten Year Town:YoutubeFacebookInstagramTwitterTikTokThis podcast was produced by Ben VanMaarth. Intro and Outro music for this episode was composed by Troy Cartwright, Monty Criswell, and Derek George. It is called "Same" and you can listen to it in it's entirety here. Additional music for this episode was composed by Thomas Ventura. Artwork design by Brad Vetter. Creative Direction by Mary Lucille Noah.

Danny thought he had his go-to survival songs sorted. Then, a year ago, this one hit him from left field and handed him the entire, survival toolkit in 4 minutes. This is a really special conversation and another, new perspective. We hope you love it.Danny West, a proud native of Leeds, serves as the Publishing Manager at Come Play With Me Records (CPWM), where his passion for music and creativity fuels his work. Known for being a connector of people and ideas, Danny has been instrumental in forging key partnerships for CPWM, including their significant collaboration with Universal Music Publishing Group—a move that has opened new doors for artists under the label.Outside of his work at CPWM, Danny's love for storytelling shines through his career as a videographer. He's had the opportunity to work with some of the biggest brands in the world, including Amazon Prime Video, Adidas, Reebok, and MTV, bringing vibrant visual content to life. His work around Yorkshire is particularly close to his heart, where he's worked closely with local talent like Graft, the 2020 winner of BBC's 'The Rap Game'.Danny's deep connection to Leeds and Yorkshire drives him to champion local talent, while his creative vision and network continue to elevate artists and projects to a national stage. His ability to blend business savvy with creative flair has made him a key figure in the region's creative and music scenes.Show Notes:Danny West: https://www.instagram.com/dannywestjr/Welcome to Survival Songs, a podcast where each episode our guest tells us about a songs that gets them through the best and worst of times.https://open.spotify.com/artist/286u8X9g8zCa5OODERzaPX?si=GK6SD3uhQt-2ztJ8ycCOOgHelp us a grow a community of survival song listeners by joining us on over on Substack:https://survivalsongs.substack.com/ 'Rain' by The Sunday Service Choir can be found on our community playlist on Spotify along with our listener's Survival Songs. Check it out and add your own!https://open.spotify.com/playlist/5JBCcyJgMmYGRivsHcX3Av?si=92be50460fcf4590&pt=498b19d3d56cc7682fb37286285c9e48This episode contains small portions of ' 'Rain' by The Sunday Service Choir. Survival Songs claims no copyright of this work. This is included as a form of music review and criticism and as a way to celebrate, promote and encourage the listener to seek out the artists work.Find out more about ARTIST here:https://open.spotify.com/artist/2c9O21YLFy4tFI9zCVhbFg?si=BWHvv5kyTmeNIU5tTn9H7g

Guest Tom Sturges || Music Executive & AuthorShow SummaryIn this episode, Jon and Tom Sturges discuss the concept of a 'good divorce' and how to approach the process with kindness, respect, and generosity. They emphasize the importance of putting childrens' needs first and maintaining a positive relationship with the ex-spouse.  Tom shares his personal experience of ending his marriage while still remaining close with his ex-wife's family, while negotiating creative solutions to his financial settlement and custody arrangement with his kids. He also talks about his foundation, Witness to a Dream, which inspires children in the LA public school system through music and creativity.Guest BioTom Sturges is a distinguished music executive, author, mentor, educator, inventor, and public speaker. With a career spanning leadership roles at Chrysalis Music, Universal Music Publishing Group, and Shaquille O'Neal's TWIsM Records, Tom has shaped the music industry through signings that include 50 Cent & G Unit, Chris Brown, and Outkast, among others, selling over 195 million albums and earning 19 Grammy awards. An accomplished author, Tom has penned several acclaimed books and co-created UCLA's Music Business Now course, impacting over 1200 students. Recognized for his mentorship in Los Angeles, he's also featured in the award-winning documentary WITNESS TO A DREAM.Key Moments00:00 The Concept of a 'Good Divorce'08:05 Putting the Needs of the Children First13:46 Maintaining a Positive Relationship with the Ex-Spouse19:55 Coping with Difficult Emotions and Finding Joy25:19 Taking Accountability and Personal Growth31:14 Nurturing Dreams and AspirationConnect with Tom SturgesLinkedIn: @tomsturgesInstagram: @tomsturgesideasTwitter: @tomsturgesideaswww.tomsturges.netJoin the Conversation Enjoyed the episode? Subscribe to our podcast, leave a review on Apple Podcasts or Spotify and join the conversation on Instagram and LinkedIn with hashtag #HalftimewithJonConnect with Jon LinkedIn: @HalftimewithJon Instagram: @HalftimewithJon www.halftime.network

David Junk focused for many years on the music scene in Eastern Europe and in particular on Ukraine. He was a Vice President for PolyGram N.V., a multinational entertainment company and major music record label formerly based in the Netherlands and subsequently for the Universal Music Publishing Group which acquired PolyGram. After leaving the company and seeing the ravages of the Russian invasion of Ukraine in 2022, he decided to launch the "Art During Wartime" podcast to promote modern Ukrainian culture around the world. In this interview Mr. Junk talks about the podcast and his plans for the future. https://podcasts.apple.com/us/podcast/art-during-wartime/id1716447606 https://odessa-journal.com/public/an-american-producer-has-launched-a-podcast-about-ukrainian-culture-during-the-war

Music is ever-present in our lives, from our morning exercise routines until bed. And we all have a "life soundtrack" of songs that transport us to a moment or an era — one note and you're right back there. Music is also a multi-billion dollar business. But who runs this business? Despite so many of the biggest performers being women, the industry itself has long suffered from a lack of women and diversity — not only on the talent side but also on the executive side.  One of the most powerful longstanding players in this business is Jody Gerson, Chairman and CEO of Universal Music Publishing Group. She's the first woman ever to hold the position at a major music publisher, and since joining UMPG in 2015, she's transformed the company, which has now surpassed $2 billion dollars in revenue. Listen to how she got her start in the music industry, how she can tell the difference between a mediocre song and a hit, and why she is working to make the industry more inclusive for women.  Join us! Snag all the latest episodes, savvy budgeting tips, investing advice, and even giveaways via the HerMoney Newsletter at Hermoney.com/subscribe! Learn more about your ad choices. Visit megaphone.fm/adchoices

FISSION.On this episode we are joined by Jack Underkofler from the band Dead Poet Society. Dead Poet Society is an American rock band formed in Boston, Massachusetts in 2013 by Jack Underkofler, Jack Collins, Dylan Brenner and Will Goodroad. The band started off as an independent group, self-producing and self-recording their songs before signing to Universal Music Publishing Group in 2018.Mark and Me is now on YouTube - Please subscribe here https://www.youtube.com/@markandmePlease support the Mark and Me Podcast via Patreon here: https://www.patreon.com/Markandme or you can buy me a coffee here: https://ko-fi.com/markandme.The Mark and Me podcast is proudly sponsored by Richer Sounds.Visit richersounds.com now to shop for all your hi-fi, home cinema and TV solutions. Also, don't forget to join their VIP club for FREE with just your email address to receive a great range of fantastic privileges.

Look... out in the dark! Thank you for the sound effects: Cartoon suction pull / zapsplat.com/music/cartoon-suction-pull-3/ Thank you, Friends lyrics © Universal Music Publishing Group

We had the pleasure of interviewing Greylan James over Zoom video!Greylan James is the product of a young man's hard work and experience, wrapped up in an original country song.Raised just north of Knoxville, Tennessee, Greylan knew that he was meant to be a musician at a young age. By the time he turned double digits, he was frequently performing at barn dances, local restaurants, and bars.He started writing songs as an early teen and began visiting Nashville with his family in hopes of a future career in Country music. He finally made the move after being ranked one of the top 100 guitarists under 21 by Guitar Center and appearing on Season 4 of NBC's The Voice.After earning a few more years of experience diligently writing in Music City, Greylan signed with Universal Music Publishing Group. He has earned songwriting credits on major records such as the smash hit “Happy Does” by Kenny Chesney, “If That Ain't God” by Chris Young, and “Real Friends” by Chris Janson featuring Blake Shelton.Greylan recently signed a record deal with Big Machine Label Group, and was announced as a 'Highway Find' on Sirius XM. He also received his first No. 1 as a songwriter on Jordan Davis' "Next Thing You Know."He's also released a new song called, "Undermine" and the fan-favorite "My Future" with over 1.9 million streams on Spotify alone. We want to hear from you! Please email Hello@BringinitBackwards.comwww.BringinitBackwards.com#podcast #interview #bringinbackpod #GreylanJames #NewMusic #ZoomListen & Subscribe to BiBhttps://www.bringinitbackwards.com/followFollow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpodThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4972373/advertisement

