Podcasts about VJS

This week's guest is a huge one - the one and only Nadya Hutagalung. Activist, conservationist, film maker, model, mother and attuned citizen on Planet Earth. Nadya's experiences, her work and her own efforts to heal herself from all she has seen, encountered and felt is extraordinary, and I'm absolutely thrilled to be sharing this episode with you.Nadya's trajectory to stratospheric stardom in the mid 90s didn't come from a normal or predictive route - an Indonesian Australian child growing up in regional NSW, she was catapulted into modelling in Japan at the age of 12, and less than a decade later she was part of launching MTV in Asia as one of their first VJs. An innate connection to the natural world existed though, and before long she was sharing the stage with world leaders, heads of state and other public figures in bringing attention and awareness to issues such as wildlife trafficking and poaching, plastic pollution and the ills of fast fashion. Nadya's trajectory took a turn in 2018, when a series of stressful and life changing experiences and opportunities - from launching UN Environment Program reports, to reading an Uninhabitable Earth and a private session with His Holiness the Dalai Lama created a new set of conditions by which to continue to both pursue urgent and widespread change in reversing no shortage of problems, while also seeking to practice stillness and undertake deeper inner inquiry. In 2021 a serious and acute health condition put just about everything on hold, and before long she returned home to Australia for the first time in decades, and today, she's on the show to share in much more detail about all of this.Nadya is a fantastic guest to have on this show, and someone who represents and aligns with so much of my own thinking and the reasoning behind why I started Finding Nature in the first place. Her explanation that our society's out of control relationship to planetary boundaries is a matter of simple calculus is straight forward and clear, but what lies underneath all of the statistics and facts and rationale as to why action on any number of serious environmental problems is a broken relationship to self, to each other and to our planet. Unless we address our values, our worldviews, our beliefs, our relationships, it's hard to appreciate how this is going to end up any differently than the trajectory we're on at the moment. The other thing I wanted to chat about with Nadya was how to help people go from apathy to care, and what are the tools of inner resolve that are necessary when people do care. Because to care is to feel pain, to despair, to experience fear. They are difficult emotions and feelings to encounter and deal with, and as an attempting change maker, this has become increasingly important to focus on as the apocalypse continues to encroach with just the latest calamitous, unprecedented disaster.This time with Nadya was special. I hope from this you realise that you aren't alone in your own struggles, and that there are modalities, practices and people out there who care about who you are, how you're going as a person attempting to and making change, and that help is always available as you traverse the ups and downs of what life offers up on a daily basis. Today's show is delivered with Altiorem. Use the code FindingNature25 to get your first month free on their gold and platinum plans. Today's show is delivered with Gilay Estate. Add Finding Nature to your booking reservation for free food bundles.Send me a messageThanks for listening. Follow Finding Nature on Instagram

En este episodio, Paloma y Elena se adentran en los rumores y escándalos que envuelven a Bang Sihyuk, el creador de Hybe y BTS, tras las recientes noticias de su supuesto romance con una de las VJ más populares de Africa TV. Exploran cómo este rumor se conecta con el reciente escándalo que rodea a Suga y opinan sobre el rol de “Bang PD” en este. Además, explican qué es Africa TV, su controvertido contenido y VJs, y cómo se liga al mundo del comercio sexual en Corea del Sur, desmitificando este aspecto de la sociedad coreana. --- Support this podcast: https://podcasters.spotify.com/pod/show/dorandorankr/support

The Night Under Lights Presents: The Seasons at the Moon Pool (replayable VRChat link and video) shown during Raindance Immersive was one of the most immersive music experiences I've ever had in VR so far. It was so awe-inspiring and incredible to see 3 DJ / VJ sets using the SNR Labs particle-screen version of their holographic Apple Global Illumination shader that I covered previously in episode #1413 with Apple_Blossom and A://DDOSS. The real-time immersive lighting effects have to be seen in VR to fully appreciate the awe-inspiring nature of it. You can see a video capture of it below, but if you have PCVR, then I highly, highly recommend checking out the replayable version on VRChat. https://www.youtube.com/watch?v=rZJ53W7NYnA VJs are able to input their 2D video livestream into the SNR Labs particle screen shader, which then translates the luminance values into height and enables a sort of volumetric translation. It has a DepthKit-like effect where you can see 3-dimensional shapes and objects with shadows or imagine if you were to push a cube through a sheet of fabric to get a feeling of objects from one-degree of fidelity, which is height from a fixed plane. VJ Silent and VJ namoron were instrumental in helping to develop this shader with SNR Labs, and TehArbitter's Moon Pool location for Night Under Lights was also instrumental in helping to shape the development of it. VJ TehArbitter (aka Arbi) brought together two other VJs and three DJs to present three sets with the theme of the different seasons. The first set was DJ Ladybug + VJ Silent, the second set was DJ Yuna + VJ TehArbitter, and then the final set was DJ Terkoiz + VJ namoron. I had a chance to catch up with half of the performers including VJ Silent and VJ namoron as well as with DJ Ladybug to talk more about the development of this specific project, but also to recount some of the history of the visual effects in the VRChat clubbing scene as well deeper trends of volumetric and holographic visual effects that VJs are exploring in VR. Also whether it merits a new terms as video jockey or visual jockey doesn't always fully encompass the holographic, volumetric, spatial, immersive, or narrative elements that are being explored. Some of the VRChat clubs discussed include: Dimension, Virtual Base event, Shelter, Ghost Club, Concrete, Concrete: Pale Sands, PSHQ, Slyfest, Loner, Kaleidosky, Sanctum, Schism, Deviate, Atlantis, Mochii's Island, Reflections, Redacted, Heist, Light Dimension, Simplicity, & Endless Serenity Also worth noting is that there are three VRChat worlds that are being featured in the Venice Immersive Worlds Gallery that connected to the themes discussed in this episode, and they're also three of the 20 VRChat worlds in the Venice selection that are not and likely will not have a public-facing world that's easily accessible. The NUL Presents˸ The Seasons Replay ＠ moon_pool is not in the Venice Immersive worlds gallery, and does have replayable version. But Silent works at Sanctum, and their billboarded stereoscopic screen in the Reactor is being featured in Venice, and the SNR Labs: Test Facility will be demonstrating the more 3D version of their Holographic shader named Apple Global Illumination, and Silent also mentioned Jerk and May who have the Concrete: Pale Sands, which is also a part of Venice Immersive. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

The 8th edition of the Venice Immersive 2024 will be kicking off on August 28th, which will be featuring over 28 hours of immersive storytelling and immersive art content across over 70 different projects. This year there area a lot more immersive installations representing over a third out of the total number of on-site projects (18 out of the 52). There's eight mixed reality projects, a couple of projects featuring haptics, and one that prominently featuring AI character interactions. There are also 20 VRChat worlds in the Worlds Gallery along with 3 VRChat worlds in competition with 1 project that's using Resonite social VR platform. I had a chance to catch up with the co-curators Liz Rosenthal and Michel Reilhac again this year to get a sneak peak of the 26 projects in competition as well as 9 of the projects within the Best of Selection (note we talk about 10 Best of experiences, but it was announced just this morning that the Apple Vision Pro experience Adventure was pulled from the festival after attendees who had it booked received a message from Vivaticket saying, "we regret to inform you that the immersive experience Adventure for which you made a reservation has been cancelled" ). We also talk about how there's going to be a private think tank on September 1st looking at LBE distribution challenges and opportunities. Be sure to check out their previous report titled "Think Tank: Immediate Options to Address the Pressing Needs of Immersive Distribution." 17 out of the 20 VRChat worlds in the Worlds Gallery are already currently publicly available, and the three that are not are Concrete: Pale Sands, SNR Labs Test Facility, and Sanctum (though this one will be available after the festival run). Each of these are featuring some volumetric and holographic shaders that VJs are using in the VRChat clubbing scene, which I covered extensively in my previous three episodes, particularly in #1415 talking with two VRChat VJs and a DJ about the evolution of volumetric effects in music shows. But also check out #1413 where I talk with the SNR Labs team and in #1414 about how dancer SoftlySteph used the holographic shader tech that's demonstrated in the SNR Labs Test Facility experience. Below is a cheat sheet of the Venice Immersive 2024 experiences ordered by length. Note that the Free UR Head is actually closer to 55 minutes, and that Adventure is no longer in the Best of Selection. Also included is a copy of the map for where the experiences are located with some quality of life improvements that I made so that the text is all horizontal and a bit easier to read. I also have a version of the Venice Immersive experience map with the length of the experience embedded to make it easier for when you may be in standby mode. Here are links to the Best of Experiences that are publicly available: Museum Alive Immersive With David Attenborough [Apple Vision Pro], Nightmara: Episode 3, The 7th Guest VR, Riven, Astra, 40 Dias Sem O Sol (40 Days Without The Sun), & What If…? - An Immersive Story [Apple Vision Pro]. And here's the links to the VRChat worlds that are featured in the Venice Immersive Worlds Gallery. 17 of the 20 are currently publicly available. Sanctum should be available once the festival starts, and there aren't currently plans or availability dates for replayable versions of Concrete: Pale Sands or SNR Labs: Test Facility as of the publication of this episode. The official Venice Immersive Hub in VRChat will be launching on August 28th with in-world portals to each of these worlds. 1 MormoVerse˸ Under the pillow 2.1 Finishing Touch - Art Studio ＆ Gallery 2.2 VRC Museum 2.3 Phatta 3 Liminal Dreams˸ The Poolrooms 4 Endless Residents Super Ultra Deluxe Edition 5 Magnetize 6.1 Magic AI-Art˸ Dimensions 6.2 Exoplanet Journey 7 SUKU 8.1 Chromatic Frequency 8.2 Sanctum 8.3 Overview Effect Experience 9.1 Smew Brushǃ 9.2 ․⁄ complication 9.

There was a new holographic shader developed by members of SNR Labs group on VRChat that completely blew me away in how it was used in a couple of performances at Raindance Immersive. It's like a new form of volumetric capture that also has lighting effects, and can be used in translating 2D images into 3D or capturing low-res 3D objects into a sort of hybrid of point-cloud, particle effect, 3D objects. It's called Apple Global Illumination after it's primary author Apple_Blossom, who worked with designing it with A://DDOS along with other collaborating artists including VJ Silent, VJ Namoron, and immersive dancer SoftlySteph. SoftlySteph's Frictions of a Modulated Soul took home the best dance performance at Raindance Immersive (and will be featured more in depth in the next episode), and the Night Under Lights: The Seasons at Moon Pool was one of the more awe-inspiring uses of this shader and was a personal favorite of mine from this year's festival. See the VRChat replay of the Moon Pool here and I'll be covering this in two episodes from now. There's a particle screen variation of the shader that is able to translate 2D VJ screens into more volumetric experiences based upon the luminance value of each pixel, which can be seen in this video below: https://youtube.com/watch?v=rZJ53W7NYnA Then there's a version that can encode 3D objects into a video that is streamed into VRChat, and then decoded into a dynamic hybrid between a particle effect, point cloud representation, and 3D model. And each of the particles are emitting light that are reflected on the surrounding environment and avatars. Here's a clip of SoftlySteph's performance as captured by Madame Kana https://twitter.com/SoftlySteph/status/1807125937819148769 Their SNR Labs Test Facility was also selected to be a part of the Venice Immersive Worlds gallery that opens next week. Here's a video overview: https://twitter.com/SNR_LABS/status/1813989248837595504 I had a chance to sit down with Apple_Blossom and A://DDOS to learn more about how this breakthrough shader was developed, as well as diving a bit into the weeds for the mechanics for how it works. The Apple Global Illumination feels like a real revelation and breakthrough in how it's opening up new avenues for how VJs and dancers will be able to use it for new forms of creative expression and holographic and volumetric effects to be paired with DJ sets across different clubbing venues in VRChat. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

