1 00:00:04,200 --> 00:00:10,520 Speaker 1: I'm TT and I'm Zakiah and this is Dope Labs. 2 00:00:11,880 --> 00:00:15,120 Speaker 1: Welcome to Dope Labs, a weekly podcast that mixes hardcore 3 00:00:15,200 --> 00:00:23,520 Speaker 1: science with pop culture and a healthy dose of friendship. Now, 4 00:00:23,520 --> 00:00:25,919 Speaker 1: there's no debate that Kendrick won the rap Beep with Drake. 5 00:00:26,160 --> 00:00:30,040 Speaker 1: I mean, hands down. TKO called the Sandman lights out. 6 00:00:30,480 --> 00:00:34,440 Speaker 1: Drake is a corpse, okay, and we can't ignore that. 7 00:00:34,520 --> 00:00:37,040 Speaker 1: It feels like a real sucker move to. 8 00:00:37,080 --> 00:00:40,480 Speaker 2: Issue a lawsuit as soon as you rise up from 9 00:00:40,479 --> 00:00:40,880 Speaker 2: the dead. 10 00:00:41,760 --> 00:00:47,400 Speaker 1: But maybe, just maybe those allegations deserve a closer look. 11 00:00:48,000 --> 00:00:48,639 Speaker 2: Maybe they do. 12 00:00:48,880 --> 00:00:52,000 Speaker 1: So this week we're diving into the state of streaming. 13 00:00:54,200 --> 00:00:54,960 Speaker 2: So what do we know? 14 00:00:55,640 --> 00:00:58,240 Speaker 1: I feel like if you've been paying attention to anything, 15 00:00:58,720 --> 00:01:01,800 Speaker 1: or if you just remembered downloading songs that say aol 16 00:01:01,920 --> 00:01:06,000 Speaker 1: music at the beginning of them, you know, the streaming 17 00:01:06,040 --> 00:01:08,800 Speaker 1: services were at one point seen as the saving grace 18 00:01:08,880 --> 00:01:10,000 Speaker 1: of the music industry. 19 00:01:10,280 --> 00:01:12,840 Speaker 2: Yeah, I saw where b York. You remember her mm hmm, 20 00:01:13,240 --> 00:01:13,880 Speaker 2: singer song. 21 00:01:15,400 --> 00:01:17,200 Speaker 1: I remember what she looked like in those outfits. 22 00:01:17,600 --> 00:01:20,440 Speaker 2: Well, so she's like a Swan, she's very edgy. 23 00:01:20,520 --> 00:01:23,680 Speaker 1: Okay, Well, she just said streaming is one of the 24 00:01:23,760 --> 00:01:28,240 Speaker 1: worst things to ever happen to musicians. The tides have changed, okay, 25 00:01:29,000 --> 00:01:31,000 Speaker 1: and so now it's time for us to kind of 26 00:01:31,040 --> 00:01:32,920 Speaker 1: change how we're looking at things. So we're putting those 27 00:01:32,920 --> 00:01:36,240 Speaker 1: streaming services like the one you know y'all might be 28 00:01:36,319 --> 00:01:38,600 Speaker 1: using to listen to us right now, we're putting those 29 00:01:38,640 --> 00:01:42,360 Speaker 1: under the microscope. Okay, So what do we want to know? Well, 30 00:01:43,280 --> 00:01:45,560 Speaker 1: you know, I know for sure, I'm like, what's going on? 31 00:01:45,600 --> 00:01:47,640 Speaker 1: Are the streaming platform is good for the artists or not? 32 00:01:48,040 --> 00:01:49,760 Speaker 1: Drake was the king of pop and R and B 33 00:01:49,840 --> 00:01:52,960 Speaker 1: and whatever other you know genre he chose, you know, 34 00:01:53,000 --> 00:02:00,800 Speaker 1: the genre reggae, the hispanic, oh gosh, everything, all of it, 35 00:02:00,920 --> 00:02:03,480 Speaker 1: and so he was dominating Spotify and Apple Music and 36 00:02:03,520 --> 00:02:04,560 Speaker 1: now y'all are mad at him. 37 00:02:04,720 --> 00:02:05,480 Speaker 2: What's going on? 38 00:02:06,120 --> 00:02:08,600 Speaker 1: So, like, you know, my main question is is some 39 00:02:08,680 --> 00:02:12,440 Speaker 1: of this just sourenness from public humiliation by Kendrick or 40 00:02:12,520 --> 00:02:16,320 Speaker 1: is there actually some merit to his claims. Drake is 41 00:02:16,360 --> 00:02:19,480 Speaker 1: really seeming like a poor sport. But maybe he's just 42 00:02:19,560 --> 00:02:21,120 Speaker 1: saying the quiet part out loud. 43 00:02:21,400 --> 00:02:22,680 Speaker 2: That's fair. I think that's fair. 44 00:02:22,720 --> 00:02:25,480 Speaker 1: And if everyone is getting so many streams and we're 45 00:02:25,520 --> 00:02:28,799 Speaker 1: all listening to their music, why is everybody so grouchy. 