On this day, June 15th, in legal history, King John sealed the Magna Carta, which established fundamental rights as law in England. On June 15, 1215, King John reluctantly sealed the Magna Carta in response to the demands of rebellious barons, aiming to avoid a civil war. Despite being invalidated by Pope Innocent III just 10 weeks later, the Magna Carta was reissued multiple times after King John's death.The Magna Carta was initially crafted by the Archbishop of Canterbury in the interest of land barons as a means to protect their rights and properties against an oppressive monarch. It primarily addressed practical matters and specific grievances relevant to the feudal system of the time, with little regard for the interests of common people. Nevertheless, two enduring principles emerged from the document that continue to resonate today.The first principle affirms that no free individual should be unjustly imprisoned, deprived of property, banished, or harmed without a fair trial by their peers or the law of the land. This principle emphasizes the importance of due process and safeguards against arbitrary exercise of power.The second principle asserts that justice and rights should be accessible to all, without discrimination or delay. It emphasizes that rights and justice cannot be bought or denied to anyone, ensuring equal treatment and fairness for all individuals within the legal system.While the Magna Carta did not immediately resolve the tensions between King John and the barons, it laid the foundation for the development of constitutional law and the protection of individual liberties. Its enduring principles continue to shape modern legal systems and stand as an aspirational symbol of the pursuit of justice and the limitations on the power of rulers.Magna Carta - WikipediaThe US Justice Department is wrapping up its investigation into the Minneapolis Police Department following the murder of George Floyd. The probe, which began after Floyd's killing by Minneapolis police officer Derek Chauvin in 2020, aimed to determine whether the police engaged in a pattern or practice of excessive force. Senior officials from the DOJ's Civil Rights Division are expected to visit Minneapolis to present the findings of the investigation. The DOJ's actions complement a separate investigation conducted by the Minnesota Human Rights Department, which reached a consent decree in March to address race discrimination findings. The federal investigation may also address issues outside the state's jurisdiction, such as compliance with the Americans with Disabilities Act and the First Amendment. The DOJ's approach under Attorney General Garland and Division Head Kristen Clarke involves conducting comprehensive probes into systemic police misconduct. The results of the investigation will be documented in a report, potentially leading to the negotiation of a consent decree and the appointment of an independent monitor. However, the efficacy of consent decrees as a means to improve police-community relations has been debated. The Minneapolis community, which has long organized around the issue of policing, hopes that the DOJ will take their concerns seriously and involve them in the remedial efforts. The investigation's timeline is considered protracted compared to previous pattern-or-practice matters, taking more than two years to conclude. If a consent decree is deemed necessary, it could take months to reach an agreement. The Minnesota state agency's consent decree has already been filed in state court, and the parties are reviewing potential monitor candidates. The decree includes provisions to avoid conflicts with a potential settlement with the DOJ, ensuring a single monitor will oversee the city's compliance.US Wraps Up Minneapolis Police Probe After George Floyd MurderReed Smith, the Big Law firm based in Pittsburgh, is cutting approximately 50 lawyers and staff members as part of a downsizing trend among law firms due to decreased demand. The layoffs represent less than 2% of the firm's workforce, with about 20 staff members and 30 lawyers affected. The layoffs also serve to send the message that law firms now hold the power rather than associates–get ready for more back-to-office demands. The ongoing reduction in force is a result of firms either overhiring or experiencing a slowdown in demand. The current market conditions have led to a surplus of junior associates seeking employment opportunities. Law firms are now focusing on optimizing their economic efficiency by trimming senior lawyers without a significant client base or those not on track for partnership. The move is ostensibly aimed at ensuring that associates have sufficient work opportunities when joining the firm, but it also serves to cut the most expensive lawyers and plop work in the laps of those with the lowest salaries.Reed Smith Cuts 50 Lawyers, Staff as Firms See Lower Demand (1)The last year of news coming out of Twitter should bring solace to anyone suffering from imposter syndrome. We are all standing on the shore, watching a tiny man with, ostensibly, extensive seafaring experience attempt to operate a small sailboat. So far we have watched him do all manner of damage to himself and the boat, attempting to shoot his own toes off and missing for the deck.In the latest, the National Music Publishers' Association (NMPA) has filed a lawsuit against Twitter, accusing the social media platform of copyright infringement for using songs without permission from songwriters. Unlike other major social media platforms such as YouTube, Facebook, Snap, and TikTok, Twitter does not have agreements in place to pay music rights holders for the use of their work. The NMPA, representing 17 music publishers including Sony Music and Universal Music Publishing Group, is seeking a court declaration that Twitter willfully infringed on the musical work of approximately 1,700 songs. The association is seeking damages of over $250 million, with potential claims of up to $150,000 per infringed work. The NMPA claims that Twitter's unlawful conduct enriches the company at the expense of publishers and songwriters. Other social media platforms have reached licensing deals with music rights holders, resulting in significant payments to the music industry. While Twitter had been in discussions about licensing deals before Elon Musk's acquisition of the company, unsurprisingly, little progress has been made since his takeover. Musk has been preoccupied with other matters, including firing everyone that knows how to run a social media company, banning reporters, unbanning Nazis and consulting catturd on matters of user experience. Twitter Sued by Music Firms Seeking $250 Million for Songs (2)U.S. prosecutors have requested a separate trial for Sam Bankman-Fried, the founder of bankrupt cryptocurrency exchange FTX, who is facing new charges of foreign bribery, bank fraud, and conspiracy. These charges were added after Bankman-Fried's extradition from the Bahamas in December 2022. The initial indictment accused him of stealing billions of dollars from FTX customers and deceiving investors and lenders. Bankman-Fried, who has pleaded not guilty to all 13 counts, had asked the judge to dismiss or separate the new charges from his October trial. A court in the Bahamas temporarily barred the government from allowing U.S. prosecutors to pursue the new charges. Prosecutors have requested a trial in the first quarter of 2024 for the new charges and indicated they would drop them if the Bahamas does not consent. Arguments on the matter are expected to be heard by the judge soon. Bankman-Fried's lawyers have also requested the dismissal of some of the charges, no surprise there.US prosecutors ask to remove new Bankman-Fried charges from Oct trial | ReutersThe National Highway Traffic Safety Administration (NHTSA) has stated that a Massachusetts law requiring car manufacturers to enhance access to telematic vehicle data is in conflict with and preempted by federal law. The NHTSA has effectively advised manufacturers not to comply with the Massachusetts law, which has faced legal challenges since being enacted through a ballot question in 2020. Supporters of the law believe it would provide consumers with more options for vehicle repairs by expanding access to vehicle information. However, the NHTSA argues that the law raises significant safety concerns as granting access to telematic data could potentially allow for manipulation of critical vehicle functions, posing risks of accidents, injuries, and even malicious attacks. The letter from the NHTSA has drawn criticism from independent auto repair shops and other groups that had supported the law's passage.Federal government tells carmakers not to comply with Massachusetts' 'right to repair' law | WBUR Newshttps://media.wbur.org/wp/2023/06/06-14_NHTSA_Telematic_Letter.pdf Get full access to Minimum Competence - Daily Legal News Podcast at www.minimumcomp.com/subscribe

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

From DMCA takedown notices to transformative AI-generated art, the copyright debate continues to rage on. Find out how Universal Music Publishing Group's actions against Youtuber Grandayy could impact the future of AI-generated content. Also, discover how ByteDance's revenue surge in 2022, thanks to TikTok and Douyin, could boost investor confidence in the Chinese social media giant, and learn about the sustainable and innovative features of the Stilride 1 electric motorcycle, inspired by the Japanese art of origami.00:00 - Intro01:20 - 1: Record Label Wipes AI-Generated Eminem Rapping About Cats From the Internet12:51 - 2: Sales of TikTok owner ByteDance up over 30 per cent in 2022 to reach US$80 billion, matching Tencent's revenue19:43 - 3: Stilride: Schwedisches Startup entwickelt von Origami inspiriertes E-MotorradSummary:Universal Music Publishing Group issued a DMCA takedown notice against Youtuber Grandayy for using an AI-generated version of Eminem's voice to sing a ChatGPT-generated song about cats, claiming that the video infringes on its copyright. Copyright laws allow for parody works as long as they're transformative. Some AI researchers believe that copyright law is the way forward in the debate between AI-generated art enthusiasts and artists.ByteDance's revenue surged over 30% in 2022 to surpass $80 billion, matching arch-rival Tencent's tally, thanks to the popularity of TikTok and Douyin. ByteDance's growth outpaced most global internet leaders, including Meta and Amazon. Despite Washington's threat to ban TikTok and a growing number of government agencies across the world wiping the app from official phones due to security concerns, ByteDance's resilience is attributed to the twin video platforms siphoning ad dollars from other social media platforms. The growth could boost investor confidence in the Chinese social media giant.Swedish startup Stilride has unveiled an electric motorcycle inspired by the Japanese art of origami. The Stilride 1 is made from a single piece of stainless steel that is folded into shape using a technique known as industrial origami, resulting in minimal emissions. The motorcycle is also designed to be sustainable during production, with a minimal number of parts and locally sourced materials. The Stilfold technology used in production combines intelligent design and engineering in a digital value chain, reducing material and labor costs while increasing efficiency. The motorcycle has a range of 120 kilometers, a charging time of four hours, and various features accessible through an app, including theft protection, GPS, and battery status. The motorcycle is set to be available for purchase in Europe in 2024, with a starting price of €15,000.Our panel today>> Vincent>> Tarek>> HenrikeEvery week our panel of technology enthusiasts meets to discuss the most important news from the fields of technology, innovation, and science. And you can join us live!https://techreview.axelspringer.com/https://www.ideas-engineering.io/https://www.freetech.academy/https://www.upday.com/