VJs wall is messed up in his basement, Nebraska Baseball wins the B1G TournamentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

ATENÇÃO: Neste período de férias estamos republicando os episódios que foram removidos das plataformas de áudio. Este episódio foi postado originalmente em 20 de outubro de 2021. EU QUERO A MINHA MTV • A MTV Brasil saiu do ar há mais de 10 anos e neste episódio decidimos recordar a história da emissora musical. Recordamos os videoclipes, os VJs, os programas, os acústicos... enfim, voltamos no tempo onde éramos felizes e sabíamos. Nosso podcast faz parte da rede #LGBTPodcasters. Para conhecer outros tão legais quanto o nosso, siga @lgbtpodcasters. Convidado: Filippe de Oliveira Roteiro: Jef Lima Edição e Montagem: João Dantas Pesquisa e Direção Criativa: Fábio Sousa

VJs dogs used the bathroom in his houseAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

On this week's show Don plays new music and world exclusives from Khira Li, ALII, YSMA, Aaron Echo, KYPT and many more. 1. Khira Li - Saint2. Adelphi Music Factory - Where Has All The Love Gone3. Jean Tonique - Loving You So Bad4. VJS, Luxor & Gianmarco Fabbretti - Sorry (I Hurt U)5. BlueFox - Save All Your Love Ft. Treetalk6. Galantis - Dreamteam7. ALIII - Fallin' For You8. 33 Below - HOLD TIGHT9. Longo - Love Again Feat. Marco Lollis10. Kramder - WAUN11. PARISI - Believe In Myself12. YSMA - Lose Control13. Egzod & Maestro Chives - Royalty (Don Diablo Remix)14. Magnificence & EisaYZ - Innervoices15. Aaron Echo - Long Live The Rave16. Sevek - My Body17. BUTTER & ENDRATE - You Bring The Love18. ISOxo - How2fly19. KYPT - Truth

December 26, 1992 This week Ken welcomes old friend, now NYC based comedian Greg Johnson. Ken and Greg discuss 20 years ago, Comedy Doyles, Kenny Z, Ken's first time doing stand up in Massachusetts, Eugene Mirman, Tim McIntire's Thursday Night Fights at The Comedy Studio, growing up in Wellesley, white suburban towns, being a notable alum from your town's High School, Greg's album Greg Johnson 1, how Mass and NY really aren't all that different, listening to episodes from ten years ago, Danny Tamberelli, The Adventures of Pete and Pete, getting to meet your heroes, Cheers, how Ken books guests, TV stars who should have been movie stars, Angela Lansbury, Madonna: Just a Peeler, clean and dirty covers, The Real World, Barney the Dinosaur, 1992, how football is a stupid fun waste of time, how the love of True Crime isn't new, Amy Fischer the Long Island Lolita, Ryder Strong, favorite VJs, the mystery of John Norris, SNICK, Roundhouse, In Living Color, The Simpsons, Sexy Dana Carvey, Chris Rock, live TV fights, insane Oscar moments, streaking, Father Dowling Mysteries, growing up Catholic, The "dead kid" in Three Men and a Baby, the "dead munchin" in The Wizard of Oz, being in the theater for only one day, 1990s re-releases, Can't Hardly Wait, Jerry O'Connell, the reason we have home taping today, when Greg was actually on TV, THIS VERY WEEK as a kid, Phylicia Rashad hosting a Kids Guide to Parenting, the lost show, Nik Carter, WFXN, Rap Around!, Ready to Go, Tom Bergeron, Home Improvement, We the Jury, Ken's love of Massachusetts businesses, Ken and Greg's plans to visit dead malls, The Square One Mall, Waylu's, Ken finding a nearly dead woman at B. Dalton Books in the Meadow Glen Mall, smoking joksters, local weathermen, The Wonder Years, Sully Erna, New Year's Eve, Evening at the Improv, WSKB's big Stooges New Year, Dana Hersey, House of Blues, Chiz Rider, and the major of trumpet based ministries. 

Karim Kanji and Gregg Tilston take to the red carpet at the 299 Queen Street West Much Music documentary premiere to speak with former VJs. Karim interviews former Much Music VJs about their favourite memories of Much Music, including stories of their experiences at the network and the impact of the station on Canadian culture. Gregg and Karim also talked about the premiere of the Much Music documentary, 299 Queen Street West, and the opportunity to meet special guests, including Ed the Sock, Steve Anthony, Monika Deol, Sook-Yin Lee, Denise Donlon, and musician Andy Kim. Additionally, Andy Kim shared details about his upcoming Christmas show at Massy Hal. Gregg and Karim reminisced about past interviews with Much Music VJs. Overall, the interviews were a nostalgic and engaging discussion of Much Music's influence on viewers and the music industry.

Step back in time to 1984. It's a pivotal year in the history of Canadian television — it's the year Much Music was born. In this episode of Chatter that Matters, we look at its fascinating journey and Canadian content that competed with the best in the world.   Much Music was one of the first Canadian specialty channels; this ground-breaking concept emerged from the vision of two trailblazing individuals, Moses Znaimer and John Martin. Against all odds, with limited resources but boundless creativity, they created a cultural phenomenon that captured Canadians' hearts and took on the mighty MTV.   I recorded the show at 299 Queen Street West, where it all came together, and sat down with two of Much Music's iconic VJs, Erica Ehm and Rick Campanelli. Erica takes listeners on a nostalgic journey as she recounts the early days, what it was like to interview legendary figures such as Kurt Cobain, and how what she learned there enabled her to become a successful entrepreneur. Meanwhile, Rick shares his remarkable journey of securing his dream job through a contest and turning that win into his phenomenal broadcasting career.   Together, Erica and Rick transport us back to an era when Canadian content reigned supreme, and Much Music was at the forefront of this cultural revolution. Discover the untold stories, challenges, and sheer passion fuelled this channel's meteoric rise. A moment in time that will stand the test of time.   Alan Depencier, the CMO of RBC, joins the show and puts on a master class on what it takes to create content that engages your audience in an era of infinite choice and discerning tastes.   It is a beautiful story, a proud moment for Canadian creativity, and some outstanding takeaways.   Time Codes:   00:01.      Tony's opening 00:02:16  Erica and Rick recall their time at Much Music. 00:06:33  Moses Znaimer reinvented media, inspired entrepreneurship, encouraged creativity. 00:08:33 Leaders in the corporate world should embody the flexibility, creativity, and fluidity exhibited by Moses, challenging the traditional thinking of "my way or the highway" embraced by old white men. Erica suggests that Tony should run more businesses or coach individuals, as he has demonstrated the ability to inspire and empower others in the past, much like Moses. 00:12:15 Erica Ehm and Rick Campanelli discuss their favorite interviews and an upcoming interactive tour based on the Documentary 299 Queen Street West. 00:18:25 Rick dreams of being like Erica and Steve, but it seems impossible. Enjoyed watching the interviews and VJ's behavior. 00:21:33 Rick - I wanted to win the contest tied to the movie "The Temp" in 1993. 00:24:10 Rick sits at Erica's desk.  Never again.  00:28:15 The lesson: Find your own path in life, don't follow others. 00:32:03 Erica on her role with 299 Queen Street West. It was an nteresting experience meeting new and old people for a documentary. Initially skeptical, but became a consulting producer. The finished product exceeded expectations. 00:35:05  Rick flies to Austin to be there for the premier. . 00:37:30 Rick's humility and talent were exceptional, inspiring a lesson for everyone. In a world focused on validation and self-promotion, we should embrace humility. Canadians can produce world-class content, even with limited resources. 00:42:44 Alan Depencier joins the show.  Music is returning after COVID, with live events sponsored by RBCX featuring renowned artists and supporting lesser-known ones. RBCX offers profile, support, and guidance for artists' careers. 00:44:03 Grateful for Alan's presence, future endeavours mentioned.  

Join Oliver as he chills with the remarkable Rick Campanelli, who makes his triumphant return to the podcast! Rick is easily one of the most recognizable Canadian television and radio personalities of all time, delighting audiences for decades with his undeniable charisma. His prowess as an interviewer and vast knowledge of pop culture were always on full display during his vocation as both a beloved MuchMusic VJ and host of Entertainment Tonight Canada. The convo kicks off with talk about the brand new documentary '299 Queen Street West' by director Sean Menard. The film weaves together tons of archival footage to chronicle the magical history behind MuchMusic and the people that made it so special. A cross-Canada tour is about to begin, which will also feature live discussions with iconic VJs (including Rick) after each screening! Later on, Oliver learns Rick's secret to looking eternally youthful and why family values are so important to him. He also shares memories of some of his favourite celebrity encounters throughout his career, and sheds light on what it was like being a part of the ill-fated Woodstock '99 Festival. All this and so much more in this wonderful episode! Recorded on August 10th, 2023 Audio/Visual Production by Brian Reilly Edited (poorly) by Oliver George Additional editing and graphics by Maverick Reilly ARCADE- Oliver: 25 / Guests: 12 (No match! Too late when we wrapped!) ©2023 Just Chill with Oliver George

¿Cuál es su fantasía sexual? ojalá no sea meterse en un barril, si quiere saber por qué, dele play a este episodio de El Gallo Pódcast que también decreta que si usted es un señor de 54 años, no puede andar diciendo que se va de party. Escúchelo mientras que Juliana está haciendo chichí, no importa cuándo leas esto.

Hello Metal Heads- Today we welcome content creator, Producer and all around music fan Brian Diamond onto the show. Brian is a native of the east coast, growing up in the music rich late sixties and Seventies. Brain Parlayed a friendship with a good buddy into his first paying professional gig working with 70's arena rock giants FOREIGNER. The 80s came and Brian was there at the launch of MTV in America and then eventually overseeing the MTV Europe channel. We discuss Brian's involvement with the original 5 VJs at MTV, the historic US Festivals in 1982 and 1983 and antidotes surrounding Headbangers ball. And this is just the start. Brian's career has taking him to work with Spike TV, WWE and even the all Mighty NFL. The stories are endless and just amazing.  Another example of a great unique, conversation filled with in-depth antidotes and disclosures found only here at Metal Mayhem ROC Thank you for the support and remember to always KEEP IT HEAVY!! Visit the website and join the Metal mayhem ROC community. Sign up for our weekly newsletter keeping you updated on all new podcast episodes as well as reminders for our live Radio show on Monday nights. METAL MAYHEM ROC SOCIALS: https://metalmayhemroc.com/ https://metaldevastationradio.com/ http://pantheonpodcasts.com/ https://twitter.com/MetalmayhemR https://www.youtube.com/channel/UC1Y8gRcKQODNMWwyLBfIHOA https://www.instagram.com/metalmayhemroc/ https://www.facebook.com/groups/metalmayhemroc BRIAN DIAMOND SOCIALS: Brian's Profile linkedin.com/in/diamond-brian Twitter beedee1969 TRIGGER HIPPY SOCIALS: https://www.triggerhippy.com/ https://www.facebook.com/triggerhippymusic/ https://twitter.com/triggerhippy https://www.youtube.com/channel/UCYAfhutiuLJ_zePdQZeLn4Q https://open.spotify.com/artist/7eJoJ37qDqiVGCXOYbzPyp   Learn more about your ad choices. Visit megaphone.fm/adchoices