46 00:02:29,480 --> 00:02:32,280 Speaker 2: Is being number two that much worse than being number one? 47 00:02:32,600 --> 00:02:35,520 Speaker 1: Or is the key to actually making it as an 48 00:02:35,600 --> 00:02:38,960 Speaker 1: artist having your own masters? Because you know, Maggie Stallion 49 00:02:39,040 --> 00:02:41,320 Speaker 1: was talking about that, yup, and some other people have 50 00:02:41,440 --> 00:02:43,760 Speaker 1: been too, so like, is that why everybody's a grumpy? 51 00:02:43,880 --> 00:02:47,760 Speaker 1: And what lies ahead for streaming? When we consider AI 52 00:02:48,080 --> 00:02:52,760 Speaker 1: and bots? I mean, ai've been taken over so many things, 53 00:02:52,800 --> 00:02:54,520 Speaker 1: and I mean including Drake. 54 00:02:54,639 --> 00:02:57,840 Speaker 2: We heard that Ai, Drake m h ay y'all. 55 00:02:57,639 --> 00:03:01,120 Speaker 1: Taking off everything except the dishes in my sink. Hello, Okay, 56 00:03:01,120 --> 00:03:03,960 Speaker 1: nobody's doing this laundry. The laundry just pile up on 57 00:03:04,000 --> 00:03:08,400 Speaker 1: the bed. I'm sleeping on top of it. Okay, who's 58 00:03:08,400 --> 00:03:09,520 Speaker 1: gonna fold these clothes? 59 00:03:09,680 --> 00:03:09,880 Speaker 2: Right? 60 00:03:10,120 --> 00:03:12,320 Speaker 1: I think they're using it in the wrong areas. But 61 00:03:12,520 --> 00:03:14,600 Speaker 1: that's a lot of questions, and I'm not ashamed of 62 00:03:14,639 --> 00:03:16,680 Speaker 1: those squestions. I don't know a lot about all of 63 00:03:16,680 --> 00:03:19,400 Speaker 1: this me either, But that's fine because that's just what 64 00:03:19,480 --> 00:03:23,280 Speaker 1: Dope Labs is for. Let's jump into the dissection. This week, 65 00:03:23,280 --> 00:03:25,000 Speaker 1: we're talking to Professor Eric A. 66 00:03:25,200 --> 00:03:25,639 Speaker 2: Drott. 67 00:03:25,919 --> 00:03:28,320 Speaker 1: He's a professor of music at the University of Texas, 68 00:03:28,320 --> 00:03:32,120 Speaker 1: Austin and author of streaming music streaming capital. His work 69 00:03:32,120 --> 00:03:35,000 Speaker 1: dives into the political economy of music streaming and exploring 70 00:03:35,040 --> 00:03:39,080 Speaker 1: how digital music platforms have reshaped the way music is produced, distributed, 71 00:03:39,120 --> 00:03:44,560 Speaker 1: and consumed. We'll start with some streaming platforms like Spotify 72 00:03:44,680 --> 00:03:47,800 Speaker 1: and Apple Music. They really have revolutionized how we listen 73 00:03:47,840 --> 00:03:50,160 Speaker 1: to music. When I look back, it seems like these 74 00:03:50,200 --> 00:03:53,440 Speaker 1: services crept up and they were the music industry's way 75 00:03:53,480 --> 00:03:56,760 Speaker 1: to recapture a lot of the market after LimeWire and Napster, 76 00:03:56,840 --> 00:04:00,120 Speaker 1: which I am guilty of and I think, you know, yes, 77 00:04:00,240 --> 00:04:05,720 Speaker 1: somebody is my desktop was smoking with all of my loads. 78 00:04:06,160 --> 00:04:08,560 Speaker 1: So when we see how they brought the music industry back, 79 00:04:08,640 --> 00:04:11,640 Speaker 1: that's great to see, but at what cost to artists. 80 00:04:11,760 --> 00:04:14,440 Speaker 3: So I think it's important to recognize that there are 81 00:04:14,480 --> 00:04:17,599 Speaker 3: a lot of positives about the advent of streaming. 82 00:04:17,640 --> 00:04:19,400 Speaker 4: I mean, definitely on the consumer side. 83 00:04:19,839 --> 00:04:21,760 Speaker 3: And if you told me when I was fifteen twenty 84 00:04:21,800 --> 00:04:23,640 Speaker 3: years old that you know, in a few years time 85 00:04:23,680 --> 00:04:25,560 Speaker 3: you'll be able to just like click a button get 86 00:04:25,600 --> 00:04:29,120 Speaker 3: access to anything I have, you know, just been in 87 00:04:29,920 --> 00:04:31,520 Speaker 3: heaven at the very thought of it. 88 00:04:31,839 --> 00:04:35,479 Speaker 4: So that's great from the perspective of artists. Creates a 89 00:04:35,480 --> 00:04:36,480 Speaker 4: global marketplace. 90 00:04:36,560 --> 00:04:39,440 Speaker 3: So if you blow up, you blow up at a 91 00:04:39,480 --> 00:04:41,400 Speaker 3: global level, right, I would. 