Sunday, March 5 10:00 a.m. Worship Service Thy Kingdom Come Lenten Series on the Lord's Prayer By the Rev. Dr. Agnes W. Norfleet _________________________________________________ Prelude: "The Seven Last Words and Triumph of Christ” Music: Pamela Decker, 2018. Music: ©2018 Wayne Leupold Editions, Inc. All rights reserved. Sung Response: Be still and know that I am God. Text and Music: John L. Bell, 1989. Text and Music: ©1989 WGRG, Iona Community (admin. GIA Publications, Inc.) Anthem: “Kyrie” from Requiem Music: Maurice Duruflé, 1947; rev. 1961. Music: ©1948 Editions Durand, Paris (a div. of Universal Music Publishing Group, Inc.) All rights reserved. Hymn: All Who Love and Serve Your City Text: Erik Routley, 1966. Music: The United States Sacred Harmony, 1799; harm. Carlton R. Young, 1964. Text: ©1969 Stainer & Bell, Ltd. (admin. Hope Publishing Company). Music Harm: ©1965 Abingdon Press (admin. The Copyright Company). Reprinted and streamed with permission under ONE LICENSE #A-716211. All rights reserved. Offertory Anthem: Notre Père Music: Maurice Duruflé, 1976. Music: ©1978 Editions Durand, Paris (a div. of Universal Music Publishing Group, Inc.) All rights reserved.

Are you having difficulty placing the songs or compositions you write? Hear some tips and advice from, Universal Music Publishing Group songwriter, Eddie Montilla. Hear stories from Eddie about working with DJ Khaled, learning classic rock songs on his 19th birthday, working at Abbey Road Studios, and the importance of having a reference mix for your mixing engineer.  Our guest today, Eddie Montilla, is a world-class keyboardist, universal music publishing songwriter, and producer who has worked with DJ Khaled, Gym Class Heroes, Linkin Park, Lady Gaga, and Usher to name a few. Eddie's father,  Fernando J Montilla,  was a pioneer of stereo imaging at bell labs, an audio engineer with NBC studios, the original broadcaster of Spanish music in the 1940s, and more. With the Sonic Truth Podcast, you'll hear the opinions and insights of recording industry professionals on everything vintage pro audio and beyond. There are a number of tips and tricks shared about the audio and music industry careers of these individuals, along with a few chuckles and disputes regarding the preferred audio gear of choice. The podcast not only features interviews with top engineers, producers, musicians, and educators, but it also features gear demos, live performances, and all the audio stuff your heart desires. 0:00 Intro/Theme 0:09 Eddie's 19th Birthday 4:42 Welcome To Miami 6:53 Exposure & Growth  10:42 Classic Speaker and Frequency Talk 13:54 Session Work  16:36 Let's Talk Business 19:51 Publishing and Song Placement Facts 23:51 Advice, Sales, Getting Paid 30:45 In The Box Sacrifice 32:01 Role of the Engineer 33:14 Pre-Mixing songs for your engineer Connect with Eddie Montilla https://eddiemontillamusic.com/home https://www.instagram.com/eddiemontilla/     Connect With Audioscape @AudioScape Engineering Co.   https://www.audio-scape.com/ https://www.instagram.com/audioscapeaudio/ The List of Gear Used In Tonight's Episode  BUSS COMP https://www.audio-scape.com/products/busscomp SHURE SM7B https://www.shure.com/en-US/products/microphones/sm7b         #audioengineer #audioscape #vintagegear  #musicproducer  #songwriters #recordingaudio #keyboardist #podcasts #songwriters  #studiosession

Episode 197-Finding Your Way Back To YouIf you forgot who you are or lost touch of who you used to be, then listen in and tell a friend!Everyone needs to be reminded.Kendell Lenice @kendellleniceKendelllenice.comhttps://www.purposefairy.com/77715/let-go-to-find-your-way-back/Lose to Win/LyricsMain ResultsNever felt so ugly,Pretending that he loves meSometimes it's just that money,Never had to afford meNow I'm sick and tired ofYou, just taken right offKnow when I forgive youYou ain't here for dinnerLike I'm a beginner,I loved you for your inner, inner, innerAnd the next guy is out thereSomewhere,But you won't dare, 'cause you're too scaredHave you everNeeded someone so bad?But he ain't willing to make it lastSometimes you gotta lose to win again.If it makes you cry, cry, cryAnd all you do is fightCan't get no sleep at night?Sometimes you gotta lose to win again.Ever felt this sorry?All you did was worryYou didn't want nobody,Thought it would get betterBut it's fallen more thanOh it's fallen more thanEverI just hoped that we would'Cause you're always up to no goodMaybe it'll take someone else,To show me betterBut I don't wanna leave yaOh, eyHave you everNeeded someone so bad?But he ain't willing to make it lastSometimes you gotta lose to win again.If it makes you cry, cry, cryAnd all you do is fightCan't get no sleep at night?Sometimes you gotta lose to win again.Some of you know what it feels likeCaught up just in his lightDon't wanna try again, thinking what's the difference?Why am I not interested?'Cause when you've been broken, you feel like no one can fix itYeahHave you everNeeded someone so bad?But he ain't willing to make it lastSometimes you gotta lose to win again (Win again)(Oh and if it makes you cry) If it makes you cry, cry, cry'Cause all you do is fightCan't get no sleep at night?Sometimes you gotta loseTo win againOh, sometimes you got to lose,You got to lose, to win again, yeahHave you everNeeded someone so bad? (Have you ever?)To make it lastSometimes you gotta loseTo win again.Source: LyricFindSongwriters: Andrea Martin / Dennis Lambert / Francine Golde / Harmony Samuels / Walter OrangeLose to Win lyrics © BMG Rights Management, O/B/O Capasso, Reservoir Media Management Inc, Sony/ATV Music Publishing LLC, Universal Music Publishing Group

Song's Played in this episode: Publishing infoTia McGraff / Fawn Ti Publishing - SOCANTommy Parham/ MandiTY Music - ASCAP Good King Wenceslas: Off Listen Its Christmas CD: Songwriters: Dp / James Morgan / Juliette PochinGood King Wenceslas lyrics © BMG Rights Management, Capitol CMG Publishing, Kobalt Music Publishing Ltd., Songtrust Ave, Sony/ATV Music Publishing LLC, Universal Music Publishing Group, Warner Chappell Music, Inc "WTH Was I Thinking" and "Another Little Roadside Kiss": Chase Stevens, River Coyote MusicAnother Little Roadside Kiss ISRC#CAJEZ2100006WTH Was I Thinking ISRC#CAJEZ2200004Spotifyhttps://www.chasestevensmusic.comhttps://www.facebook.com/chase.stevens.1428Toronto Wildlife Centre and donation link Background music:ONE MUSIC STANDARD LICENSEas defined in the standard terms and conditions on Envato Market.Inspiration Calm Acoustic Jake's Place Songs'n'Tails logo design by Ryan Szucs https://www.facebook.com/szucs.ryanIntro Song: Abigail - from the Break These Chains CDOutro Song: Radical Road- from the Diversity CDwww.tiamcgraff.comJake's Place Song n Tails merchandise is available athttps://tiamcgraff.com/lake-country-storehttps://www.youtube.com/channel/UCIenjKbCobp2jChW2SoCyog

In this episode of No Nonsense Music Marketing, we dive into how Sony Music Publishing, Universal Music Publishing Group, and Warner Chappell Music – now cumulatively own and/or administer over 10 million songs between them.Links from this episode:Omari Music Promotion: www.omarimc.com/promotion Tunecore Discount (Receive 20% off your first upload with our link): https://www.tunecore.com/?ref=omarimcpodcast&jt=omarimcpodcast Merch: https://musiquo.com/$OMARI Coin: https://rally.io/creator/OMARI/ Learn More About Our Incubator Program: https://www.omarimc.com/incubator/Submit Your Music To Omari MC Here:https://www.omarimc.com/submit-your-music/Other links mentioned in this episode:Source Article:https://www.musicbusinessworldwide.com/the-three-major-music-publishers-now-own-or-control-over-10-million-songs-between-them-kind-of/5 Best AI Rap Lyric Generatorshttps://www.omarimc.com/best-ai-rap-lyric-generators/5 Best Songwriting Generatorshttps://www.omarimc.com/best-songwriting-generators/How To Set Up the Ultimate Audio Home Recording Studiohttps://www.omarimc.com/how-to-set-up-the-ultimate-audio-home-recording-studio/

10:00 a.m. Sunday Worship Service How Can I Keep From Singing By the Rev. Rebecca Kirkpatrick Download the bulletin here: https://www.bmpc.org/sermons/worship-bulletins/1269-sunday-august-14-2022-10-00-a-m-bulletin/file Prelude - Entrada, Echo, and Elevazione ©2015 Kathleen Scheide. All rights reserved. Response: Take, O Take Me As I Am Text and Music: ©1995 WGRG, Iona Community (admin. GIA Publications, Inc.) Reprinted and streamed with permission under ONE LICENSE #A-716211. All rights reserved. Offertory Anthem - Life Has Many Rhythms Text: F. Pratt Green. Music: Jody W. Lindh. ©1979 Augsburg Publishing House. Reprinted and streamed with permission under ONE LICENSE #A-716211. All rights reserved. Doxology: Praise God, from Whom All Blessings Flow Text: Brian Wren, 1989. Music: Geistliche Kirchengesäng, 1623; harm. Hal H. Hopson, 1998. Text: ©1989 Hope Publishing Company. Music Harm: ©1998 Hope Publishing Company. Reprinted and streamed with permission under ONE LICENSE #A-716211. Postlude - Toccata ©1984 Universal Songs Holland (admin. Universal Music Publishing Group). All rights reserved.