What's the role of a music video today? In the 1980s, music videos flipped the industry thanks to MTV. Videos helped artists like Michael Jackson and Madonna become cultural icons. Record labels spent millions on music videos to promote their CD sales. Everyone was winning.Music videos don't hold the same power today in the streaming era. The budgets are smaller, but they still get made. To break it all down, I was joined by MIDiA Research analyst Tati Cirisano. Here's what we covered:0:52 What is the role of a music video today?2:15 MTV's role in music videos7:46 Comparisons to TikTok11:27 Music video budgets peaked in mid-90s14:30 Napster changed everything17:27 Music videos as career launchpads18:50 YouTube revitalizes music videos25:44 Range of video budgets 31:04 Big dollars going to documentaries and short films32:53 Rise of lyric videos41:42Does YouTube have a music video formula?44:09Measuring ROI of music videos in 2023Listen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Tati Cirisano, @tatianacirisanoThis episode is sponsored by DICE. Learn more about why artists, venues, and promoters love to partner with DICE for their ticketing needs. Visit dice.fmEnjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapitalTrapital is home for the business of music, media and culture. Learn more by reading Trapital's free memo.TRANSCRIPT[00:00:00] Tati Cirisano: There's an argument to be made that MTV like almost invented the music video or almost like made music videos a thing because having that audience there and having that like cultural impact is what led to bigger budgets for music videos so I almost feel like MTV gets credit for like kind of inventing the music video. [00:00:19] 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.[00:00:47] Dan Runcie Guest Intro: This episode is all about music videos and what their value prop is in the industry today. Back in the MTV era, the role of a music video was clear. This was your four minute opportunity to sell the hell out of your artist and for your label to promote its artist. Yet fans bought into the lifestyle, the identity, the persona of this person, and get them to go to Sam Goody, go to Tower Records and buy the albums.It was a marketing channel and it was a marketing channel that the record labels were continuing to put money into, and as the effectiveness continued to grow, they put more and more. Into that and that budget exploded. By the time we got to the mid to late 90s, we saw music video budgets hitting millions of dollars, and artists were doing out of this world things in these videos.But we slowly started to see those budgets slash. Went at the introduction of Napster and the CD era started to decline and the money was no longer flowing the way that it once was. But we started to see music videos take a new turn in the YouTube era. And now in the TikTok era, what is the ROI of a music video?What role do they serve in today's industry? And to break it down, we're enjoying by Tati Cirisano, an analyst at MIDia Research. He's been on the podcast a bunch of times, and this topic was right up her alley. So we talked a bit about that and more. Hope you enjoy this episode. Here's our breakdown on the role of music videos in today's industry.[00:02:16] Dan Runcie: All right. Today we are going to take a trip down memory lane to the wonderful World of Music videos, how this art form has evolved over the years. And I'm joined by Tati Cirisano from MIDiA Research, Tati welcome. [00:02:28] Tati Cirisano: Thank you. Good to beback once again. [00:02:31] Dan Runcie: Yeah, definitely. Can I start with a story? You mind if I start with a story with this one?  So, a couple weeks ago I was catching up with, CEO from one of the major record labels. This is someone that if you're probably listening to this household, if you're probably listening to this podcast, you probably know, and they run a label that is also a household name, and they were telling me about a conversation they had with an artist who is also a household name and how this artist wanted to have a million dollar plus seven plus figure, multi-million dollar music video budget because they wanted to make this big splash with what they were doing. And the CEO was like, no, I'm not giving you that. Like, what do you think this is? And for context, this is a artist who hasn't had a big hit since George Bush's first term. Let me say that roughly, just to give some context here. So,So it's been some time, but I also was a bit surprised because this is someone who seemed like they were up with the times in tech, and I remember asking the label exec, I was like, what's the deal? I thought this artist was with this. You see the movies they're making here, there, and this, that, and the third.And he was like, Hey. You would be surprised sometimes the egos get the best of these people and this is what they want. And that was a big inspiration for this conversation because I know you and I have talked about things like Spotify versus YouTube. YouTube, of course, having such a big focus in music videos and it's role.But that's what made me think it would be a great time to take a trip down memory lane and just revisit music videos themselves and. Going back to 1981, I feel like we could start music videos well before that. That obviously was there, but I think that was the origin place for a lot of what became known as the Modern Music Video and MTV itself.What's your take on how impactful MTV was? Because there was definitely a big shift of any music videos we saw before and any music videos we saw after.[00:04:36] Tati Cirisano: Yeah, I mean, you're right that like we could start this even further. Back in history, there were artists like the Beatles were making music films in like the 60s. David Bowie did the same but there wasn't really a place to showcase them the way that MTV, like, the one that MTV created. So I feel like it's not just that really iconic, amazing music videos, like those of, like Michael Jackson and, others made MTV a thing.I feel like there's an argument to be made that MTV like almost invented the music video or almost like made music videos a thing because having that audience there and having that like cultural impact is what led to bigger budgets for music videos and labels kind of focusing on this as an art form and a promotional piece.And that also led to more interesting creative videos. So I almost feel like MTV gets credit for like kind of inventing the video, the music video. [00:05:30] Dan Runcie: And inventing the video as a distinct art form that can live on its own in distinction from the music itself, because you mentioned The Beatles, you mentioned some of those other artists from that time. Music videos almost felt more like a utility. They were a commodity. Let's put the camera up while you're recording the tune, and maybe we'll add in some things.Maybe they'll add in some B-roll. And that's what it very much existed as for years. But then MTV takes it and makes it this unique thing. And we saw from the early days, whether it was Duran Duran, David Bowie, Michael Jackson, Madonna, they were some of the early people that really made it their own thing.And you saw more of those movies and that's where MTV being able to capture the eyeballs there, the growth of cable as well, and them becoming one of the more popular channels there. You see this platform having this type of impact, you invest more dollars into it, and this becomes a much stronger marketing channel, which then commanded and justified them putting more and more money over time into these videos.[00:06:35] Tati Cirisano: Yeah, and speaking of Madonna, I think it also made music a lot more visual where music videos kind of opened this pathway for artists to become not just music icons, but kind of like style and fashion and cultural icons. there's so many videos that. Are just kind of like etched into everyone's brains and so many iconic outfits like people still dress up as, Britney Spears and the Baby One More Time Video and like all these other iconic ones. I think it, started making music more of a visual thing. And in turn, that also helped drive fandom around artists. Cuz if there's one thing I've learned in all the studying of, fandom that I've done and how it develops, it's pretty much always about context.It's always maybe listening to a song makes you a fan or doesn't make you a fan. It makes you a listener of the artist. But it's only once you know more about, who they are and like what their style is and what their aesthetic is and all these other things that you become a true fan. I think a lot of fandom was formed by sitting around the TV with friends and like watching a video for the first time on MTV.It was just a more captivating way to get to know an artist and have that context around them. [00:07:47] Dan Runcie: It's a big point, and that's something I definitely related with too. Growing up in that era, you were able to see and interact with those artists. If I had just heard these artists on the radio, it would've been a very different relationship. But I know that for a lot of people, that's how they gravitated to music.That's how they captured this, and that wasn't the way that it, I grew up for me, whether it was watching them on MTV, watching them on BET, That was the experience, and especially as things started to take off in the CD era, we saw more artists having success with it. We also started to see more pushback as well.I think it was around the early 90s, even the late eighties, this was around the time MTV was really kicking into gear. And the sales and numbers, everything was just up and to the right from a growth perspective. But we started to hear more critiques, some of the more traditionalists in the music industry started to say things like, these music videos are turning artists into one trick ponies.It's no longer about the music anymore. It's about making, Music video. And that's clearly resonating with some of the critiques. We now hear about TikTok as well. But it makes me think about the patterns that music often follows and when there is a new art form that does allow some type of growth, there's critiques, but those critiques also do stem from bit of this.If you can't beat 'em, join 'em. And we've seen this time and time again where a lot of those artists that had. Had critiques about MTV, whether it was Mariah Carey in the very early days, or even groups like REM, they would go on to make some of the most iconic music videos from the 90s as well.And I think we've seen the same with whether it's streaming or TikTok music videos was one of the things that I remember as having a bit of that cyclical pattern.[00:09:32] Tati Cirisano: Yeah, and there's so many trends in music videos that I feel like now we're play, we're seeing play out on TikTok or have already seen like there was sort of the dance, video craze of like, single ladies and crank that and PSY with Gangnam style.There were all these music videos that were about getting everyone to do a dance. And that was the way, that was like the promotional thing of if you got people to do that, then they would do it at the club when the song came on, they would do it in public. It would sort of become this bigger moment. And then that was kind of the first phase of TikTok when it started to rise in the 2020 when in early 2020 was like all dance videos.and even. I remember there were some videos that people, I know we haven't gotten to YouTube yet, but when YouTube came into the equation, people were uploading their own versions of videos and now that's like a pretty common thing. But yeah, it's interesting how all this stuff is cyclical and I think like video to the stuff about, the criticisms and like being one trick ponies and that kind of thing.I think that video has kind of, with music, always been about creating a cultural moment, aside from it just being another art form that I think artists delight in taking part in. Cause it's just another way to be creative. But I think it's, it's, about creating a cultural moment and creating a cultural moment in this day and age has morphed into this concept of virality, but it's always been about the same thing.Like viral in the 90s was, people wanting to be Britney Spears in that music video I was just talking about, and it kind of like being, this thing everyone was talking about for months. The same thing is happening now on TikTok. It's just happening faster. so yeah, I think that a lot of this stuff is cyclical and those criticisms, the point is that it's a promotional tool, so of course it's gonna lead to kind of like flash in the pan moments.So, Yeah, I have complicated feelings about those criticisms, I guess.[00:11:28] Dan Runcie: Yeah, I do too. I understand and I think that what we saw in the next decade, especially with some of those artists that came around and ended up leaning in, said a lot about where it is. And not every artist needed to do the MTV thing. Not every artist needed to lean into it all the way. Granted, I do think that most artists had music videos to an extent, but there was clearly a wave of where things were going.And right around the mid to late 90s, We saw the peak, at least from a budget perspective, of how much money was being put into music videos. And when you're talking about creating moments and in the pre-internet era, there wasn't necessarily as much virality, but the thing that got people locked in was how visually stunning or something that you've seen that's never been seen before.It's almost this bigger was better era. And then we get to points where in the mid 90s, Both Madonna and Michael and Janet Jackson are having music videos that aren't just one or 2 million. That screen music video was rumored to be around five to 7 million depending on the source you look at, in 1995 dollars, and that's that black and white video.They're shape shifting and all this stuff. And we continued to see this over the next couple of years. Of course, hype Williams and everything that he did from music videos was always unique, is always futuristic and with all of the elements that he had there. But it took a lot of money to make those music videos the same way with NSYNC and all those no strings attached music videos.Those were multimillion dollar music videos too. And it brings me back to even the things that they would spend money on. I'm thinking about, Busta Rhymes and Janet Jackson, they had that once. It's gonna be a music video where you have the silver liquid that's like coming over. Both of them and Busta Rhymes took guitar lessons.Apparently that's what MTV's making the video thing had said in its, little popup that comes to the music video. But all of those things [00:13:24] Tati Cirisano: I missed those popups. [00:13:26] Dan Runcie: I know it was such a fun era, right? It was. It was such a, I guess a lot of that's been now disrupted by what we see on YouTube, which I know we'll get into in a minute, but that was such a moment.I think it spoke to, why people were willing to put in money at the time with just where things were with the era that was the marketing channel. Music videos were seen purely as an expense to be able to sell more CDs the same way that touring at the time was seen as an opportunity to try and sell more CDs.And the artists that sold the most often got the biggest budgets. And at the time, bigger was all often seen as better, especially when it came to the contemporary Pop X and that whole ecosystem of music, video culture, and everything around it made that take off the way it did.[00:14:13] Tati Cirisano: no, absolutely. I think the promotional power was worth it at the time. and like you said, you could justify spending that much on a music video if you were gonna make it back in CD sales if you were one of these superstars. So it made a lot of sense at the time. And then came master.[00:14:31] Dan Runcie: Yeah, that changed everything because and there was a fair amount of overlap there just with the way things were because so much of the industry was still focused where it was, I look at even the music video economy where there was a cyclical nature where because of the demand, The programs themselves or the channels themselves started launching programs dedicated to showcasing music videos, whether it was 106 and Park or TRL.They had different shows throughout the day, but all of them were some unique flavor of just trying to show you more music videos. And that's what was cool about it. You were able to have this whole ecosystem there, but then as you mentioned, Napster comes in, changes everything. The dollars are no longer flowing, and it.Is harder to justify spending millions of dollars on a music video if you can't confirm that that artist is gonna be able to do that. I think in a lot of ways, the peak was, we talked about them before in sync, Britney Spears, Nsync being able to sell, I think it was nearly 3 million units of an album the first week that it comes out.Like people skipping school in order to go buy, no strings attached. That just didn't happen any more to that level. I mean, we eventually saw examples like Adele and even this Taylor Swift album, but it wasn't the same way that it was then, and it shifted everything and I think it eventually Led to lower budgets.We still saw a lot of creativity. I still remember watching tons of music videos, especially in the mid to, especially in the mid two thousands. But it was definitely a different vibe cuz it was this pre and post Napster, but pre YouTube era where the budgets were still somewhat strong, but it wasn't quite what it was before.[00:16:13] Tati Cirisano: and there was this whole ecosystem before that, like, it's, kind of stunning me to remember how many different roles there were. Like music directors I feel like got a lot more shine because there were the VMAs and all these kind of things dedicated to them. But then there were the VJs of the time.and there were kind of like the. dancers and the other like characters in these videos, which kickstarted a lot of actors and actresses careers. Just being in these music videos, there was this idea of like the video vixen, which is a term I absolutely cringe to the n degree at, but like that was a role, like there was such an ecosystem around it. You're totally right and then it really so much since then. [00:16:54] Dan Runcie: When you think of the term video vixen, who's the first person that comes to mind?[00:16:58] Tati Cirisano: I think of people like Eva Mendez in the Miami video with Will Smith, I think of Scarlet Johansen. which one was she in? It was like some, [00:17:09] Dan Runcie: Justin Timberlake, what goes around comes around.[00:17:11] Tati Cirisano: Yeah, there were so many, I don't know. Alicia Silverstone I know was in a couple of music videos. Kim Kardashian was in Fallout boy, thanks for the Memories, which was a bit later and like she was already famous. But like that remembering that blows my mind. Like there were just so many of these examples. I don't know. [00:17:27] Dan Runcie: Yeah, there's a few that comes to mind. I think about someone like Vida Guerrera, like she was always in a bunch of them. Even male video vixen's too. I'm thinking [00:17:37] Tati Cirisano: Yeah. [00:17:38] Dan Runcie: Beckford and, Toni Braxton's Unbreak my heart, in that one. And then Tyrese and, what music video is that was that angel of mine with Monica.So you definitely had 'em back and forth. Even the artists themselves sometimes ended up being vixens and other ones. Terrence Howard was in a bunch of 'em. But I think that this too, it talks about just how music was a launchpad, right? You mentioned the VJs earlier. So many of these VJs started as those types of personalities, but then they went on to go do other things.I mean, Carson Daley is a media personality now doing his own thing. He got his roots in TRL. I feel like, aJ from 106 and Park still does media things suspense. Terrence Jay definitely does as well. So you see those, but you also saw it on the music video side too, where directors like Spike Jones is now doing, you know, Hollywood movies. Look at the Daniels, they directed turn down for what? the little John's music video, and then they just directed and won an Oscar for Best Picture and best Director with everything everywhere, all at once. So music continues to be a launchpad in [00:18:45] Tati Cirisano: What a pivot. Turn Down for What to Everything Everywhere All At Once.[00:18:50] Dan Runcie: Yeah, never would've guessed that one, never would've guessed that one. And I think with that, we should probably start now talking about the YouTube era because things took another turn here. You mentioned a little bit of this earlier where user-generated videos started to take off, but I think the success of YouTube started to tell people that, Hey, The things that are going viral and getting attention.It isn't just using the most amount of money possible to see outta this world stuff. As cool as it was to see Hype Williams creating action figures of Missy Elliot running around in space, we don't necessarily need to see that much out of this world to do it. It can be Soulja boy doing his type of dance and then having all this other user generated content on Crank that Batman, crank, that Spider-Man, crank that whoever, and we saw that time and time again.So I think YouTube, and this was before any of the licensing deals came. The fact that crank that blew up became the number one single in the country stuck out in a way. And I think that led to another evolution of what people were willing to spend money on and how they thought about the promotion of music videos as well.[00:19:59] Tati Cirisano: Totally like remember the okay go music video with the treadmills. Like remember how cool we all thought that was? I mean, I'll speak for myself, but like it's like funny to think about now. That was such a big deal. That they made this like really low budget video, just kind of like running around on treadmills.And I think that's the other thing that's interesting about YouTube is, so pre MTV, there was like not really any place to showcase music videos. Then there was this channel for it, but it was really limited to the major label signed artists. And then you got to YouTube where there wasn't any gatekeeping around music videos anymore.Anything could be uploaded and anything could be played. And there was just less of that gatekeeping. But then the flip side of that is it also means that it's a lot harder to stand out. And so YouTube has, kind of made any one of those videos a bit less impactful for that reason. Over time, I think, and that gets back to like the fragmentation that, you know, I love to talk about.[00:20:57] Dan Runcie: It's fascinating because I think that each time something goes viral or each time something breaks out on YouTube, You do get a lot of copycat behavior. You see a moment where things are happening. It isn't always rational, but that's kind of the beauty of it. And then you go on to something else. I was looking at things talking about the 10 year anniversary of Harlem Shake, of that whole video wave where people were doing all those crazy dances.The music then stops, and then a couple years later we saw Black Beatles and that saw reach a whole nother level because of the freeze challenge thing that people were doing. And that was a whole nother culture with it because again, we started to see less flashiness of them trying to do particular things.But once the licensing came, music videos then became revenue generating tools. On their own and it was no longer necessarily just about trying to have a song get retired on the charts, whether it was on a 106 and Park and TRL there became the subculture of how can we get this music video to hit this?Number of streams or this hit this number of views. And I know we start to see this now more where most of the services are publicly sharing how many streams and views their songs and music videos have. But I feel like we started to see this on YouTube first, and a lot of the chatter that you would once see started to live in the comments section.And you started to see these subcultures of fans that would gravitate and connect to songs in that way. And I felt like that was something that was unique.[00:22:29] Tati Cirisano: Yeah, and there were a lot music videos, over the past, like five years, over the past 10 years, like the single ladies video and like Childish Gambino with this is America. And even like more recently, like the Kendrick Lamar video with like the AI generated faces, I forget which song that [00:22:46] Dan Runcie: Oh yeah, the hard part five.[00:22:47] Tati Cirisano: Yes. But you're totally right that rather than the go, the virality of a music video. Just being about driving streams. they also, those videos also became revenue generated themselves. So going viral on YouTube, having a video that everybody was gonna be anxious to watch, was a big deal for that.And there, I feel like there were kind of less so today, but like pre TikTok in like 2016 to like 2020. It kind of feels like there was a bit of a mini revival of like, Music videos being this bigger promotional tool, like, do you remember all the promotion around the Thank you Next video for Ariana Grande?That was nuts, like, we were all waiting weeks for that video to come out and there was so much, conversation about it and so many clips and so many interviews in the press and I feel like there was kind of a moment before TikTok came around when music videos were once again, kind of this really big promotional tool and way to kind of break through the noise and generate revenue.