92 00:04:41,240 --> 00:04:44,120 Speaker 1: Think that blowing up at a global level is a 93 00:04:44,160 --> 00:04:47,120 Speaker 1: good thing. You know, more people, more streams. When I 94 00:04:47,160 --> 00:04:49,120 Speaker 1: was checking the stats, it said that there are over 95 00:04:49,240 --> 00:04:53,359 Speaker 1: six hundred and forty million monthly active users on Spotify, 96 00:04:54,680 --> 00:04:57,960 Speaker 1: and that Spotify captures the majority of the market, but 97 00:04:58,560 --> 00:05:01,320 Speaker 1: Apple is only a couple percent points right behind. That's 98 00:05:01,360 --> 00:05:03,520 Speaker 1: a lot of people listening. And if I'm an artist, 99 00:05:03,560 --> 00:05:07,240 Speaker 1: I think I like those odds. I'm not really seeing 100 00:05:07,279 --> 00:05:08,359 Speaker 1: the problem yet. 101 00:05:08,440 --> 00:05:11,120 Speaker 4: There are several problems of from the perspective of artists. 102 00:05:11,200 --> 00:05:11,359 Speaker 4: You know. 103 00:05:11,440 --> 00:05:13,800 Speaker 3: One, there is this phenomenon. It's not new to screaming. 104 00:05:14,080 --> 00:05:16,120 Speaker 3: It's known as winner take all markets. 105 00:05:16,240 --> 00:05:16,400 Speaker 4: Right. 106 00:05:17,520 --> 00:05:20,080 Speaker 3: A good example of the sort of dynamic is something 107 00:05:20,160 --> 00:05:23,440 Speaker 3: like a sporting event where we're talking about fractions of 108 00:05:23,440 --> 00:05:26,080 Speaker 3: a second, and so like fractions of a second from 109 00:05:26,120 --> 00:05:28,520 Speaker 3: you being the world champion to you not even being 110 00:05:28,520 --> 00:05:31,160 Speaker 3: on the podium. And so one of the things about 111 00:05:31,160 --> 00:05:33,640 Speaker 3: winner take all markets is that you get this dynamic 112 00:05:33,760 --> 00:05:39,080 Speaker 3: where these tiny, tiny differences in absolute terms lead to 113 00:05:39,120 --> 00:05:41,640 Speaker 3: these massive disparities and relative terms. 114 00:05:41,800 --> 00:05:43,280 Speaker 4: Okay, you see in the world of. 115 00:05:43,279 --> 00:05:48,040 Speaker 3: Music very vividly, where you know the top artist you 116 00:05:48,080 --> 00:05:52,839 Speaker 3: know is going to make basically two times probably like 117 00:05:52,960 --> 00:05:55,480 Speaker 3: the next top artists, and then you know it will 118 00:05:55,560 --> 00:05:57,480 Speaker 3: go down kind of exponentially from there. 119 00:05:57,920 --> 00:05:59,800 Speaker 1: Okay, so this is kind of like when Ricky Bobby 120 00:05:59,880 --> 00:06:02,440 Speaker 1: was intelligent to Night saying, if you're not first, your last. 121 00:06:03,480 --> 00:06:05,400 Speaker 1: I didn't know that movie had economics in it. 122 00:06:07,240 --> 00:06:10,800 Speaker 3: The more you know, Yep, the Beyonces, the Taylor Swift's, 123 00:06:11,440 --> 00:06:14,680 Speaker 3: these are the global superstars who were like doing very 124 00:06:14,680 --> 00:06:18,400 Speaker 3: well by the current system. But it drops off Pray radically, 125 00:06:18,560 --> 00:06:19,160 Speaker 3: very quickly. 126 00:06:19,560 --> 00:06:21,400 Speaker 1: I feel like now Drake's complaints are making a lot 127 00:06:21,440 --> 00:06:24,400 Speaker 1: more sense. If you're not number one, your pockets are 128 00:06:24,440 --> 00:06:26,719 Speaker 1: being affected. If this is a winner takes all market. 129 00:06:26,880 --> 00:06:28,200 Speaker 2: Absolutely yeah. 130 00:06:28,200 --> 00:06:31,960 Speaker 3: So I mean basically, several months after Not Like Us, 131 00:06:32,000 --> 00:06:34,440 Speaker 3: which was kind of the last word in the beef, 132 00:06:34,440 --> 00:06:37,440 Speaker 3: It's very hard to see how Drake could come back 133 00:06:37,480 --> 00:06:37,960 Speaker 3: after that. 134 00:06:38,480 --> 00:06:40,799 Speaker 4: After that was released, he filed a couple of lawsuits. 135 00:06:40,839 --> 00:06:43,719 Speaker 4: I mean the first couple they were like pre litigation. 