#033 - What does  “character development” or “developing characters” mean? And do we, as songwriters, really have to think about how we create our song's character? And if so, how can we show the audience a character in the lyrics that they can invest themselves in? That is so believable that they themselves have the power to carry the message of the song?If you ever thought that the task of character development is for writers of novels or screenplays only, this episode will surprise you.So let's dive in and find out more about the importance of your song's character.Episode Overview:[00:01:19] The importance of the song's character[00:06:45] Developing characters vs. evolving characters.[00:10:15] Three reasons why fleshing out your characters is so darn important.[00:11:36] What makes a well-developed character?[00:12:13] How does character development affect the story?[00:13:37] Different kinds of characters in songwriting[00:15:40] Dynamic Characters in Songwriting[00:24:38] How to create a dynamic character for your next song?[00:28:44] "Dynamic Characters" – AssignmentShow NotesI'd Do Anything for Love (But I Won't Do That) lyrics © Edward B Marks Music Company, Marks Edward B. Music Corp., Edward B. Marks Music Co.Nothing Else Matters lyrics © Creeping Death MusicAin't No Other Man lyrics © Universal Music - Careers, Downtown Music Publishing Llc, Bug Music, Xtina Music, Gifted Pearl Music Inc., Bobby Marin Music Publishing, Reach Music Publishing Inc., Concord CopyrightsI'd Come for You lyrics © Universal Music Publishing Group, Warner Chappell Music, IncLove Yourself lyrics © Universal Music Corp., Bieber Time Publishing, Hipgnosis Songs Fund Limited"Ain't No Other Man" by Christina Aguilera - Three Lyric Writing Mistakes That Could Cost You Your Audience's Engagement https://storiesinsongs.com/podcast/episode-011Crucial Components of Narrative Songwriting https://storiesinsongs.com/podcast/episode-021/Development Engine: Pattinson's 3 Boxes - ADVANCED: 5 Commandments of Storytelling https://storiesinsongs.com/podcast/episode-026/Develop your Lyric's Verses by Using Progressive Complications https://storiesinsongs.com/podcast/episode-027/3 Ways to Develop your Song's Character by Looking at Internal Content Genres https://storiesinsongs.com/podcast/episode-030/To get your free gift: Uncover Irresistible Lyric Ideas go to lyrics.storiesinsongs.comTag me on Facebook: @LyricArtistsTag me on Instagram: @stories.in.songsSupport the show

Alecia Beth Moore Hart, conhecida profissionalmente como Pink, é uma cantora, e compositora estadunidense, vencedora de três Grammys. Lançou o seu primeiro single, "There You Go", e seu primeiro álbum, Can't take Me Home, em 2000 pela LaFace Records. NAsceu em 1979, atualmente está com 42 anos. ►► Apoie pequenas editoras. Compre livros de autores independentes! https://loja.tomaaiumpoema.com.br/ _________________________________ Pink — Just Like Fire Eu sei que estou ficando sem tempo (eu quero tudo) E eu queria que eles parassem de tentar me desligar Eu quero ficar ligada E eu estou me equilibrando, tentando ir mais alto Parece que estou cercada por palhaços e mentirosos Mesmo quando dou tudo de mim Viemos aqui para comandar Assim como fogo, queimando o caminho Se eu pudesse iluminar o mundo por apenas um dia Veja esta louca e colorida charada Ninguém pode ser igual a mim de qualquer forma Assim como mágica, eu voarei livre Vou desaparecer quando eles vierem atrás de mim Eu explodo, o que você vai dizer? E as pessoas gostam de rir de você Causar eles são todos iguais Veja, eu preferiria que seguíssemos os nossos caminhos Do que jogar esse jogo E não importa o tempo, podemos fazer melhor Você e eu juntos para sempre e sempre Não precisamos nos preocupar com nada Então eu vim aqui para comandar Só porque ninguém fez isso Vocês não acham que eu consiga Mas olha, eu estive aqui, eu fiz isso Impossível? por favor Olhe, eu faço com facilidade Você só tem que acreditar Venha, venha comigo _________________________________ Use #tomaaiumpoema Siga @tomaaiumpoema Música: Just Like Fire Songwriters: Alecia Moore / Karl Schuster / Max Martin / Oscar Holter Just Like Fire lyrics © Sony/ATV Music Publishing LLC, Universal Music Publishing Group, Warner Chappell Music, Inc Voz: Jéssica Iancoski https://tomaaiumpoema.com.br ATENÇÃO Somos um projeto social. Todo valor arrecadado é investido na literatura. FAÇA UM PIX DE QUALQUER VALOR CNPJ 33.066.546/0001-02 ou tomaaiumpoema@gmail.com Até mesmo um real ajuda a poesia a se manter viva! #poesia | #poemas | #podcast

*) Biden accuses Putin's forces of 'genocide' in Ukraine US President Joe Biden has for the first time accused Vladimir Putin's forces of committing “genocide” in Ukraine. Biden has also said that Putin "is just trying to wipe out the idea of even being able to be a Ukrainian". Ukrainian President Volodymyr Zelenskyy — who has repeatedly accused Moscow of attempted "genocide" — welcomed Biden's remark. Biden had previously described Russian President Putin as a "war criminal", but stopped short of using the term "genocide". Moscow has repeatedly denied targeting civilians and civilian infrastructure. *) Putin vows offensive will continue as Russian troops move east Russia has vowed to continue its offensive as the Ukraine conflict nears its seventh week. President Vladimir Putin has insisted that the campaign is going as planned despite a major withdrawal and significant losses. He has said that Moscow's military operation aims to protect people in parts of eastern Ukraine and “ensure Russia's own security”. Thwarted in their push toward the capital, Kiev, Russian troops have focused on the eastern region of Donbass, where they are feared to be readying a massive onslaught. *) Manhunt after 10 shot in Brooklyn subway attack A massive manhunt is under way in New York for a man who shot 10 people on a packed subway train. Police say the suspect donned a gas mask before setting off two smoke bombs and opening fire on terrified commuters. Thirteen others were injured as they tried to get out of the station or suffered smoke inhalation. None of the injuries are considered life-threatening. Police say the incident in Brooklyn is not being investigated as an act of terrorism at this stage. *) UK's Johnson fined over lockdown-busting party UK Prime Minister Boris Johnson has offered a "full apology" after being fined for breaching Covid-19 lockdown laws in the so-called "Partygate" scandal. Johnson has said in televised remarks that he has paid the fine. Johnson's office has said his fine was for attending a surprise birthday gathering in his honour on the afternoon of June 19, 2020 in the Cabinet Room at Number 10. And, finally... *) Universal Music to manage Elvis Presley song catalog Universal Music is set to add the song catalog of the "King of Rock 'n' Roll", Elvis Presley, under a publishing deal with Authentic Brands Group. Universal Music Publishing Group has said it will approve and collect revenue when Elvis' songs are used in media, films or television. Financial terms of the deal have not been not disclosed. The deal comes ahead of the June release of director Baz Luhrmann's drama "Elvis", a biopic of the "Heartbreak Hotel" singer, starring Tom Hanks and Austin Butler.