[00:23:47] Dan Runcie: With Thank you, next. That was the one where they spoofed mean girls, right?[00:23:51] Tati Cirisano: Yeah, and like a bunch of other of those types of movies, like there was like a clueless scene in it. I feel like there [00:23:57] Dan Runcie: Oh yeah, yeah. [00:23:57] Tati Cirisano: I feel like there were a bunch, maybe I'm remembering it wrong, but I think they, they did that with like a bunch of different, like 90s and two thousands movies. And there were so many cameos. There were so many cameos. [00:24:08] Dan Runcie: Oh yeah, that's right. It did. It did. And I think a few of those music videos, you mentioned Salish Gambino as well. He's clearly someone that I think is calculated and knows what he's doing from a communication perspective, but with that video, it wasn't even necessarily about how much money was spent on this or something. It was more so here's this timely thing and there was a shock value that was linked to it, and I know that music videos have always had a bit of, have always had shock value, especially since the MTV area era think specifically about an artist like Madonna and then even Britney later on that leaned into this.But we started to see artists lean, lean into it even more from a. political standpoint, making statements and trying to say things that they wouldn't otherwise have said. And even thinking about artists like Joyner Lucas who had someone that was wearing a Make America Great again hat in their music video to then show that as some type of hypothetical conversation of what it could be like to talk to people that may think differently.I may be misremembering parts of the music video, but we started to see more of that integrate where. That then stems from how flexible this art form can be. You can have a music video like wp, which I do think was one of the more recent, you know, TikTok era music videos that created a moment. You could have them have these standalone things as well. [00:25:29] Tati Cirisano: Mm-hmm. That's exactly what I mean with how music videos give you so much more context like it's just another way for the artist to tell their story and express themselves. It's just another avenue for that, and there's so many different ways to do that. It is such a flexible art form. [00:25:44] Dan Runcie: Yeah, definitely. I have a few stats here that I think would be helpful just for some context setting. As we mentioned earlier, we talked about music video budgets in the late 90s and even the early two thousands where, top artists getting million dollars plus for their music video wasn't uncommon.But here, let me share some numbers. Cardi B had shared some self-reported public numbers of things she spent on music videos just over the years. This was from two years ago, so I'm sure she's done stuff then. But Bodak Yellow, that was the music videos that they had done. That one in Dubai, that was $15,000.Granted, she was much smaller at the time. People likely weren't charging her as much, but she did that for just $15,000 and then, Bar Cardi, that was $150,000. The money music video, which did look like a pretty elaborate and not cheap music video. That was 400,000, please Me. The one that she did with Bruno Mars, that was 900,000 and then WAP was a million dollars.But those are two artists coming together, and that was also another expensive looking music video with a bunch of cameos as well. So even WAP, something that I would consider on the highest degree. Of what, major record label might be willing to spend. Even that was just a million dollars or compared to how much more they were willing to spend a couple decades before.[00:27:02] Tati Cirisano: Yeah, yeah, I mean that, that kind of doesn't surprise me. Like I feel like the ROI for music videos has just gone down a lot and it just doesn't make sense to spend much more than that on a music video. Like you can still make a splash, it can still be, a good promotional tool. And a way to, generate more revenue, but they don't tend to last as long as they used to, and it's just really hard to get people's attention on one thing these days.I think short form is also being prioritized or that's kind of the sense that I'm getting and yeah, it doesn't totally surprise me, does it? What do you think about those numbers? [00:27:44] Dan Runcie: It doesn't surprise me either because of where so much music is consumed and how things go viral. But it is a bit interesting when I think about music videos as a visual art form and what tracks and what resonates compared to other forms of entertainment where I do feel like we've continued to see bigger and bigger com, bigger and better, at least from the money that's put into these productions for major film studios, for instance, what they're putting into superhero films, what they put into Fast and Furious films, or even what James Cameron had put into Avatar. Spending 300 million, not even on the marketing, just on the budget for these movies isn't even unheard of now. So there's clearly an attraction of doing that, even if it is one of these tent pole franchise movies, even for some of the things that have gone straight to video.But that didn't necessarily happen in the same way in music videos. It started to pull. We obviously know that the industry was hit harder than others, so it pulled back. But even as the industry continued to grow, and I think, I mean, I know now the numbers unadjusted for inflation have the highest, at least revenue on the recorded side.Bigger hasn't necessarily translated to better in that perspective. Even if you look at video games, the graphics, all the things that are stunning are the things that we continue to see. And granted in, video games, we've seen a few outliers, like when Nintendo, we blew up. Clearly that wasn't a graphics thing, but they were tapping into something that Xbox and PlayStation weren't at the time.But in music videos, the bigger, better graphics of artists doing crazy things just didn't resonate in the same way, the only music video I can think of is, Ed Sheeran, what's that music video he did? I think he's kind of floating around and stuff and moving. I think it's bad habits. But one of those, I think that's probably the most recent one, but even that one I don't think is like that expensive of a music video, but we just haven't seen better.I'm thinking back to in the 90s. Yeah, I mentioned the Hype Williams music videos or even, you know, Backstreet Boys like moving around in space and larger than life. We just haven't seen that translate in that same way in music videos. [00:29:51] Tati Cirisano: Yeah. Well the other thing that you just that just made me think of when you mentioned film is how do I put this? Like album promo cycles these days are so much less premeditated, right? It's more about putting songs out and seeing how people react, and then deciding which ones to push forward as a single, then deciding what to put music, video resources behind.So I think that the other difference with music versus something like film and TV is things are just getting decided on the fly. Like a song goes viral and then you're like, okay, now we're gonna make a video for this song, but you wouldn't decide that until you saw how the songs were performing. So I think that that's a big, big factor in it as well. But we've also seen some good, like low but lower budget music videos. Like I loved the Ice Spice Pink Panther for boys a Liar. And it was literally just them like hanging out on a fire escape. And I was like, this is perfect. So I think we've also seen like some good lower budget ones come out of this as well.But yeah, definitely doesn't feel like the same, you know, spending all this money on like these crazy graphics and like whatever it is, has as much of an impact or is, as worth it as it might be in film. [00:31:04] Dan Runcie: I feel like we've seen a few outliers here or there in music. Kanye West's music videos, especially in that, let's say 2007 to 2015, 16 range, it seemed like there was still a good amount of money that was being put into those. And even some of the extended ones that, that short form video, the short form film version of Runaway, still felt like a pretty expensive music video.And I'm pretty sure Hype Williams directed that. But I also wonder is. Is the definition of what we consider music video, and the expansion of that. Also shifting what people are putting money into and how it's categorized. And by that I'm talking about some of these documentaries that have come out and what bucket we put those in.I look at something like when Taylor Swift had recorded those pond sessions after the folklore evermore albums had come out. She essentially did an entire visual album of her at this pond or wherever. She wasn't that like Cottage and Sells and sold that to Disney, and then Disney then streams and puts that out and it's an hour or two hours or however long it is.Beyonce is recording her Coachella performance and then sells that to Netflix, and then Netflix puts that out. And you're essentially watching an alternate version of a Beyonce music video that is just over this two hour or two hour 15 minutes, however long it is. But when I think about that, I think about these visual albums and just how so many of them have spanned in, had different forms and ways they've gone about it. Is that where some of these more expensive projects are going? Is that where some of the more expensive dollars are going when looking at video as it relates to music, as opposed to just this music video bucket that we may have put it in?[00:32:53] Tati Cirisano: I think so, and I think I would also put in that category like the more. Like the short films that our music videos. And that's something that artists have been doing forever. But I mean, like, I don't know, like the Taylor Swift All Too Well video and even like, I feel like the SZA Kill Bill video was like longer than the song and like had, a lot of artists are starting to add more of a story and create more of like a short film. And I think part of that is a way to like just stand out from all the other music videos and actually grab people's attention because you are really telling a story, you're taking it to the next level. And even having parts where like the song isn't even playing, and I think you're probably right, that more of the budget that used to go to music videos, Is now going more sparingly to a few of those types of projects for the bigger artists. Whereas, l ike for what was traditionally a music video is now becoming lyric videos or sort of like these animated videos that I've seen come up that are so much cheaper to produce and often also involve AI generation, which is, an area that I feel like we haven't really touched on in all of the discourse about AI and music is like AI for music videos.And maybe that will end up lowering the cost to making these really fantastic crazy concepts that we used to see that used to cost 7 million. And now, well you can click a button. So I don't know, maybe we'll see like a reversal of what, of everything we're talking about, of like music videos kind of shrinking and instead becoming bigger. But yeah, I think you're right.[00:34:28] Dan Runcie: The point that you mentioned about music videos and just the storytelling, adding in the short film piece of it. I don't know if he was the first, but Michael Jackson Thriller is the one that comes to mind there, just with how that became this extended film. But again, not everyone was getting that much budgeter opportunity to do that in that way.Michael Jackson had built up the track record in order to make that happen, and then as you see, we continue to see that now with Taylor and others. I'm glad you mentioned the piece around lyric videos and AI, because lyric videos have long been the low-hanging fruit. Of YouTube, especially for artists.Yes, it's great to have your own music video, but sometimes people don't want that. They just wanna be able to have it there playing and Sure from a purely practical perspective, you could tell yourself. They can go listen to that and Spotify or they can just go listen to the audio version. That's what they want, but not necessarily.There are creative and unique things that you can do with music videos. It doesn't always have to be the text scrolling across the same way it would on a karaoke screen or something like that. Artists have had unique ways to go about it, and AI music videos isn't even necessarily something I necessarily thought of, but what's holding it back? You look at the same way that the images went viral of the Pope in, you know, wearing the bomber jacket or whatever it was. The same thing can happen with the music video. And when I'm thinking about this, I'm thinking again about like how we started this conversation around where some of the critiques are that people have had with music videos when they first came out. Some of the critiques, we hear now about this more user generated era of music, videos and content as well. The path and the journey. It seems that once music gets too derivative in some ways, two things happen. One, it expands and grows the pie for the overall industry, which is good because we wanna be able to see the impact in music.We wanna be able to see it grow. That's always gonna naturally attract detractors that wanna see the thing in the pure form, but nothing stopping them from seeing the thing in the pure form. But we do wanna be able to see the growth in evolution there. And AI is the next version of this where, what is the core piece that you have, whether it's the artist and the music that the rights holders have the control and ownership of, but whether it's music, video, or just other ways to do it, what are the ways that that can be unlocked? And if that can be done in a great way, that's where the potential comes.That's where you unlock all of the opportunity in the industry. And who knows, like you said, it doesn't even need to be as expensive as it was, but you're giving people the opportunity to do something unique. [00:37:06] Tati Cirisano: Yeah, and speaking of the SZA one, I don't know if this is something that she planned or if it's just something she's encouraged, but there's a whole culture on TikTok of fans making their own SZA music videos. Not copying the ones that have already been created, but making their own. And she'll repost them and comments on them and like talk about the ones that are her favorites. And that whole thing is really fascinating to me. And it even like brings me back to the lyric videos because the whole reason that the music industry started to realize, oh, we should release these music videos, was because fans were already making them and it was just revenue that the industry wasn't, and eyeballs that the industry wasn't capturing.So lyric videos were just a way to kind of formalize that, and I think we're seeing that in so many ways on TikTok with sped up songs that fans uploaded and then record labels formalized. So I don't really know where I'm going with this with music videos, but I feel like there's a connection there of like, How, video could potentially enter more of that. I mean, music videos could potentially enter more of that, UGC space. But the other thing I wanted to bring up before I forget, is that I did grab some stats from our research at MIDia about, both of those things. So just for context here. 59% of global consumers use YouTube to watch music videos weekly. And then we had another question where we asked how do you engage with music artists beyond listening to their music? And 35% of consumers said they watch lyric videos. and that's from our Q4 22 consumer survey and our Q1 23 respectively. So, both arepretty high. [00:38:41] Dan Runcie: Yeah, I would say so. I wonder for some artists, the numbers that they've had for the music videos and lyric videos are probably closer than they think, right? And sometimes a lot of it just depends on what you're in the mood for. Sometimes, there's just so many more opportunities to have a passive thing in the background, and sometimes I've done it myself without even thinking, I think what is the user experience that then causes me to go to a lyric video, even when I know the music video is there. And most of the time it's when I wanna have the thing in the background. Maybe I'll go to it, but I don't necessarily wanna stare at the screen for the next few minutes and it makes perfect sense and there's so many more use cases for that.So I wouldn't be surprised if for certain artists, they both serve a purpose, but they might actually be making more from the respective lyric song. And I think when you just think about it overall, the Lyric song does enable you to have your entire album up on the streaming services guy, I guess you could technically have a few versions where I've seen some artists have the music video, they have the lyric video, and then they just have the still with the cover art of the album there.So you have three different options and that could all be, revenue that goes back to the artist and the rights solar.[00:39:53] Tati Cirisano: Mm-hmm. There's also this interesting idea of like how all these things kind of play together. Like going back to the episode that we did on, that was about YouTube and, kind of contrasting these short form video platforms and how YouTube's whole pitch is that they're able to unite long form and short form so that, you know, there isn't that gap where people watch a TikTok video about, and then they don't actually go in and learn more about the artists. So, I don't know. I think there's something interesting there with YouTube being the main place where people watch music videos. The only, like the main place, I won't say the only. And also having the short form video platform. So I think that is a really strong proposition to be able to kind of marry the two. [00:40:35] Dan Runcie: Here's a question for you similar to that I actually don't know the answer to this myself, but thinking about how like audio and music itself, we see how music has adapted over time based on the mode and the medium that it is, whether it's CDs and streaming. And then we see the impact of TikTok and everything else.And music videos we've seen similar where we knew what a an MTV era music video looked like, especially if it was a music video that's trying to be on TRL. There's almost a certain formula that you saw to it. And we also see now what a TikTok video can look like where you see the types of dances and you see the way that the music video is made almost in a way to make it easily be replicated, whether it's a Drake, Lizzo, Doja Cat, Cardi B, plenty people have done this.Do you think this exists as well with YouTube? Was there a certain type of music video that stands out to you, is Yes. This is a YouTube music video. This is a music video that personifies the YouTube era of music videos.[00:41:38] Tati Cirisano: I love that question. that's a really good question.[00:41:42] Dan Runcie: As I'm thinking about it, there's one person that did come to mind. NBA Young Boy is a person that I do think speaks to the YouTube era of music videos because he approaches this the same way that. Someone like Mr. Beast approaches videos. There is a formula there, he has his hook, he has the things.There is a bit of the storytelling dynamic of what he is trying to do, or the challenge that they're trying to overcome, and then they do the thing. But it's definitely told in this way that has the hook and the elements that you naturally see. In YouTube and the way that the font for the name of the music video scrolls up, that is very much the formula.How quick it is for the beat to start. All those types of things, I think speak a lot to the YouTube era.[00:42:27] Tati Cirisano: Yeah, I also think, I'm thinking of artists who have sort of played into meme culture with their videos, like Drake has kind of done that. Remember how meme'd the Hotline Bling video was like. Even like the video for, what's that song you have with Justin Bieber? Pop Star was like, kind of playing into like the stereotypes about them in a way.Like I think artists like them who have sort of played into internet culture in their videos are maybe part of that YouTube era. Charli XCX, the boys video felt very YouTube, Yeah, I would say things like that. And then also videos that invited user participation, like the dance video craze, where it was kind of intended to get you to make your own version.And that was kind of like the early TikTok was being YouTube. So, yeah, that's a great question. [00:43:22] Dan Runcie: Yeah, and I think we saw some of this with Instagram as well, because I think about Drake in my Feelings. That was another one where there was clearly a Instagramable place where he's saying, please repeat this, because TikTok really wasn't blowing up the way that it was then, but he clearly made this video leading into that.And if anything, I think that the video came after we saw the viral instagram clips of, what was that guy? Shaggy that was doing the dances for that music video and then Danny Le as well. So there were a few people that had done that.[00:43:55] Tati Cirisano: Yeah, no, the correlation is so fascinating. I could do a whole nother podcast on how Drake lyrics invented Instagram captions, but we'll save that.[00:44:09] Dan Runcie: And no, we will definitely table that one. And I think as. Yeah. No. I have a few thoughts on that one, but as I think about this, I feel like a good way to, to close this one out is thinking about the ROI of these videos. And there's a number of ways to look at it, but with the way that a video is now, what do you think the best way is to measure the ROI?Because of course there's the hard dollars that the video could generate, the impact, but what's your take on that? [00:44:36] Tati Cirisano: Yeah, that's a good question. I mean, aside from the things like, aside from the things that are just like hard views and streams, I think it's also about cultural impact, which is kind of impossible to measure. it's about UGC, like how many videos was. I don't know, how many people kind of created their own version or did the dance in the music video, wherever it is.I guess that kind of depends on the video, but I think there's like some element of like creations related to the video that are part of it. and then did anyone dress up for Halloween as that music video? That's the biggest measure of cultural impact.[00:45:18] Dan Runcie: Like Lil Nas X dressing up as Ice Spice [00:45:21] Tati Cirisano: Yes. Yes. And I'm sure there were people that dressed up as Drake in the hotline bling video. the scene that that came out. So, look at Halloween costume sales, all you label executives. No, I don't know it's a really hard question to answer, but I think it's, mix of those and it's increasingly about, how fans are kind of like recreating their own versions of things. [00:45:42] Dan Runcie: Because there's a clear need to, water creates something that creates shock value, but you can't do those moments automatically cuz sometimes randomly it's gun just being gunna and then, Rihanna dresses up like him for her Halloween costume in like multiple settings and stuff, and it's like, oh, okay.I guess this is a thing. Like I don't think he knew that he was putting a fit out there, but you can't always guarantee that that's what's gonna come out, right? You have artists like Da Baby that I think have always tried to do stunty things to get cloud out there, but I don't know if, I've never necessarily seen people try to dress up like him for Halloween in that way.But that's a good one, and I think at first I was like thinking you're saying it in jest, but it's a hundred percent true. Like how are you able to capture zeitgeist? And I think that checking Instagram tags especially, or hashtags or just trending topics Twitter can tell you. Yeah. definitely. [00:46:36] Tati Cirisano: Well, many gift uses did you get of a clip from the music video?[00:46:41] Dan Runcie: Exactly. Or are people creating gifts of you in some type of way? [00:46:45] Tati Cirisano: Exactly. [00:46:46] Dan Runcie: Definitely. Well, Tati, this was fun. We have a couple of topics that I know we'll dig into eventually on this, but before we let you go, what are some things that you're digging into? What should the travel listeners stay looking out for?[00:46:59] Tati Cirisano: Yeah, that's a good question, let me think. So many things. I mean, we have a new report at MIDia that'll be out next month, for clients that's about live music consumers. We did a big survey, with bands in town asking people about their attitudes towards ticket prices and all sorts of things like that. So if you're listening and you're client of ours, look out for that. If you're not and you're interested in it, feel free to reach out. but yeah, that's the thing that I'm working on a lot right now and very excited about. [00:47:27] Dan Runcie: Nice. All right. We'll stay looking out for that. Thank you. [00:47:31] Tati Cirisano: Awesome. Thanks Dan.[00:47:32] Dan Runcie Outro: If you enjoyed this podcast, go ahead and share it with a friend. Copy the link, text it to a friend. Post it in your group chat. Post it in your Slack groups. Wherever you and your people talk, spread the word. That's how travel continues to grow and continues to reach the right people. While you're at it, if you use Apple Podcast, Go ahead.Rate the podcast, give it a high rating, and leave a review. Tell people why you like the podcast. That helps more people discover the show. Thank you in advance. Talk to you next week.