136 00:06:43,839 --> 00:06:45,360 Speaker 4: I'm not a lawyer, so I don't. 137 00:06:45,120 --> 00:06:49,880 Speaker 3: Really understand some of the nuances here. They weren't really lawsuits, 138 00:06:49,880 --> 00:06:53,000 Speaker 3: but they're like pre litigation, there's something like that. 139 00:06:53,240 --> 00:06:57,120 Speaker 1: But Drake dropped those pre litigation submissions and really honed 140 00:06:57,160 --> 00:07:02,000 Speaker 1: in on Universal Music Group. That was strange because that's 141 00:07:02,040 --> 00:07:04,680 Speaker 1: his label. What's he saying about them? 142 00:07:04,960 --> 00:07:08,159 Speaker 3: It's basically accusing Universal of a few things, one of 143 00:07:08,200 --> 00:07:12,760 Speaker 3: which is that they engaged in a defamation against him. 144 00:07:12,920 --> 00:07:15,640 Speaker 4: Since you know, essentially Kendrick is. 145 00:07:15,600 --> 00:07:20,160 Speaker 3: Calling pedophile, right, and you're saying, that's affirmation that because 146 00:07:20,320 --> 00:07:23,280 Speaker 3: Universal agreed to release this right, because they gave the 147 00:07:23,280 --> 00:07:25,520 Speaker 3: green light for the supubilis that they are a party 148 00:07:25,560 --> 00:07:26,400 Speaker 3: to that defamation. 149 00:07:26,640 --> 00:07:27,400 Speaker 4: So that's part of it. 150 00:07:27,480 --> 00:07:29,920 Speaker 3: But then another part of is that, you know, he's 151 00:07:29,920 --> 00:07:33,280 Speaker 3: saying that they did certain things that were either questionable 152 00:07:33,360 --> 00:07:38,400 Speaker 3: legality or just playing illegal. I'm not sure, but you know, 153 00:07:38,680 --> 00:07:39,680 Speaker 3: definitely dubious. 154 00:07:39,800 --> 00:07:39,960 Speaker 4: Right. 155 00:07:40,520 --> 00:07:44,000 Speaker 1: So this is a legal side from Drake to Universal 156 00:07:44,040 --> 00:07:47,240 Speaker 1: Music Group or UMG about Kendrick saying he's a pedophile 157 00:07:47,280 --> 00:07:49,360 Speaker 1: and likes young girls. And I mean, T T I 158 00:07:49,440 --> 00:07:51,920 Speaker 1: get that, because if that's not true, this SE's and 159 00:07:51,960 --> 00:07:56,200 Speaker 1: desist or whatever, you know, stop it, Okay. 160 00:07:56,200 --> 00:07:56,640 Speaker 2: Stop that. 161 00:07:57,320 --> 00:08:01,360 Speaker 1: You can tell we're not lawyers, but seriously, separate from 162 00:08:01,480 --> 00:08:04,920 Speaker 1: the defamation. What's wrong with UMG? Promoting a song like 163 00:08:04,960 --> 00:08:07,120 Speaker 1: they have a vested interest in it doing well. 164 00:08:07,480 --> 00:08:10,040 Speaker 3: So one thing he says, which I think is one 165 00:08:10,040 --> 00:08:12,239 Speaker 3: of the most interesting things, He says that you know, UMG, 166 00:08:12,480 --> 00:08:18,480 Speaker 3: whitelisted the song, which means that basically, UMG, they have 167 00:08:18,640 --> 00:08:21,320 Speaker 3: the right to exclude other people from using it unless 168 00:08:21,360 --> 00:08:24,280 Speaker 3: you pay the money, right, And so, like, if I 169 00:08:24,480 --> 00:08:28,960 Speaker 3: were a TikToker or a YouTuber, Instagram reals person, I 170 00:08:29,000 --> 00:08:31,720 Speaker 3: want to put like this song up there, you know, 171 00:08:31,800 --> 00:08:35,600 Speaker 3: basically Universe will come in and block it, right, flag 172 00:08:35,679 --> 00:08:39,840 Speaker 3: it saying this has an unauthorized recording here, Okay, But 173 00:08:39,920 --> 00:08:45,400 Speaker 3: basically whitelisting is Universal saying no, We're just gonna withdraw 174 00:08:45,760 --> 00:08:50,840 Speaker 3: all those copyright protections temporarily because you know, basically one 175 00:08:50,880 --> 00:08:53,240 Speaker 3: of the things that the lawsuit sites is all these 176 00:08:53,320 --> 00:08:58,480 Speaker 3: reaction videos to the song, right, and basically those would 177 00:08:58,559 --> 00:09:03,160 Speaker 3: have been subject to copyright claims from Universal. But you know, 178 00:09:03,280 --> 00:09:06,480 Speaker 3: Drake is saying, or Drake's lawyers are saying, like Universal 179 00:09:06,600 --> 00:09:11,319 Speaker 3: wanted you know, this to generate buzz, generate like discourse, 180 00:09:11,720 --> 00:09:14,440 Speaker 3: and what better medium to do that than like reaction 181 00:09:14,600 --> 00:09:17,200 Speaker 3: videos for people, which it's like, you know, oh shit, 182 00:09:17,280 --> 00:09:18,040 Speaker 3: what does this guy. 183 00:09:17,960 --> 00:09:21,000 Speaker 1: Saying, so put that thing up. You know how on 184 00:09:21,040 --> 00:09:23,680 Speaker 1: YouTube sometimes it'll say this head is a copyright claim 185 00:09:23,760 --> 00:09:26,880 Speaker 1: or there's music in this that can't be used. Drake 186 00:09:26,960 --> 00:09:29,199 Speaker 1: is saying, why didn't y'all put that up for Kendrick 187 00:09:29,280 --> 00:09:30,720 Speaker 1: Lamar song exactly? 