Today's guest is an American mixed martial artist. She competes in Ultimate Fighting Championship Women's Featherweight Division. She grew up playing many sports but always wanted to box. She is balances her physical training with spirituality. Ladies and gentleman, my girl, Raquel Pennington Today's Spiritual Saturday guest is a personal hero of mine. She is the ultimate artist and spiritual guide. She is the creator of my favourite tarot deck, “The Light Seers”. She is an author and an artist for the legendary Hay House. This interview is for anyone who believes a little magic can go a long way. The manifestation Pixie, ladies and gentleman, my girl, Chris-Anne. Instagram: @Raquel_Pennington Twitter: @rockypmma Instagram: @pixiecurio Twitter & IG: @realtaylorwilde Tiktok: @thetaylorwilde YouTube: https://youtube.com/c/WildeOn T-shirts: www.prowrestlingtees.com/taylorwilde Cameo: https://www.cameo.com/ogtaylorwilde Additional Music: “Girl Fight” by Brooke Valentine/Written by Jonathan Smith, Craig Love, Dorian Michelle Hardnett, Christopher A. Stewart, La Marquis Jefferson, Antwan Patton, Brooke Valentine, Deja Johnson; ©2005 Chrysalis Music, Reservoir 416, March Ninth Music Publishing, 7 Syllables Music, Me And Marq Music, Gnat Booty Music, Kakeni Music Publishing, Songs Of Peer Ltd. “Midnight Snacks” by Kelis/Written by Adrian Sebastian Junior Francis, Curtis James, Kelis Rogers; ©2021 Universal Music Publishing Group. “Subconscious” by She Nova; ©2021. “Let's Get Wilde” by Samantha Smith/Wriiten by Andrew Moore and Rochelle Douris

In the not -too- distant future, remnants of humanity shelter in Locryn Castle trying desperately to survive the endless night. Little do they know, everything they've built is about to be threatened by forces against which they are unmatched.Starring Holliday Grainger as Darcy, Esme Creed-Miles as Hope, Himesh Patel as Felix, and Liam Cunningham as Jepson Belgrave. Caroline Ford as Penelope Chambers, Chloe Pirrie as Dr. Gussie Blackwood, Freddy Carter as Jory Hobbes, Owain Rhys Davies as Anton Devere and James E. Kenward as the emergency broadcaster.Written and directed by Travis Beacham. Words and music for "The Sun Ain't Gonna Shine Anymore" were composed by Robert Gaudio and Bob Crewe and performed by the Cults, by arrangement with Universal Music Publishing Group and Sony Music Publishing

Hope's choices lead her down a dangerous path, and when Darcy tries to help, all their worst nightmares come true."Val Sans Retour," episode 4 of Impact Winter, starred Holliday Grainger as Darcy, Esme Creed-Miles as Hope, David Gyasi as Rook, Himesh Patel as Felix, and LIam Cunningham as Jepson Belgrave. Also appearing were Chloe Pirrie as Dr. Gussie Blackwood, Freddy Carter as Jory Hobbs, Rodney Gooden as Bash Farrier, Owain Rhys Davies as Eric, Lesley Ann Acheson as Laurel, Amy Snudden as Young Darcy and Maisie St. John as Little Hope. It was written, directed and executive produced by Travis Beacham. Words and music for “BETWEEN THE BARS” were composed by Paul Steven Smith and performed by Seth Avett & Jessica Lee Mayfield. The song appears courtesy of Ramseur Records and Universal Music Publishing Group.

#022 - The Most Important Element of a Story that Works – How to Show a Change between Beginning and Ending.Honestly, you're about to learn about one of the most important aspects that decide if you have a story or if it's just a sequence of events where nothing happens at all. You might already know what I mean: Stories are about change. In each episode, I'm saying, “Stories are about change. Stories are about change.”But what does “Change” actually mean?How can we end differently than we started?How can we show how our plot progresses?And how can we keep listeners engaged?Well, in today's bite-sized episode, you'll discover how you can use that crucial element of storytelling for writing more captivating lyrics.Are you ready?Let's get started.Episode Overview:[00:01:29] Recap of what we've learned so far[00:02:27] Change in Stories[00:03:37] What is a plot?[00:06:20] Beginning - CHANGE - Ending[00:09:21] Story Example: The Lion King[00:12:10] Song Examples that Show Change[00:12:18] “I'm A Believer” by The Monkees[00:13:01] “Love Again” by Dua Lipa[00:14:21] “Good Riddance / Time of Your Life” by Green Day[00:15:05] “I'd Do Anything for Love” by Meat Loaf[00:16:23] “You Asked for This” by Halsey[00:17:19] “To Be Loved” by Adele[00:18:32] Summary and OutroLinks mentioned in this episode:Stories in Songs FREE 3-part-video-series: https://storypower.storiesinsongs.com/Episode 20 – “Kiss Me Slowly”Song Exploder: https://songexploder.net/dua-lipa“I'm A Believer” – The Monkees – © Sony/ATV Music Publishing LLC, Universal Music Publishing Group“Love Again” – Dua Lipa – © Silver Fox Music Limited, Tap Music Publishing Ltd., Best Coffee In Town, Tomboy Music Limited“Good Riddance / Time of your Life” – Green Day – © W.b.m. Music Corp., Green Daze Music“I'd do Anything for Love” – Meat Loaf – © Edward B Marks Music Company, Marks Edward B. Music Corp., Edward B. Marks Music Co.“You Asked for This” – Halsey – © Kobalt Music Publishing Ltd., Sony/ATV Music Publishing LLC, Universal Music Publishing Group, Downtown Music Publishing“To Be Loved” – Adele – © Universal Music Publishing GroupSupport the show (https://ko-fi.com/storiesinsongs)

My guest today is Chantal Epp, an award-winning Entrepreneur, World Champion cheerleader, pioneer of ParaCheer and last but not least, the founder and the CEO of ClicknClear.- the music rights tech and licensing company in the performance sports and fitness space.In this episode, Chantal Epp and I discuss the ins and outs of enforcing music licensing and the power of music in the performance sports and fitness space, making sure artists get fairly paid for their amazing work of art.Podcast or vlog: The Power of Audio + Science + AI with Jasmine Moradi (https://www.jasminemoradi.com, Spotify, Apple Music & Google Play)Soundbites: 1# Chantal Epp uses the power of music as a way to release her inner emotions. (02:40) #2 From dreaming to becoming a Pop Star to successfully disrupting the music industry with ClicknClear. (08:15) #3 Chantel Epp also holds the title “World Champion Cheerleader”. (09:27) #4 From studying classical music to starting a career in commercial music (11:36) #5 Synergy Sounds was founded due to the lack of professional cheerleading music mixes in the UK. (13:08) #6 It was Chantal Epp's passion for cheerleading and music that became the creation and innovation of ClicknClear. (15:30) #7 Chantal Epp and her team have managed to sign, and clear music licence deals with 720 record labels and publishers, including Sony, Warner, Universal Music Publishing Group and BMG. (18:11) #8 ClicknClear's technology solves and serves the entire sporting ecosystem. (25:52) #9 How clients use and benefits from ClicknClear services to increase the value of music in their sports activities. (28:35) #10 How Chantal Epp successfully secured investment in the creative industry. (36:22) #11 ClicknClear future goal is to continue building a healthy licencing technology system that pays artists fairly. (42:37) #12 Chantal Epp's biggest music industry learnings (44:17) #13 Chantal Epp's tips to other female and diverse entrepreneurs that would like to get into and succeed in the music industry (48:17) #14 ClicknClear's future innovation strategy (49:19) #15 Chantal Epp featured in the Kindness & Leadership 2020. (50:12) #16 Chantal Epp's motivation behind advocating for ParaCheer (disability-inclusive cheerleading). (53:33) Host:

Adelphi University alumnus, Michael Sammis always believed that the university was a hidden gem. Throughout his career, he has combined his passion for music with his financial background into a path that has taken him all over the world. Always a Long Islander at heart, an internship through Adelphi provided Michael with the competitive edge over his peers to land his first job. As the President of Universal Publishing Production Music, a division of the Universal Music Publishing Group, Michael continues to Step Out of Line through his leadership role and has not let the global pandemic interfere with his work and has even guest lectured on zoom to Adelphi Willumstad Business School students. Hosted on Acast. See acast.com/privacy for more information.