In this captivating episode, we delve into the transformative journey of how working with audiovisual (AV) elements took a DJ's skills to new heights. Join us as we explore the synergistic relationship between DJing and AV work, uncovering the profound impact it had on their performances, creativity, and overall DJing experience.We start by exploring the intersection of music and visuals, discussing how AV elements can enhance the DJing experience and create immersive environments for the audience. Discover how the integration of visuals, lighting, and multimedia elements adds a new dimension to DJ sets, captivating the senses and elevating the overall impact of the performance.Join us as we delve into the personal experiences and insights of DJs who ventured into the world of AV work. Learn how their collaboration with visual artists, VJs, or exploring visual technologies themselves expanded their creative possibilities, allowing them to craft visually stunning and emotionally impactful performances.Through in-depth conversations and firsthand accounts, we uncover the practical aspects of incorporating AV work into DJing. Discover the tools, techniques, and software used to synchronize audio and visuals, create custom visual content, and deliver seamless experiences that captivate audiences.Beyond the technical aspects, we explore the artistic and expressive potentials unlocked through AV work. Gain insights into the storytelling capabilities of visuals, the emotional resonance of synchronized audiovisual experiences, and the ways in which AV work can elevate a DJ's ability to curate immersive journeys for their listeners.Whether you're a DJ curious about integrating AV elements into your performances or an AV artist looking to collaborate with DJs, this episode offers a deep dive into the transformative power of AV work. Join us as we uncover the ways in which visuals and DJing can harmoniously blend, taking DJ skills to the next level and leaving a lasting impact on both the artist and the audience.Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The Arctic faces a climate change feedback loop; racism at the Canadian Human Rights Commission; a new documentary about Anna Nicole Smith; a Palestinian architect curates an exhibit based on what his family lost in the Nakba; former VJs recall the chaos and joy of making MuchMusic; and more.