188 00:09:30,920 --> 00:09:33,120 Speaker 3: And then the other thing he says again like this 189 00:09:33,280 --> 00:09:36,400 Speaker 3: is actually technically illegal, you know, he basically says that 190 00:09:37,200 --> 00:09:41,080 Speaker 3: they engage in payola, which there have been controversies for 191 00:09:41,280 --> 00:09:45,920 Speaker 3: I mean decades, the concern record labels paying. Back in 192 00:09:45,920 --> 00:09:48,760 Speaker 3: the day, it was radio stations. Now it's streaming platforms, 193 00:09:48,760 --> 00:09:51,840 Speaker 3: and there's actually laws against that. So basically you started 194 00:09:51,840 --> 00:09:54,000 Speaker 3: saying that that this is what Universal did in or 195 00:09:54,120 --> 00:09:57,040 Speaker 3: to sort of give the song a boost out of 196 00:09:57,080 --> 00:10:00,680 Speaker 3: the gates right by sort of artificially inflaming number of streams, 197 00:10:00,720 --> 00:10:05,520 Speaker 3: either by using bots or by using click farms or 198 00:10:06,120 --> 00:10:08,920 Speaker 3: paying people to stream it, you know, which some. 199 00:10:09,000 --> 00:10:12,080 Speaker 4: Of the stuff is outright illegal. All that is like 200 00:10:12,679 --> 00:10:13,480 Speaker 4: very questionable. 201 00:10:28,400 --> 00:10:31,600 Speaker 1: If this is illegal, why didn't it blow up even bigger? 202 00:10:32,000 --> 00:10:36,440 Speaker 1: Why aren't other artists outraged that UMG is doing this 203 00:10:36,520 --> 00:10:39,920 Speaker 1: and that it hurts their streams? Aren't the other labels 204 00:10:39,960 --> 00:10:44,480 Speaker 1: outside of UMG? Upset I would be right, or were 205 00:10:44,520 --> 00:10:48,640 Speaker 1: people just fixated on the actual beef. Hmm, that's a 206 00:10:48,640 --> 00:10:49,160 Speaker 1: good question. 207 00:10:49,559 --> 00:10:51,400 Speaker 3: I Mean the thing is is that, like this is 208 00:10:51,480 --> 00:10:55,320 Speaker 3: kind of an open secret that this happens, right, and 209 00:10:55,400 --> 00:10:58,839 Speaker 3: it happens with the major labels, right, I mean yes, 210 00:10:59,440 --> 00:11:01,880 Speaker 3: a lot of of you know, young up and coming 211 00:11:01,960 --> 00:11:07,559 Speaker 3: artists will try to use bots or paid streams in 212 00:11:07,679 --> 00:11:10,080 Speaker 3: order to give their stuff a boost and get a 213 00:11:10,080 --> 00:11:11,920 Speaker 3: bit of traction, bit of visibility. 214 00:11:13,280 --> 00:11:13,480 Speaker 4: You know. 215 00:11:13,520 --> 00:11:16,080 Speaker 3: One of the hardest things about streaming platforms is like 216 00:11:16,360 --> 00:11:19,040 Speaker 3: getting heard because there's just so much music. I mean, 217 00:11:19,040 --> 00:11:21,040 Speaker 3: this is going back to like, what are the problems 218 00:11:21,120 --> 00:11:23,600 Speaker 3: streaming platforms? That's a big one, right, because it's just 219 00:11:23,640 --> 00:11:27,040 Speaker 3: so hard to break through. But you know, even though 220 00:11:27,080 --> 00:11:29,160 Speaker 3: for the past few years, you know, all the major 221 00:11:29,240 --> 00:11:32,120 Speaker 3: labels and a bunch of other stakeholders have been you know, 222 00:11:32,840 --> 00:11:34,880 Speaker 3: making a hue and cry about you know, the problem 223 00:11:35,040 --> 00:11:37,480 Speaker 3: streaming fraud and how there has to be a crackdowns 224 00:11:37,520 --> 00:11:41,720 Speaker 3: about this, you know, there's anecdotal evidence. I mean I've 225 00:11:41,760 --> 00:11:46,720 Speaker 3: heard from pretty reliable sources who have worked for major 226 00:11:46,800 --> 00:11:49,480 Speaker 3: labels that this is something that they have at least 227 00:11:49,520 --> 00:11:51,719 Speaker 3: engaged in the past. I won't be surprised if they 228 00:11:51,760 --> 00:11:54,600 Speaker 3: still engage in it in some way, shape or form. 229 00:11:55,040 --> 00:11:58,440 Speaker 1: So Drake is kind of onto something and highlighting a 230 00:11:58,520 --> 00:12:02,000 Speaker 1: problem that you're saying is kind of systemic. It's not 231 00:12:02,120 --> 00:12:05,680 Speaker 1: just a personal thing, it's it's something that has been 232 00:12:05,720 --> 00:12:08,240 Speaker 1: going on for a long time that does cause issues. 