Today's guest is a literal unicorn. She made the decision as a youngster to live her most authentic life. She did not fit into any particular box, so like a true Aquarian, she made her own. In the professional wrestling business one can feel an immense amount of pressure to fit a cookie cutter image. Today's guest has done the very opposite. She is a woman who wants to hold space for all of those who feel like misfits in their own regard. A woman after my own heart, ladies and gentlemen my girl, Willow Nightingale. IG: @willowwrestles Twitter: @willowwrestles T-shirts: www.prowrestlingtees.com/taylorwilde Twitter & IG: @realtaylorwilde Tiktok: @thetaylorwilde YouTube: “WILDE ON” https://youtube.com/channel/UCHWVrVFFUxC_5skpP4UN7vQ Cameo: https://www.cameo.com/ogtaylorwilde Additional Music: “Ain't It Fun” “Hate To See Your Heart Break” by Paramore/Written by Taylor Benjamin York and Hayley Nichole Williams; ©2013 WB Music Corp., Hunterboro Music, But Father, I Just Want To Sing Music. “Lipstick” by Willow/Written by Willow Camille Smith; ©2021 Universal Music Publishing Group. “Let's Get Wilde” by Samantha Smith/Written by Andrew Moore & Rochelle Douris; ©2021 Wilde On. Shout-outs: 20:22: Willow's inspiration: Ilana Glazer on Broad City @ilana 32:40: Willow's favorite band or artist: Paramore @paramore

Today's episode is a double header. Wrestling and spirituality collide. Up first, is the newest member of the IMPACT Wrestling Knockout roster. By way of Russia and NYC, the Japanese sensation. Ladies and gentleman, my girl, Masha Slamovich. IG: @mashslamovic Twitter: @mashaslamovic Second up, Wilde Ones, sit down or lay down in a relaxing position, open your third eye and hold space for my girl Evelyn Salvarinas, The Aura Photographer Special thanks to sound editor Matteo Sessa and Kris Chambers @superkickd Studios, Toronto, Canada. IG: @roseaura.ca T-shirts: www.prowrestlingtees.com/taylorwilde Twitter & IG: @realtaylorwilde Tiktok: @thetaylorwilde YouTube: “WILDE ON” https://youtube.com/channel/UCHWVrVFFUxC_5skpP4UN7vQ Cameo: https://www.cameo.com/ogtaylorwilde Music Credits: “Let's Get Wilde” by Samantha Smith/Written by Andrew Moore & Rochelle Douris; ©2021 Wilde On. “Love Missile F1-11” by Sigue Sigue Sputnik/Written by Degville Martin & James Anthony Eric ©1986 Universal Music Publishing Ltd. “Come As You Are” by Masha (Nirvana cover)/Written by Kurt Cobain ©1991 Universal Music Publishing Group. “Shout It Out Loud” by Kiss/Written by Gene Simmons, Paul Stanley, Robert A. Ezrin; ©1976 Universal Music Publishing Group. “Aura” by C.J.Lewis/Written by “Bite Marks” by Au/Ra; Written by C.J.Baran and Jamie Aura Stenzel; ©2021 Shout-outs: 7:15 - Brooklyn, NY “The World Of Unpredictable Wrestling” [Johnny Rodz] 14:42 – Kiss 20:20 – Magic Jewelry (aura readings) in Chinatown/NYC

Today's guest is a professional wrestler and country singer. She is a mom, business woman, and spiritual being. I wanted to talk to her today not only about all of the above, but about what is going on in North America and the prevalence of missing and murdered Indigenous women. The stats are hideous. 1 in 3 Indigenous women suffer sexual assault in their life time. 4,000 Native American Woman have gone missing over the past 30 years in America, and that only includes the ones that were reported. I want to bring light to this reality on behalf of the woman and families who don't have a voice or a platform. Today's guest is part Native American and is part of the Powhatan tribe. Ladies and gentleman, my girl, Mickie James. IG: @themickiejames Twitter: @mickiejames T-shirts: www.prowrestlingtees.com/taylorwilde Twitter & IG: @realtaylorwilde Tiktok: @thetaylorwilde YouTube: “WILDE ON” https://youtube.com/channel/UCHWVrVFFUxC_5skpP4UN7vQ Cameo: https://www.cameo.com/ogtaylorwilde Additional Music Credits: “Let's Get Wilde” by Samantha Smith/Written by Andrew Moore & Rochelle Douris; ©2021 Wilde On. “Raspberry Beret” by Prince and The Revolution/Written by Prince Rogers Nelson; ©1985 Universal Music Publishing Group. “Hey Mickey” by Toni Basil/Written by Michael Donald Chapman & Nicholas Barry Chinn; ©1981 Universal Music - MGB Songsy. “Somebody's Gonna Pay” by Mickie James/Written by Jamie Hartford; ©2013 Mickie James. Shout-Outs: 17:25 Andrea Hunter photography @andreahunterphotography

Today's guest is both a friend and an on-screen rival. He is equal parts loved and hated, but in wrestling those two things are interchangeable. It means he is doing his job! He isn't afraid to be fashion forward, or in touch with his well-groomed, elder millennial side. I wonder if the carpet matches the ever changing curtains. Ladies and gentleman, my friend Kaleb with a K. IG: @kalebkonley.withak Twitter: @kalebkonley T-shirts: www.prowrestlingtees.com/taylorwilde Twitter & IG: @realtaylorwilde Tiktok: @thetaylorwilde YouTube: “WILDE ON” https://youtube.com/channel/UCHWVrVFFUxC_5skpP4UN7vQ Cameo: https://www.cameo.com/ogtaylorwilde Additional Music Credits: “Make It Wit Chu” by Queens Of The Stone Age/Written by Josh Homme, Alain Johannes, Michael Melchiondo Jr., ©2007 Kobalt Music Publishing Ltd., Sony/ATV Music Publishing LLC, Universal Music Publishing Group, Downtown Music Publishing. “Cigarettes After Sex” by K/Written by Gregory Steven Gonzalez; ©2017 Peermusic Publishing, Kobalt Music Publishing Ltd. “Special K” by Placebo/Written by Hewitt Steven James, Molko Brian, Olsdal Bo Stefan Alexander; ©2000 Sony/ATV Harmony UK, BMG FM Music Ltd. “Going To California” by Led Zeppelin/Written by Robert Plant & Jimmy Page; ©1971 Flames Of Albion Music. “Let's Get Wilde” by Samantha Smith/Written by Andrew Moore & Rochelle Douris; ©2021 Wilde On.

Larissa de Macedo Machado, mais conhecida pelo seu nome artístico Anitta, é uma cantora, compositora, atriz, dançarina, empresária e apresentadora brasileira. Nasceu em 1993, atualmente está com 28 anos. ►► Apoie o projeto e nos ajude a espalhar mais poesia https://apoia.se/tomaaiumpoema Música: Ritmo Perfeito Compositores: Larissa Machado / Umberto Tavares / Jefferson Santos Letra de Ritmo perfeito © Universal Music Publishing Group, Som Livre Voz: Jéssica Iancoski | @euiancoski Use #tomaaiumpoema Siga @tomaaiumpoema Descubra mais em www.jessicaiancoski.com Está servido? Fique! Que tal mais um poeminha? ___ ►► Quer ter um poema seu aqui? É só preencher o formulário! Após o preenchimento, nossa equipe entrará em contato para informar a data agendada. https://forms.gle/nAEHJgd9u8B9zS3u7 CONTRIBUA! =P ►► Formulário para Indicação de Autores, contribuição com declames, sugestões (...)! https://forms.gle/itY59kREnXhZpqjq7

Deep Purple é uma banda britânica de rock formada em 1968.Juntamente com as bandas Black Sabbath e Led Zeppelin, o Deep Purple é considerado um dos pioneiros do heavy metal e do hard rock moderno. banda também incorporou elementos do barroco, da psicodelia, do blues e do rock progressivo ao seu som. Foram listados pelo Livro Guiness dos Recordes "como a banda com o som mais alto ao vivo no mundo", e venderam mais de 150 milhões de álbuns ao redor do mundo. ►► Apoie o projeto e nos ajude a espalhar mais poesia https://apoia.se/tomaaiumpoema Música: Burn Composição: Ian Anderson Paice / David Coverdale / Jon Lord / Ritchie Blackmore / Glenn William Hughes Letra de Burn © Kobalt Music Publishing Ltd., Universal Music Publishing Group, Songtrust Ave, Sony/ATV Music Publishing LLC, Peermusic Publishing Voz: Jéssica Iancoski | @euiancoski Use #tomaaiumpoema Siga @tomaaiumpoema Descubra mais em www.jessicaiancoski.com Está servido? Fique! Que tal mais um poeminha? ___ ►► Quer ter um poema seu aqui? É só preencher o formulário! Após o preenchimento, nossa equipe entrará em contato para informar a data agendada. https://forms.gle/nAEHJgd9u8B9zS3u7 CONTRIBUA! =P ►► Formulário para Indicação de Autores, contribuição com declames, sugestões (...)! https://forms.gle/itY59kREnXhZpqjq7

Episode 24: Today's guest is an unbelievably self motivated powerhouse. COVID-19 has devastated the lives of many, but it was specifically financially crippling to professional wrestlers who relied on the income of independent shows and meet and greets. Not my girl, she took lemons and made patreon lemonade. With hardwork and tenacity she has become an independent wrestling business woman and is also training to set world powerlifting records. She has won my heart with her part time job transcribing court cases and we have bonded over our love for crime and Law & Order. She is an IMPACT wrestling Knockout, my girl, Jordynne Grace. IG: @jordynnegrace Twitter: @jordynnegrace LET'S GET WILDE!

Episode 23: Today's guest is a fellow misfit. But not for the reasons you think. He is musician, singer, song writer, producer and most famously known for being the guitarist and vocalist of Rancid. Dude, the 14 year old misfit in me was dying the entire time. He is seriously one of the biggest wrestling fans I have ever met who is equal parts rad. His love for wrestling comes from a very sweet place. Ladies and gentleman, my dude, Lars Frederiksen. IG: @larsFrederiksen Twitter: @rootsradicals01 LET'S GET WILDE!