01. Yves V & Ilkay Sencan - Losing You (Extended Mix) 02. Lucas & Steve - Warp (Extended Mix) 03. Yves V & Fafaq - Bring It Back (Extended Mix) 04. VINNE feat. Y M. - Go Boom (Extended Mix) 05. Lucas & Steve, Yves V - After Midnight (feat. Xoro) [VINNE Remix] 06. Bassjackers - Wrong Or Right (The Riddle) (Radio Mix) 07. MorganJ, MelyJones & Luciana - Frequency (Extended Mix) 08. VJS & BackFaze - Reflection (Extended Mix) 09. Bromo - Do Better (Extended Mix) 10. Yves V & Sevek - Same Man (Extended Mix) 11. Mr Sid. & Choujaa - Amore (Extended Mix) 12. JLV -Something Like This (Extended Mix) 13. Sem Thomasson x Terri B! - The Vibe (Original Mix) 14. Craze - Take Me Away (Extended Mix) 15. Vintage Culture, Bhaskar, Meca feat The Vic - Tina (Extended Mix) CLASSIC OF THE WEEK 16. Chris Lake And Lys - La Tromba (Original Mix)

Follow me: Facebook: fb.me/xabionly Twitter: twitter.com/xabionly Youtube: youtube.com/xabionly Mixcloud: mixcloud.com/xabionly Instagram: instagram.com/xabionly TRACKLIST: https://1001.tl/267zhrck Spotify playlist: https://open.spotify.com/playlist/4STV7DPVgwI4ntvi1sQvjh?si=CU6lCNZcRkKiZytdXaI5TQ TRACKLIST: 01. BDC - Meaning Of Life [LIMINAL RECORDS] 02. sone. x Luccas Deo - Losing 03. sone. x Luccas Deo & Lowdelic - Reflections 04. Andrea Ricci - Utopia [GAS RECORDS] 05. Nicky Romero vs. Nico & Vinz - Forever [PROTOCOL] 06. Jimi Jules - My City's On Fire (Anyma & Cassian Remix) [ROSE AVENUE] [RELEASE OF THE WEEK] 07. KSHMR & Quarterhead - Major Lazer [DHARMA] 08. ANASTASiiA - Singularity [INTERPLAY FLOW] 09. Vantiz - Breathe 10. AMINTO - No Excuses [AMINTO MUSIC] 11. Armin van Buuren ft. Vanessa Campagna - Vulnerable [ARMIND] [TRACK OF THE WEEK] 12. Julian Jordan - Start To Move [STMPD] 13. Öwnboss & DJ Glen - Come Together [MUSICAL FREEDOM] 14. Tvny - Open Your Mind [CHILL PLANET] 15. VJS & BackFaze - Reflection [SUB RELIGION] 16. Lennard Ellis - Binary Decay [HΞXHIBITION] 17. Heatbeat - Arganda [ARMADA CAPTIVATING] [CLASSIC] 18. POIZZONED - Can't Say No [LEGION] 19. Bromo - Do Better [FUTURE RAVE MUSIC] 20. D.O.D - Love Nor Money [ARMADA] 21. Robin Aristo & TIM-BER - Your Body [INTENSITY] 22. Fedo - Speakin [FEELQ] 23. Mr Sid. & Choujaa - Amore [GROOVE BASSMENT] 24. Matisse & Sadko - ALALA [STMPD] 25. Chemical Surf & Jetlag - KIDS [SPINNIN] 26. LUM!X & Alida & Gabry Ponte - Forget You (LUM!X VIP Mix) [SPINNIN] 27. Meezzz - One More Time [RED OCEAN] 28. Tujamo x Antoine Delvig - Vida Loca [SPINNIN] [PROMO OF THE WEEK] 29. Wildcrow & Holly ft. Hot Mess - Late Nights [TURNITUP] 30. 2Awake & SixCap ft. Elle Vee - Off Switch [MAXXIMIZE] 31. Enveak - Gravity [BUY NOW] 32. TBR & Lionar - Make Me Feel [NEXCHAPTER] 33. VINAI x Naeleck x Raakmo - The Sinner [RAVE CULTURE]

VJs brother gives his thoughts on Matt Rhule, some recruiting thoughts and a little breaking newsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Episode 185: First up in Tidbits, a review of the performances from this year's Rock and Roll Hall of Fame Induction Ceremony. Duran Duran, Pat Benatar, and Eurythmics performed. Some sounded better than others, do you agree with Joe and Kari's assessments?Episode 185 is all about 1985, particularly the debut of brand new music video channel VH1. The first VJs included Don Imus and Sha Na Na? Plus a look at the videos that played in the very first hour. 