233 00:12:08,600 --> 00:12:11,480 Speaker 1: So do you think that these actions, the lawsuits and 234 00:12:11,800 --> 00:12:15,320 Speaker 1: the refilings and everything like that, are ultimately going to 235 00:12:15,360 --> 00:12:18,240 Speaker 1: do more harm to his reputation than good for the 236 00:12:18,320 --> 00:12:19,080 Speaker 1: music industry? 237 00:12:19,240 --> 00:12:19,400 Speaker 4: Oh? 238 00:12:19,480 --> 00:12:21,920 Speaker 3: Yeah, no, definitely. I mean it looks bad. I mean, 239 00:12:22,160 --> 00:12:27,920 Speaker 3: I'm sorry, like it just like, I'm no expert in rappies, 240 00:12:27,960 --> 00:12:31,000 Speaker 3: so this is like to me, this looks pathetic, right, 241 00:12:31,000 --> 00:12:35,080 Speaker 3: I mean it looks sad. But you know, I you know, 242 00:12:35,720 --> 00:12:38,520 Speaker 3: I mean, Kendrick just to play the Super Bowls, right like, 243 00:12:38,559 --> 00:12:41,520 Speaker 3: I mean, like, you know, I don't know how much 244 00:12:41,559 --> 00:12:44,920 Speaker 3: more attention like can be drought to this song. But 245 00:12:45,360 --> 00:12:49,160 Speaker 3: you know, well, okay, fine, you know you're accusing UMG 246 00:12:49,640 --> 00:12:56,080 Speaker 3: of using these questionable methods, methods of questionable legality. 247 00:12:55,559 --> 00:12:59,520 Speaker 4: To boost Kendrick. You're also a universal heart, right. 248 00:13:03,520 --> 00:13:05,480 Speaker 3: Yeah, I mean we can put to you know, you 249 00:13:05,559 --> 00:13:07,040 Speaker 3: may have benefit from this in the past. 250 00:13:07,040 --> 00:13:08,880 Speaker 4: You probably have benefit from this in the. 251 00:13:08,880 --> 00:13:11,360 Speaker 2: When he was beefing with Meek Mill, probably yeah. 252 00:13:11,400 --> 00:13:14,160 Speaker 4: Or or just for any song that he's released, right, 253 00:13:14,240 --> 00:13:14,440 Speaker 4: you know. 254 00:13:14,840 --> 00:13:17,719 Speaker 3: I mean, and there have been cases like I remember, oh, 255 00:13:17,840 --> 00:13:19,880 Speaker 3: I can't remember which album it was, but like they 256 00:13:19,920 --> 00:13:23,880 Speaker 3: had the entire Drake takeover of Spot five's homepage, where 257 00:13:23,920 --> 00:13:26,880 Speaker 3: like every playlist had his picture on it, and wow, 258 00:13:27,160 --> 00:13:29,280 Speaker 3: you know, like so it's like I want to listen to, 259 00:13:30,640 --> 00:13:33,000 Speaker 3: oh no, like Beethoven and so like a picture of 260 00:13:33,040 --> 00:13:33,920 Speaker 3: Drake's on it, you know. 261 00:13:35,240 --> 00:13:37,320 Speaker 2: A minute, Yeah, what's happening? 262 00:13:37,600 --> 00:13:38,320 Speaker 4: Yeah? 263 00:13:38,640 --> 00:13:39,559 Speaker 2: Is Beethoven black? 264 00:13:41,280 --> 00:13:42,240 Speaker 4: That's also a debate. 265 00:13:45,800 --> 00:13:48,040 Speaker 2: We'll bring you back again for that one. 266 00:13:49,160 --> 00:13:52,600 Speaker 3: The thing to remember, right is that these platforms are 267 00:13:52,640 --> 00:13:58,079 Speaker 3: really dependent upon the major mabel's catalogs in many ways, right, 268 00:13:58,120 --> 00:14:00,560 Speaker 3: And it's not just like the current catalog like what's 269 00:14:00,640 --> 00:14:05,040 Speaker 3: popular right now, which obviously they dominate, but also the 270 00:14:05,160 --> 00:14:06,439 Speaker 3: massive back catalogs. 271 00:14:06,520 --> 00:14:06,640 Speaker 4: Right. 272 00:14:06,880 --> 00:14:10,240 Speaker 3: It doesn't really make sense to call like Universal Record 273 00:14:10,320 --> 00:14:12,200 Speaker 3: label because what it is is like kind of a 274 00:14:12,200 --> 00:14:15,559 Speaker 3: holding company for all these smaller. 275 00:14:15,240 --> 00:14:16,880 Speaker 4: Labels that it's acquired over the years. 