Episode 20: Today's guest is a multitasker Extraordinaire! Not only is she a successful Professional Wrestler, but she is also a full time Dentist. Wrestling and Dentistry came into her life almost synonymously. From training, to dental school, to AEW superstardom, to working at a Private dental practice. Hella girl power! Ladies and gentleman, AEW Superstar, my girl, Britt Baker. IG: @realbrittbaker Twitter: @realbrittbaker LET'S GET WILDE! ⚡️

Episode 19: Today's guest is 5ft tall on the outside, but 7ft tall on the inside. She has all the quintessential Wilde On approved realness. She is quick witted, street savvy and not afraid to say it like it is. Even if she says it in Lish-anese. Wife to Eddie Edwards, wrestler, mom, and house mom to the IMPACT Knockouts. Ladies and gentleman, IMPACT wrestling Knockout Alisha. AND....at the 29min mark.... There's more..... Things keep getting Wilder On Wednesday! My home girl @RoDouris has been my tag partner in revolutionizing the world of wrestling podcasts! Specifically, women's wrestling. Wilde Ones today we debut Part 2 of my new segment, ROAD DIARIES! IG: @mrsaipalisha Twitter: @mrsaipalisha LET'S GET WILDE! ⚡️

Episode 16: Today's guest was the first Australian female professional wrestler to be signed by WWE. She started training at the tender age of 13. Since, she has become a social media queen, travel & foodie influencer, and all around badass. Ladies and gentleman, my girl, Tenille Dashwood. IG: @tenilledashwood Twitter: @tenilledashwood LET'S GET WILDE! ⚡️

Episode 12: Today's guest stands for everything I love about women's wrestling. GIRL POWER! She loves and respects the sport. But, like myself, favours womens wrestling. Not only has she made her own mark, but she has paved the way for other women who don't fit the “typical” mould. She is a body positive, AFI loving, badass bitch from Ohio, with a big ol' heart to match. One time Impact Knockouts Champion. Ladies and gentlemen my girl, Jessica Havok. IG: @havokdeathmachine Twitter: @fearhavok LET'S GET WILDE! ⚡️ TAYLOR WILDE MERCH: www.prowrestlingtees.com/taylorwilde Twitter & IG: @realtaylorwilde “Wilde On” original theme music by Andrew Moore @andrewmooore Additional Music Credits: “Looking Tragic” by AFI/Written by Adam Carson, Davey Havok, Hunter Burgan & Jade Puget; ©2021 Rise Records. “All Of These Things I've Done” by The Killers/Written by Vannucci, Ronnie, Keuning, Dave Brent, Flowers, Brandon, Stoermer, Mark August; ©2004 Universal Music Publishing Ltd. “Just Like Heaven” by The Cure/Written by Boris Williams, Laurence Andrew Tolhurst, Porl Thompson, Robert James Smith, Simon Gallup; ©1987 Universal Music Publishing Group. “Let's Get Wilde” by Samantha Smith/Written by Andrew Moore & Rochelle Douris; ©2021 Wilde On.

Episode 11: Today's guest is an elder millennial, just like me. So naturally we are kindred spirits. Bonded by age, taste in eclectic music, experience and the bizzaro world of professional wrestling. She is an international superstar. She has been paying her dues in Australia, Japan, and America since 2007. She is one half of the very first, NXT inaugural Women's Dusty Rhodes Tag Team classic winners! NXT superstar, my girl, Dakota Kai. IG: @dakotakai_wwe Twitter: @dakotakai_wwe LET'S GET WILDE! ⚡️ TAYLOR WILDE MERCH: www.prowrestlingtees.com/taylorwilde Twitter & IG: @realtaylorwilde “Wilde On” original theme music by Andrew Moore @andrewmooore Additional Music Credits: “Dakota” by Stereophonics/Written by Kelly Jones, Richard Mark Jones, Stuart Cable; ©2005 Universal Music Publishing Group. “Dakota” by Rocket To The Moon/Written by Loren Brinton, Andrew Cook, Eric Halvorsen, Justin Richards, Nicholas Santino; ©2009 Warner Chappell Music, Inc, The Rocketeers. “Hey Joe” by Jimi Hendrix/Written by Billy Roberts; ©1967 BMG Platinum Songs US, Ensign Music, Third Palm Music. “Let's Get Wilde” by Samantha Smith/Written by Andrew Moore & Rochelle Douris; ©2021 Wilde On. es/Written by Thomas Edward Percy Hull, Harry Edward Styles; ©2017 Universal Music Publishing Group. “Let's Get Wilde” by Samantha Smith/Written by Andrew Moore & Rochelle Douris; ©2021 Wilde On.

Episode 10: Today's guest is a Malaysian Phoenix. An innovator in women's wrestling. The first female professional wrestler to wear a hijab. She is an alumni of Forbes 30 under 30. An inspiration, sweetheart, and total badass. Ladies and gentlemen, my girl, Nor ‘Phoenix' Diana. IG: @nordianapw Twitter: @nordianapw LET'S GET WILDE! ⚡️ TAYLOR WILDE MERCH: www.prowrestlingtees.com/taylorwilde Twitter & IG: @realtaylorwilde “Wilde On” original theme music by Andrew Moore @andrewmooore Additional Music Credits: “Treat People With Kindness” by Harry Styles/Written by Ilsey Juber, Jeffrey Nath Bhasker, Harry Edward Styles; ©2021 Way Above Music, Hsa Publishing Ltd., Songs Of Universal Inc. “Golden” by Harry Styles/Written by Harry Edward Styles, Mitchell Kristopher Rowland, Thomas Edward Percy Hull, Tyler Sam Johnson; ©2019 Warner Chappell Music, Inc, Universal Music Publishing Group, Concord Music Publishing LLC. “Sweet Creature” by Harry Styles/Written by Thomas Edward Percy Hull, Harry Edward Styles; ©2017 Universal Music Publishing Group. “Let's Get Wilde” by Samantha Smith/Written by Andrew Moore & Rochelle Douris; ©2021 Wilde On.

Episode 5: Today's guest is a fellow Polish AND spooky sister. She shares a surname ending with an iconic “ski”, and a love for all things dark, weird and goth. The only professional wrestler to make an entrance in a military tank. Making all my tank girl fantasies come true. She is all about TCB. Ladies and gentlemen, NXT Superstar, my girl Shotzi Blackheart. A-woooooooooo! Premium Jane https://premiumjane.com/ Coupon code WildeOn (20% off) IG: @shotziblackheart Twitter: @shotziwwe LET'S GET WILDE! ⚡️ TAYLOR WILDE MERCH: www.prowrestlingtees.com/taylorwilde Twitter & IG: @realtaylorwilde “Wilde On” original theme music by Andrew Moore @andrewmooore Additional music by Jason Shaw at audionautix.com Produced & Edited: Rochelle Douris IG @rodouris Public Relations: Madison Golshani IG @madisongolshani Additional Music Credits: “Forget You” by Cee Lo Green/Written by Christopher Brown, Thomas Callaway, Philip Lawrence, Ari Levine & Bruno Mars; ©2010 Warner Chappell Music Inc., BMG Rights Management, Universal Music Publishing Group, Songtrust Ave “Boulevard Of Broken Dreams” by Green Day/Written by Michael Ryan Pritchard, Billie Joe Armstrong & Edwin Wright Frank III; ©1991 WBM Music Corp., Green Daze Music. “Killing Time” by City & Colour/Written by Calynn Green, Mat Sherman, Nathan Barlowe; ©2015 Warner Chappell Music, Inc, Kobalt Music Publishing Ltd. “She's The One” by The Ramones/Written by Douglas Colvin, Joey Ramone, John Cummings; ©1978 Warner Chappell Music Inc. “Round Round” by Sugababes/Written by Mutya Buena, Keisha Buchanan, Nick Coler, Miranda Cooper, Lisa Cowling, Brian Higgins, Robin Hoffmann, Florian Pflueger, Timothy Powell, Heidi Range, Rino Spadavecchia, Felix Stecher:©2002 Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc, Universal Music Publishing Group, BMG Rights Management, Kobalt Music Publishing Ltd. “Let's Get Wilde” by Samantha Smith/Written by Andrew Moore & Rochelle Douris; ©2021 Wilde On.