Can you picture the scene in the spooky abandoned house, Michael Jackson's innocent date watching terrified as he and his zombie posse advance on her, the beat of “Thriller” pounding in the background? How about the beautiful girl being pulled into a comic book love story by the handsome lead singer in A-Ha's “Take on Me” video? If so, then this is the episode for you! Today's MTV looks nothing like the version that launched 41  years ago, at midnight on August 1, 1981. The concept was simple: Music videos and music content all day, every day. Yet the MTV cable channel has been credited with changing not only the music industry but also the culture and identity of an entire generation. Join us for this fun episode where Candy shares with Ashley the start of MTV and the story behind elements that are now iconic, such as the VJs, MTV logo, and the Moonman.  If you want your (old) MTV, you can find it here! #Cornucopia #MTV #IWantMyMTV #Thriller

psybient.org podcast 47 - Alucine - Spores Mix Cymatic Lab - Immersive Art Experience We welcome today Alucine https://soundcloud.com/alucine dedicated music collectionner, dj and producer from Chile with his long awaited 100 minutes DJ set ! visit @ www.psybient.org and for more episodes @ www.soundcloud.com/gagarinproject/sets/psybient-org-podcast ! LINKS: alucine.bandcamp.com soundcloud.com/alucine INTRO MESSAGE FROM ALUCINE: The music is the most purest and deepest connection between my heart and dreams, also i feel is the most beautiful and profound connection and lenguage that we share. From there i connect with the intention to share the transit of the emotions that fly me. This mix is inspired by gratitude for that feeling that keeps me breathing and feeling deeply. Each one of the selected musics they mark a specific moment in time and my heart, born in the silence and darkness in the midst of a pandemic and ends with the return of the sun this spring. Musically slowly evolves between different dream worlds with love this guest mix for Psybient.org I hope you like it the trip. Infinite thanks to each of the artists for their beautiful creations that make up this mix. TRACKLIST: Faelow - Ode To Jellyfish Shapesift - Hyphae Glade - (Meadows remix) Tipper - Air Biscuits Dillard - Staysys Dillard - When The Rain Comes Falling Down (DRRTYWULVZ Storm Remix) Emog - Cool Beans Entangled Mind - A Comfy Place OPALESCENCE - Unified Rhizomorphic - Connections Devin Kroes & Wu Wee - Branches Desert Dwellers - Saraswati's Twerkaba (Mindex Remix) Yechidah - Maha Mistis (Dance of the Elements Mix) Erothyme - Panther Crick (Somatoast Remix) 5AM - Onward Feat Tygris EurythmY - W.H.I.B.B. Tara Putra - Vibrate Being Entangled Mind - Eternal Motion Tipper - SinBanshee Wolfen Technologies - Observance Quanta & EurythmY - Control Sercit Tea Tree - It's Not Voodoo Brujo's Bowl - Back To The Bowl Felix Ando - Axon Slump Akasha Experience - Fella Arcturus - Octopus Teacher Faelow - Daybreak DRRTYWULVZ - Weaving BIO: Robinson Electronic Musician/DJ, inspirado por la delicadeza y harmonía de la música Chillout crea su proyecto sonoro Alucine en el año 2012. Desde la fecha se ha enfocado en compartir las mezclas de todos los paisajes sonoros que lo inspiran, invitando al pasajero a abrir su corazón y viajar junto con los beats que transitan desde el Downtempo hasta el Dub psicodélico, los glitchs y las melodías orgánicas que componene sus creaciones incidien ambientalmente generando momentos sonoros altamente psicodélicos.
Incursionando en la producción musical, el año 2020 lanzó su primer EP colaborativo de nombre Seed y actualmente trabaja en su primer ep como solista.
Alucine a difundido su arte experimental en grandes festivales como Momento Demento (Croacia), PSI-FI (Holanda), Universo Paralelo (Brasil), Pulsar Festival (Brasil), Zuvuya Festival (Brasil), Earthdance Sao Paulo, Kundalini Festival (Brasil), Desierto Sonoro entre otros. Actualmente, forma parte de Trance Tour Family, colectivo Chileno dedicado al psytrance y Cymatic Lab, grabadora Brasileña, la cual incluye a VJs, Djs, artistas visuales y performers, dedicados a la exploración del arte inmersivo y la Cultura Ambient.

On this month's episode of The Psychology of Successful Women Podcast - I had a really fun and engaging conversation with Bourby Webster. Bourby Webster is a CEO, innovator, violist, entrepreneur, educator, presenter, and producer.  We had a great conversation about:   Her inspirational career journey and lifelong passion with music   Her role as CEO and founder of the Perth Symphony Orchestra  What success means to her at this point in her career  Personal advice and suggestions for dealing with challenges, setbacks, nerves and stage fright    The importance of being brave, believing in yourself and so much more….    About Bourby Webster: Bourby WebsterFounder, Perth Symphony Orchestra Bourby is the Founder and former CEO of Perth Symphony Orchestra, the orchestra that makes the rules and has a mission of ‘Music for Everyone'.  Founded in 2011, the orchestra was created by Bourby with an ambition to reach a massive new audience in WA. She also passionately wished to find a way to retain talent in WA, creating jobs for, and showcasing, WA's incredible musicians.  Since Perth Symphony's launch in 2011, it has performed to more than 100 people per year in locations from Karratha to Kwinana, in spaces from car parks to warehouses, playing Vivaldi to Nirvana. Perth Symphony regularly gives work to 150 musicians a year also creating pathways into professional careers for WA's aspiring younger musicians. Perth Symphony's Education and Community programs have reached 20,000+ children, and seen remarkable collaborations with aboriginal poets, VJs, actors, dancers and partnerships with numerous organisations across WA. The orchestra is redefining the perception of a symphony for the 21st Symphony with its ground-breaking business model and artistic program. The Women on the Podium program Bourby created in 2019 is unique in the Southern Hemisphere and is developing female conductors, currently only 5% of the global conducting faculty.  In 2017 Bourby created the Arts Leaders Collective to support leaders of new arts companies and is passionate about supporting women in the arts.  Bourby has an MA in music from Oxford University, is a graduate of the Royal College of Music and has an MBA from UWA. In 2022 she was named in Business News' Power 500 list, and has been a winner of a Business News 40 Under 40 award for Entrepreneurs and a finalist in the Telstra Businesswoman of the Year Awards (WA).   In 2019 she was named Western Australian of the Year (Arts & Culture).  She was a founding member of the UK-based electric string quartet ‘bond' signed to Decca Records. She is a medal-winning, international-level coxswain and was the first female coxswain in 106 years of the WA Kings Cup State Rowing Crew in 2002.  Connect with Bourby here:  LinkedIn: https://www.linkedin.com/in/bourbywebster/ Perth Symphony Orchestra – info@perthsymphony.com  The song mentioned was Both Sides Now, Joni Mitchell.  The book was IKIGAI    The Psychology of Successful Women podcast with Shona Rowan explores the mindset, behaviour and success strategies of high-achieving women. Shona Rowan is an international performance and mind-set consultant, inspirational speaker and high-performance coach.  Over the past 20 years Shona has helped thousands of women accelerate their success and maximise their results via her practical workshops and webinars, large events and her signature program – “The Psychology of Successful Women – Career Acceleration Program”.  She also works internationally with global companies to inspire, develop and retain their female staff and clients.See omnystudio.com/listener for privacy information.

I wanted to write more this week, but time was not my ally. There's lots of good stuff in today's show, but I wanted to ask about Def Leppard.I was home for Labor Day weekend and my brother was playing one of those countdown shows on Spotify. It was the Top 100 Cassettes of all time. The premise was that people voted for the best cassettes they bought and the DJs (actually former VJs) chose the music from those records. Hysteria ranked higher than Pyromania which is totally unacceptable. Setting aside Def Leppard fans, I'm curious how those albums rank. They're important because they straddle the transition from Heavy Metal to Hair Metal as far as sound if not look. I gave up on Def Leppard and “metal” generally by the time Hysteria came out. My brother did as well. Our wives, who are only a little younger than us enthusiastically defended Hysteria (this is the part where I don't make a misogynistic joke). The difference is really between people who heard a record in grammar school and people who heard it in high school. Or maybe it's better to say “middle school” to capture the 9th graders as well. If you have an opinion, I'd love to hear it. You can comment below or shoot me an email. I excluded Def Leppard “fans” because if you know more than these two records (except maybe Long Through the Night), then the band appeals to you at a different level than it does the casual listener. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit daydrinkingondelmarva.substack.com

"Please Stop” “Bish Whet” & “Truuueee” are some of the reactions we have while on social media. See what got those reactions this time! NYAK Cognac made this Social Media Week so fun! We started out with a BISH WHET… always know: we never mean to be judgmental and if anything comes across hurtful, please allow us grace. So, Jame started wild! 30 minutes of head + a micro penis + parental advisory… y'all will hear! Next, we asked an age-old question: “Men, if you could be a woman for a day, what would you do?” The responses were hilarious, and we think the first thing they should all have to experience is a ‘cycle.' Who agrees?? We had a bit of disagreement with one topic, couldn't decide if it was a “Please Stop” or “Bish Whet” tell us whose side you're on: VJs or James? There was also a question about why ladies aren't showing up in a trench coat anymore? Let's just say there are multiple reasons LOL. Let us know your thoughts! Cheers!The Sip: NYAK Sangria & The Shot: Alien Superstar

We continue our look at the first songs played on MTV by reviewing videos 16 to 25.  In this episode, we agree that Iron Maiden segueing into REO Speedwagon is a horrible idea. Holly learns about Mr. Briefcase, AND she teaches Dave about the real meaning behind Phil Collins, "In The Air Tonight". After all this excitement, we test ourselves with a little MTV trivia quiz.  It'll make you demand, "I want my MTV podcast!"  We are a proud member of Pantheon Podcasts

Episode 108:Today's guest on The Purposeful Life Show with Adrian Starks is former MTV executive and host of I Have A Podcast, Vinnie Potestivo , Be sure to follow The Purposeful Life Show on Facebook and Instagram @purposefullifeshowhttps://www.facebook.com/purposefullifeshowhttps://www.instagram.com/purposefullifeshow/ It was a great time reliving the golden years with Vinnie as he talked about the era of MTV, celebrity encounters, brand development and his purpose for finding the right talent.  Show Notes and Key takeaways on this episode:How Vinnie got into MTVWhich celebrity careers he helped to launchChallenges he faced as the industry shiftedWhat brand development looks like for anyoneWhat he is doing to impact diversity in social mediaHis purpose behind everything that he does for seeking talent As the former MTV exec who helped launch celebrity talent during MTV's golden years is now jumping into the spotlight as the host and producer of his brand new podcast "I Have A Podcast.” The podcast's initial guest lineup includes celebrities whose careers he impacted including the likes of Mandy Moore, SuChin Pak, Christina Milian, TJ Lavin, Jamie-Lynn Sigler, Danielle Fishel, Ananda Lewis and Vanessa Lachey - along with additional creatives including artists, producers and even a clothing brand who is making a positive community impact, Happy Jack. Vinnie helped launch MTV Networks Talent & Series Development department where he worked for nearly a decade 1998-2007!  He was the guy at MTV who helped artists and celebrities claim their brands and their narrative in the original wave of unscripted television. Traditionally, he hired the VJs and scouted the MTV News Correspondents for all of the networks. Then, because of those relationships, he began developing original programming with artists like Ozzy Osbourne and Jessica Jessica Simpson on The Osbournes and Newlyweds. Then with actors like Ashton Kutcher on Punk'd, Nick Cannon on Wild 'n Out, and Wilmer Valderrama on Yo Momma! I'm the guy who put pop royalty in their first tv films when I cast Mandy Moore in 2gether and Beyoncé Knowles in Carmen: A Hip Hopera. ResourcesBook reference in conversation by host: Ego Is The Enemy by Ryan HolidayGuest: Vinnie Potestivo http://vpe.tv/vinterviewCheck out Vinnie's Podcast: I Have A Podcastihaveapodcast.comWebsite: https://vpetalent.com/creator-accelerator-hub/Email: Vinnie@vpetalent.comSocial MediaLinkedIn: https://www.linkedin.com/in/vinniepotestivo/Instagram:  https://www.instagram.com/vinniepotestivo/To apply to be a guest on the show: https://adrianstarks.net/podcast/Support the show

This month is a special one, and our first ever tandem interview — joining me for a Freerotation special are the festival's founders @Steevio and @Suzybee. Influenced by the free festival movement around the UK in the 1990s, Steevio and Suzy created Freerotation, an annual gathering of music and arts which now takes place in Baskerville Hall, Wales, and has, since its inception in the mid 2000s, become one of the scene's best loved festivals. Kept relatively small and amongst friends and friends of friends, Freerotation is known for its thoughtful curation of both DJs, live acts, and VJs, and its intimate, familial setting. In this conversation, Steevio, Suzy and I get into the festival's early days and its direction and curation today, plus their own personal histories in art and music, and their distinctive creative philosophies. ++ MUSIC: Steevio - "Candescent" (2022) Steevio - "Y Llifogydd" (2022) Steevio - "Passive Resistance" (2022) Purchase part one of Steevio's Dod yn ôl at fy nghoed here: https://steevio.bandcamp.com/album/dod-yn-l-at-fy-nghoed-part-1