276 00:14:16,880 --> 00:14:21,760 Speaker 3: So jazz labels like VERV, labels like Island Records, which 277 00:14:21,760 --> 00:14:23,840 Speaker 3: really s all the like Bob Marley recordings in the 278 00:14:23,880 --> 00:14:28,640 Speaker 3: nineteen seventies, Interscope right, big hip hop label, and the 279 00:14:28,720 --> 00:14:31,520 Speaker 3: list goes on. You know, platforms really rely on all 280 00:14:31,600 --> 00:14:35,640 Speaker 3: that music. You know that these major labels have managed 281 00:14:35,680 --> 00:14:39,640 Speaker 3: to gobble up over the decades, and so that means 282 00:14:39,640 --> 00:14:43,400 Speaker 3: that they will basically do things in order to appease 283 00:14:43,440 --> 00:14:43,960 Speaker 3: the labels. 284 00:14:44,360 --> 00:14:47,560 Speaker 1: You're helping us really understand, because I think too often 285 00:14:47,600 --> 00:14:50,040 Speaker 1: people are talking about the streaming platforms as being the 286 00:14:50,040 --> 00:14:53,680 Speaker 1: big dogs here, but really the record labels with these 287 00:14:53,720 --> 00:14:57,120 Speaker 1: extensive catalogs, like, somebody's got to populate your platform, so 288 00:14:57,320 --> 00:14:59,080 Speaker 1: they have the ball and if you want them to 289 00:14:59,120 --> 00:15:01,800 Speaker 1: stay in, you want them to keep playing. And so 290 00:15:01,840 --> 00:15:04,280 Speaker 1: it does feel like this kind of tug of war 291 00:15:04,320 --> 00:15:07,600 Speaker 1: of power or the recording each other to keep music 292 00:15:07,680 --> 00:15:10,920 Speaker 1: streaming as we know it. Yeah, and that also makes 293 00:15:10,960 --> 00:15:14,480 Speaker 1: me think about how some artists own their own masters. 294 00:15:14,520 --> 00:15:17,760 Speaker 1: So Steve Stout has been a vocal advocate for artists 295 00:15:17,800 --> 00:15:22,280 Speaker 1: owning their own masters. Artists like Jay z Rihanna, Frank 296 00:15:22,360 --> 00:15:25,320 Speaker 1: ocean U two, they own their own masters. And then 297 00:15:25,360 --> 00:15:27,600 Speaker 1: we see stories like Taylor Swift where she comes out 298 00:15:27,600 --> 00:15:30,520 Speaker 1: with Taylor's version because Scooter Braun owns her masters, and 299 00:15:30,680 --> 00:15:34,440 Speaker 1: Jojo also came up put her album from back in 300 00:15:34,480 --> 00:15:38,080 Speaker 1: the day so that she could own those masters. Can 301 00:15:38,120 --> 00:15:41,040 Speaker 1: you talk a little bit about that and is this 302 00:15:41,160 --> 00:15:45,720 Speaker 1: a realistic solution for most artists or does it only 303 00:15:45,840 --> 00:15:47,240 Speaker 1: benefit those at the top? 304 00:15:48,760 --> 00:15:51,560 Speaker 3: I think obviously it's better to own the masters than 305 00:15:51,600 --> 00:15:54,240 Speaker 3: not to own the masters. And this is obviously one 306 00:15:54,240 --> 00:15:57,440 Speaker 3: of the main ways at the record labels. Why have 307 00:15:57,520 --> 00:16:00,800 Speaker 3: they become so powerful, right, is because the additions of 308 00:16:01,000 --> 00:16:04,680 Speaker 3: getting access to a the funding that you know, record 309 00:16:04,760 --> 00:16:08,440 Speaker 3: label usually provides in the form of an advance and 310 00:16:08,560 --> 00:16:11,680 Speaker 3: be then the marketing and the promotion that you know, 311 00:16:11,880 --> 00:16:15,360 Speaker 3: especially major labels are able to provide. The sort of 312 00:16:15,440 --> 00:16:17,640 Speaker 3: cost of all that is that you usually have to 313 00:16:17,640 --> 00:16:21,240 Speaker 3: sign away your rights. This isn't just restricted to the 314 00:16:21,320 --> 00:16:23,600 Speaker 3: music industry. I don't own the rights to either of 315 00:16:23,640 --> 00:16:26,400 Speaker 3: the books I've written. Doesn't really matter since they're not 316 00:16:26,400 --> 00:16:28,680 Speaker 3: making any money anyways. That's part for the course for 317 00:16:28,800 --> 00:16:31,200 Speaker 3: academic books. But you know, it does become very consequential 318 00:16:31,240 --> 00:16:34,240 Speaker 3: when we're talking about valuable music rights. 319 00:16:34,600 --> 00:16:36,640 Speaker 1: That's a tricky trade off though, because how can you 320 00:16:36,680 --> 00:16:39,640 Speaker 1: see into the future, Like I got my masters, but 321 00:16:39,680 --> 00:16:41,640 Speaker 1: maybe I needed that marketing and promotion. 