Episode 4: Today's episode is not warm or fuzzy. It's Professional wrestling! Ain't nothing warm or fuzzy about it. There have been some adorable wrestling couples who have stood the test of time. I will not be telling you those stories. I will leave that to my brothers and sisters currently living them! I will be talking about the scandalous, missteps I like to call the web of shame. Ladies and gentleman, my special Wilde On, Un-Valentine's Day episode. Love in the ring. Premium Jane https://premiumjane.com/ Coupon code WildeOn (20% off) IG: @shazza_mckenzie @sassystephie @taylormaschewski @_markwheeler @alexxiaanicole @Alliewrestling @thebladeofbuffalo @frankiekazarian_official @kellywrestling @matthardybrand @machetegirl @edgeratedr @amyschumer @heelziggler @beckylynchwwe @wwerollins @therock Twitter: @shazza_mckenzie @sassystephie @_taylorrising @_markwheeler @itsalexianicole @Alliewrestling @braxtonsutter @thetracibrooks @frankiekazarian @kelly_wp @matthardybrand @amydumas @edgeratedr @amyschumer @heelziggler @beckylynchwwe @wwerollins @therock LET'S GET WILDE! ⚡️ TAYLOR WILDE MERCH: www.prowrestlingtees.com/taylorwilde Twitter & IG: @realtaylorwilde “Wilde On” original theme music by Andrew Moore @andrewmooore Additional music by Jason Shaw at audionautix.com Produced & Edited: Rochelle Douris IG @rodouris Public Relations: Madison Golshani IG @madisongolshani Additional Music Credits: “Instant Crush” by Daft Punk/Written by Thomas Bangalter, Guy Manuel Homem Christo, Julian Casablancas; ©2013 BMG Rights Management, Concord Music Publishing LLC. “I Feel Love” by Donna Summer/Written by Pete Bellotte, Giorgio Moroder & Donna Summer; ©1977 WB Music Corp., Warner-tamerlane Publishing Corp., Lot Of Lyrics Entertainment, Sweet Summer Night Music, Rick's Music, Inc. “Let's Fall In Love” by Mother Mother/Written by Ryan Guldemond; ©2012 Ryan Guldemond. “Love Song” by Simple Minds/Written by Charles Burchill, Derek Forbes, Norman Michael McNeil, Kerrs Music Corp Ltd. & Brian McGee; ©1981 Universal Music Publishing Ltd., BMG Rights Management (UK) Limited, Jim Kerr Management Consultancy Limited, EMI Music Publishing Ltd, Jim Kerr Management Consultancy Ltd. “Praise You” by Fatboy Slim/Written by Camille D. Yarbrough & Norman Cook; ©1998 Universal Music Publishing Group. “Drive” by Incubus/Written by Brandon Boyd, Alex Katunich, Michael Einziger, Jose Pasillas, Chris Kilmore; ©1999 Incubus. “Best I Ever Had” by Vertical Horizon/Written by Brian Thomas Paturalski, Marcus Killian, Augustus Thompson; ©1999 WB Music Corp., Mascan Music, Rap Hustlaz Music, Songs Of Universal Inc., Irving Music Inc., Spitfire Music Inc. “William Tell Overture” by Rossini “Ecstasy” by ATB/Written by Andre Tanneberger; ©2004 Andre Tanneberger. “Horizon” by Tycho ©2016 “Solisbury Hill” by Peter Gabriel ©1977 Peter Gabriel. “The Beginning Of Matt Hart & Edge's Rivalry”; Youtube doc by @deletebyfate 2020/audio ©WWE. “The Howard Stern Show” Guest: Amy Schumer; Air Date: Aug. 22, 2012; ©2012 Howard Stern.  “BBC Breakfast” Guest: Seth Rollins; ©2019 BBC. “Let's Get Wilde” by Samantha Smith/Written by Andrew Moore & Rochelle Douris; ©2021 Wilde On. “CNN Official Interview: Dwayne Johnson” ©2011 CNN.

Stefani Joanne Angelina Germanotta, mais conhecida pelo nome artístico Lady Gaga, é uma cantora, compositora, atriz, produtora musical e empresária estadunidense. Nasceu em 1986 nos Estados Unidos. Atualmente está com 34 anos. >> Apoie o projeto e nos ajude a espalhar mais poesia https://apoia.se/tomaaiumpoema Música: Always Remember Us This Way Composição: Hillary Lee Lindsey / Lorraine McKenna / Natalie Nicole Hemby / Stefani J. Germanotta Letra de Always Remember Us This Way © Sony/ATV Music Publishing LLC, Peermusic Publishing, Universal Music Publishing Group, BMG Rights Management, Cypmp Voz: Jéssica Iancoski | @euiancoski Use #tomaaiumpoema Siga @tomaaiumpoema "Aquele céu do Arizona Queimando nos seus olhos Você olha para mim, amor, e eu quero pegar fogo Está enterrado na minha alma Como ouro da Califórnia Você encontrou uma luz em mim que eu não pude encontrar Então, quando eu estiver engasgada e não conseguir encontrar as palavras Toda vez que dizemos adeus, amor, me machuca Quando o Sol se pôr E a banda parar de tocar Eu sempre lembrarei de nós desse jeito Amantes da noite Poetas tentando escrever Nós não sabemos rimar, mas, caramba, nós tentamos Mas tudo o que eu realmente sei Você está onde eu quero ir A parte de mim que é você, nunca irá morrer Eu sempre lembrarei de nós desse jeito Oh, sim Eu não quero ser só mais uma memória, querido Quando você olha pra mim E o mundo inteiro desaparece Eu sempre lembrarei de nós desse jeito" Descubra mais em www.jessicaiancoski.com Está servido? Fique! Que tal mais um poeminha? ___ >> Quer ter um poema seu aqui? É só preencher o formulário! Após o preenchimento, nossa equipe entrará em contato para informar a data agendada. https://forms.gle/nAEHJgd9u8B9zS3u7 CONTRIBUA! =P >> Formulário para Indicação de Autores, contribuição com declames, sugestões (...)! https://forms.gle/itY59kREnXhZpqjq7

#011 - How to avoid making your listeners feel left out.Are you struggling with creating an emotional connection with your audience?And you don't know how to go about learning some more songwriting techniques?Well, today this is about to change.In this episode, you will learn how to engage your listeners ...And putting them in your song's character's shoes ...AND I will show you exactly what you need to include in your lyrics so that your listeners root for your character.Especially by avoiding three lyric writing mistakes that could cost you your audience's engagement.Sound good to you?Then let's get started. Here's what we'll cover:[00:01:18] The S.O.N.G Framework[00:03:39] What you'll learn in this episode[00:04:22] "Ain't No Other Man" by Christina Aguilera[00:07:37] Step 1: Summary - What is the song about?[00:13:08] Step 2: Observer - Who is the main character of the song?[00:19:56] Step 3: Narration - Analyzing the storytelling craft.[00:26:00] Analyzing the scene told in the song.[00:32:19] The Change[00:35:51] Writing Techniques[00:39:06] Step 4: Gist - What is the message of the song?[00:40:41] Three Lyric Writing Mistakes That Could Cost You Your Audience's Engagement[00:42:55] Song Exercise - The Lovers MeetDownload the exercise here: storiesinsongs.com/podcast/episode-011Ain't No Other Man lyrics © Kobalt Music Publishing Ltd., Universal Music Publishing Group, BMG Rights Management, Reach Music PublishingSupport the show (https://ko-fi.com/storiesinsongs)

Episode 27: Today's guest is a Wilde On VIP. She was my very first student! A member of the one-and-only, all female class, of the Taylor Wilde wrestling academy. The Bubble Gum Princess. My girl, Alexxia Nicole. Stay Calm, and Wilde On! ✌

This week, the Universal Music Publishing Group announced that it had signed a landmark deal to purchase Bob Dylan's entire songwriting catalogue! Music and Entertainment journalist, Brian Boyd chats to Dave about the likes of Stevie Nicks and The Beatles who have also sold their publishing rights!

This week we continue our three-episode series featuring other people's songs about Bob Dylan with a music-filled episode packed to overflowing. In "20 Pounds of Headlines: News From the World of Bob Dylan," we cover the basics of Dylan's monumental sale of his publishing rights to his over 600 songs to Universal Music Publishing Group announced on Monday November, 7th. Tonight on "Who Did It Better?" we ask you to go to our Twitter page @RainTrains and vote for who did "Lenny Bruce" better: Rab Noakes or Stan Ridgway?

A look at the song Hark! The Herald Angels Sing. My email: bmmitch04@gmail.com Show's email: LACIDAR2020@gmail.com Songwriters: Steve Abbott / Martin Neary / Ian Tilley / Traditional / Writer Unknown Hark! The Herald Angels Sing lyrics © Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc, Universal Music Publishing Group

Zöe Keating lost her husband and business partner in 2015, leaving the cellist extraordinaire a single mother.  But what happened next was astonishing: Keating soldiered on, determined to continue her unlikely success as a touring and recording avant-garde classical cellist.  But it was her fans that made it impossible for her to leave.  Keating die-hards started donating heavily to their favorite artist, and cheering her on at packed shows. But aside from her music and self-sustaining career, Keating is also an activist on Capitol Hill.  Currently, she's stumping for the American Mechanical Licensing Collective (AMLC), a group that's taking on potentially serious conflicts of interest among major publishers like Sony/ATV and Universal Music Publishing Group. (Also, Keating is asking anyone who's listening to vote on the upcoming MLC selection process with the U.S. Copyright Office.  The link to comment is here: http://bit.ly/2ZjYCMH. Comment now, as the submissions process ends on April 22nd!)