In this episode, I speak with Vinnie Potestivo on the topic of how to win awards as a content creator, linkedin, IMDB, celebrities and what success means to him. ★ Vinnie's Bio: ★ As the former MTV exec who helped launch celebrity talent during MTV's golden years is now jumping into the spotlight myself as the host and producer of my brand new podcast "I Have A Podcast.” The podcast's initial guest lineup includes celebrities whose careers I impacted including the likes of Mandy Moore, SuChin Pak, Christina Milian, TJ Lavin, Jamie-Lynn Sigler, Danielle Fishel, Ananda Lewis and Vanessa Lachey - along with additional creatives including artists, producers and even a clothing brand who is making a positive community impact, Happy Jack.  I helped launch MTV Networks Talent & Series Development department where I worked fro nearly a decade 1998-2007!  I was the guy at MTV who helped artists and celebrities claim their brands and their narrative in the original wave of unscripted television. Traditionally, I hired the VJs and scouted the MTV News Correspondents for all of our networks. Then, because of those relationships, I began developing original programming with artists like Ozzy Osbourne and Jessica Jessica Simpson on The Osbournes and Newlyweds. Then with actors like Ashton Kutcher on Punk'd, Nick Cannon on Wild 'n Out, and Wilmer Valderrama on Yo Momma! I'm the guy who put pop royalty in their first tv films when I cast Mandy Moore in 2gether and Beyoncé Knowles in Carmen: A Hip Hopera. Connect with Vinnie:https://vpetalent.com/

Before MTV had Cribs and Reality TV, there were amazing VJs.  This week we talk to one of the most popular 90's MTV VJ's Karen Duffy. Karen is also a writer, model, producer, actress, certified hospital chaplain, a former Coney Island Mermaid Queen, and one of People Magazine's "50 Most Beautiful People" in 1993.  One of the things that surprised us the most is that she is an earnest student of the Stoic philosophy. In her newest book, WISE UP: IRREVERENT ENLIGHTENMENT FROM A MOTHER WHOSE BEEN THROUGH IT, she shares life lessons in the form of love letters to her son Jack. We talk about her career, her diagnosis with Sarcoidosis and how she is making menopause a celebrated event. Want to Leave a Review for Hot Flashes and Cool Topics? Here's How: For Apple Podcasts on an iPhone or iOS device:  Open the Apple Podcast App on your device. Click on the “search” icon Type into the search bar “Hot Flashes and Cool Topics” and click on the show Towards the bottom, look for “Ratings and Reviews”  Click on “Write a Review” and leave us your thoughts and comments!   For Apple Podcasts on a computer: On the Apple Podcasts website, go to the search bar and type “Hot Flashes and Cool Topics” After clicking on the show, find the “Listen on Apple Podcasts” button and click on it The “Hot Flashes and Cool Topics” podcast should open on the Apple Podcasts application Keep scrolling on the page until you see “Ratings and Reviews” Click on “See All” If you want to give us a five-star rating, hover over the empty stars! If you want to leave your thoughts and comments, click on “Write a Review”! Subscribe to Hot Flashes & Cool Topics on any podcast platform. www.hotflashescooltopics.com

This week on Toilet Radio: We're talking about INFLATION and I don't mean erotic images online! Classic rock VJs cannot handle the cost of chicken parmesan. Joe cannot justify spending $29 on apples. Inflation is so bad that Vince Neil is forced to do ads for payday loans. And amid all this, Metallica thinks you'll spend $1600 on a record player? And here comes Universal Music Group gouging the price of vinyl? Get right outta town! We're also talking about Matt Pike's descent from fun, drug-addled weirdo to "Jewish banker" conspiracy mongering. Not great! Finally, we're talking about the imminent return of Power Trip. Folks, it's an episode. Music featured on this ‘sode: Low Cunning – I Refuse to Believe This Multi-Level Dungeon Was Formed Naturally Over Several Eons Because There Are Fucking Stairs Between Floors Don't forget to rate, review, and subscribe to Toilet Radio on iTunes so you'll get new episodes automatically. Or use Stitcher if you don't fuck with Apple.

Vinnie Potestivo is an industry-leading media and talent innovator who is widely known for his inclusive and impactful approach to brand building and personal brand development.  Vinnie was an MTV Talent Exec from from 1998-2007. I was the guy at MTV who helped artists and celebrities claim their brands and their narrative in the original wave of unscripted television. Traditionally, I hired the VJs and scouted the MTV News Correspondents for all of our networks. Then, because of those relationships, I began developing original programming with artists like Ozzy Osbourne and Jessica Jessica Simpson on The Osbournes and Newlyweds. Then with actors like Ashton Kutcher on Punk'd, Nick Cannon on Wild 'n Out, and Wilmer Valderrama on Yo Momma! I'm the guy who put pop royalty in their first tv films when I cast Mandy Moore in 2gether and Beyoncé Knowles in Carmen: A Hip Hopera. With over 25 years of experience, he and his teams have become well-trusted connectors who sell, develop, produce, launch, distribute, and amplify some of the most talked-about original series & talent brands in modern pop culture. Personal brands Vinnie has helped elevate through the use of original content include Mandy Moore, Ashton Kutcher, Jessica Simpson, Ashlee Simpson, Tyrese Gibson, Lauren Conrad, Diane von Furstenberg, Rob Lowe, Danielle Fishel, Peter Thomas Roth, Kelly Osbourne, Kristin Cavallari, Nasir “Nas” Jones, Molly Sims, Vanessa Lachey, Susie Castillo, Damien Fahey, Quddus, Suchin Pak, Gideon Yago, Will.i.am, Ebro, DJ Clue, LaLa Anthony, Hilary Duff, and Leah McSweeney among others. Corporate brands VPE: Vinnie Potestivo Entertainment, Inc. (https://vpetalent.com/ (vpetalent.com)) has worked closely with include Macy's, Samsung, Nikon, MLB, Peter Thomas Roth, June Jacobs Spa, Naturally Serious Skin, Kiehl's, Hope Fragrances, Ciroc, Dow, Lady Foot Locker, AARP, Prudential & Allstate. A conversation with Vinnie guides us to the fact that there is a process to being a successful recognized creative. That the notion of an overnight success is quite wrong. He shares the most insightful tips to help navigate the waters of a recognized creative. Vinnie insists that artists have to realize that awards are so important. And they are not just handed out randomly they need to be applied for. This means that you need to believe in your work enough and want to apply for an award. Be it the Oscars, the Emmys, or whatever award given to recognize you as a creative. Secondly, credits are equally as important. He observes that there is so much shame as a creative involved in asking for credit credits. And insists that you have to ask for an executive producer credit. Take credit for your podcast and create credit, for your podcast as well. The importance of credit sort of formalizes your production company. Second, It allows you to tag guests, which is a great way for discoverability Third, build a team so that even when you are asking for that recognition there are people who deserve it as well in that collaborative effort. So, it made it easy for him to show up and ask for an award for himself and his team to know that they all won together. And so that we reconcile the personal creative platform vision that we have for our work with the thought that if nobody sees it, then you didn't get your message out. Overall, Vinne gives creatives an amazing do list of valuable tips and tricks. From today's chat, we learn that as creatives we should take credit for our work, enter some awards, and find some collaborators, but also Vinne has encouraged us to tap into that inner mindset that inner creativity takes faith in our work. "I Have A Podcast with Vinnie Potestivo," a collection of conversations with celebrities and creatives who aim to inspire us in our everyday lives, can be found on Apple Podcasts and anywhere else you listen to yours. IHAP's companion video series I Have A Podcast on...

Do you like Boy Bands? Well if so have we got a doozey for you! In this episode we see a government conspiracy lead to the formation of Springfield's first boyband the Party Posse. And let's not forget about the special appearance by N'Sync. Cori has a lot to say about boy bands and sends us down an extensive boy band breakdown, as well as telling us which band she met at a local K-Mart in her youth. She also ranks her favorite members of N'Sync. Bryan tells us who the Simpson's creators originally wanted instead of N'Sync and the joke that they played on Justin Timberlake. Brenden learns about VJs and asks if this episode ripped of the Josie and the Pusscats movie that came out around the same time. So come kick it with us old school, Word! Just a quick disclaimer Cori was feeling better but was still not 100% so we did the best we could to edit out her coughing but a few may have still made it in.

What's up, dudes? I've got Ken Kessler from Sounds of Christmas and Scott Leopold from Holly Jolly X'masu here to talk all things MTV! From the VJs to Weird Al, we get into it all, especially the inhouse Christmas videos! There are Christmas parties with Billy Squier, Joe King Carrasco, George Thorogood, Bryan Adams, Jon Anderson, and The Monkees! Does Pee Wee Herman appear? You bet! Are there bad special effects? Of course! Do they all have a merry time? To the max! So grab your saxophone, pull out your Santa suit and crown, and jam out to this episode!Sounds of ChristmasFB: @SOCMusicTwitter: @SOCMusicIG: @socmusic Holly Jolly X'masuFB: @HollyJollyXmasuTwitter: @HollyJollyXmasuIG: @hollyjollyxmasu

¿Recuerdas cuando el canal MTV era de videos musicales? Nosotros también, y cuando estaban los VJs, series de comedia y reallty shows musicales chidos y no las payasadas de ahora. Vamos a recordar ese MTV de nuestros tiempos en este episodio especial con Negas y Jesha del EC Podcast Síguenos:https://www.instagram.com/quefuepodcast/https://twitter.com/QueFuePodcasthttps://www.facebook.com/QueFuePodcast

Venha com a gente neste grande dia em que o BEN-YUR PODCAST conseguiu reunir Bento Ribeiro, Paulinho Serra, Bruno Sutter e Daniel Furlan para o Amada Foca Reunion. Teremos grandes discussões, brigas, lágrimas e sangue neste super reencontro da Internet brasileira. Amada Foca foi um projeto formado pelos ex-VJs e nada jovens Bento, Paulinho, Sutter e Furlan, também teve a produção e roteiro de diversos ex-funcionários da MTV. Canal do Amada foi muito conhecido por vídeos como: Jesus Humilha Satanás e Você Fuma, Cara.

SHOOTER ALERT: Some ladies have a love-love, some have a love-hate, but VJ has a HATE-HATE with the gaming systems. This week we dive a bit into why she does and Jame tries to convince her "maybe they're not that bad." Jame gives the 'stress reliever,' 'better than in the streets' reasoning to no avail - VJ still ain't having it, she didn't want to be logic's friend this week lol. Tell us whose side are you on: VJs or James? Cheers!

Today, after a jam packed news update at the start of the show, we'll forego the politics and remember the cultural shift that occurred 40 years ago this Sunday. On Aug 1, 1981, MTV premiered. I remember it clearly. So does Mark Goodman. He was one of the original five VJs on the first ever Music Television channel. He joins me to talk about that iconic moment in pop history and how much has changed in the past four decades.

Chatting hardcore on new EKULU, ANGEL DU$T, C4, WRISTMEETRAZOR, CHUBBY & THE GANG, and much more! Also, whatever happened to the VJs of old? And how to become a weird youtube couple that rides trains all year. All that and a new track from STAND STILL.

Hey CUBs! Episode 18 was recorded at 7 am the morning of Father's Day so halfway through we have our first guest on the Pod EVER! (apologies to Ryan Reynolds for not holding out but your PR team refuses to answer our calls) After a full day of decompression VJ is back to wanting to just have a fun conversation with all of you listeners. From J-Lo having giardia to a fancy dressed man holding VJs hand in his truck and a few more breadcrumbs throughout. Hope you enjoy the best hour of your day! Sponsors: Chil Wellness premium CBD products chilwellnessgrsm.io/vjgiulio3742 Promo code: DADS20 cheerupbabethepodcast.com --- Support this podcast: https://anchor.fm/cheerupbabe/support