322 00:16:42,480 --> 00:16:44,400 Speaker 3: The thing is, it's in a lot of cases, for 323 00:16:44,800 --> 00:16:47,520 Speaker 3: the overwhelming majority of artists, you may own your rights, 324 00:16:47,520 --> 00:16:50,080 Speaker 3: but they may not be worth very much because you 325 00:16:50,160 --> 00:16:52,560 Speaker 3: didn't break through, right, And this gets back to that 326 00:16:52,640 --> 00:16:56,080 Speaker 3: question the winner take all kind of nature of music 327 00:16:56,080 --> 00:16:57,080 Speaker 3: economies in general. 328 00:17:11,520 --> 00:17:13,600 Speaker 1: Okay, I want to rewind is something you mentioned earlier 329 00:17:13,640 --> 00:17:18,040 Speaker 1: because you briefly mentioned this FBI case where this guy 330 00:17:18,119 --> 00:17:21,520 Speaker 1: he uses AI to make music. Then he gets all 331 00:17:21,560 --> 00:17:24,520 Speaker 1: these bots to stream this music that he's making with AI, 332 00:17:25,080 --> 00:17:27,960 Speaker 1: and he makes well, he should have made like millions 333 00:17:27,960 --> 00:17:38,080 Speaker 1: of dollars. Yes, yes, and so considering this case, but 334 00:17:38,160 --> 00:17:41,280 Speaker 1: also considering this technology in a winner takes all market 335 00:17:41,320 --> 00:17:43,119 Speaker 1: I feel like he carved out a pretty good spot 336 00:17:43,119 --> 00:17:46,280 Speaker 1: for himself. I mean, aside from jail that might need ahead, 337 00:17:48,800 --> 00:17:51,240 Speaker 1: not a good spot. How do you see AI and 338 00:17:51,280 --> 00:17:56,119 Speaker 1: technology kind of shaping the music industry even further? You know, 339 00:17:56,560 --> 00:17:58,919 Speaker 1: especially as we think about these metrics, and one of 340 00:17:58,960 --> 00:18:02,680 Speaker 1: the known or unknown knowns is that like all these 341 00:18:02,720 --> 00:18:05,560 Speaker 1: streaming numbers, this stuff is not as reliable as it seems. 342 00:18:05,600 --> 00:18:08,679 Speaker 1: So people are bragging about being number one, but that 343 00:18:08,760 --> 00:18:11,280 Speaker 1: might not even be real platform to platform. 344 00:18:11,560 --> 00:18:13,680 Speaker 2: Yeah, and we don't even get much visibility. 345 00:18:13,920 --> 00:18:16,359 Speaker 1: Yeah, So what do you think this means? What do 346 00:18:16,400 --> 00:18:18,040 Speaker 1: you think is next? What do you think we're gonna see. 347 00:18:17,880 --> 00:18:18,199 Speaker 2: More of this? 348 00:18:18,560 --> 00:18:20,520 Speaker 3: I think one of the things that at least right 349 00:18:20,600 --> 00:18:24,080 Speaker 3: now is a comfort probably for a lot of artists 350 00:18:24,119 --> 00:18:27,960 Speaker 3: is that even the most sophisticated AI generators and music 351 00:18:27,960 --> 00:18:32,199 Speaker 3: that produce is still pretty right, and so you know, 352 00:18:32,240 --> 00:18:34,600 Speaker 3: I don't think there's much competition, and like people listen 353 00:18:34,640 --> 00:18:37,480 Speaker 3: to music for all kinds of reasons. Just as important, 354 00:18:37,520 --> 00:18:39,000 Speaker 3: i'd say in a lot of cases is like a 355 00:18:39,040 --> 00:18:42,359 Speaker 3: sense of connection with the artists, right, So. 356 00:18:43,160 --> 00:18:45,800 Speaker 4: You don't have that with like AI generating music. Right. 357 00:18:45,880 --> 00:18:48,240 Speaker 3: So I think that the idea that this is going 358 00:18:48,320 --> 00:18:52,040 Speaker 3: to like displace artists is you know premature. Let's say, 359 00:18:52,040 --> 00:18:53,840 Speaker 3: I mean, who knows what's going to happen ten twenty 360 00:18:53,920 --> 00:18:55,560 Speaker 3: years from now, but I think right now, I think 361 00:18:55,600 --> 00:18:57,320 Speaker 3: I think one thing also to bear in minds, like 362 00:18:57,320 --> 00:18:59,719 Speaker 3: when we talk about AI, we can be referencing all 363 00:18:59,800 --> 00:19:01,600 Speaker 3: kinds some different things. I think a lot of times 364 00:19:02,080 --> 00:19:05,960 Speaker 3: people think about you know, AI generate songs, it could 365 00:19:06,000 --> 00:19:08,960 Speaker 3: also mean things like the sort of vocal clones. 366 00:19:09,160 --> 00:19:10,320 Speaker 4: Right, So there's the Fake. 367 00:19:10,200 --> 00:19:13,160 Speaker 3: Drake song that came out almost two years ago now 368 00:19:13,359 --> 00:19:15,879 Speaker 3: Hard on my Sleeve, which was kind of the big 369 00:19:16,960 --> 00:19:19,440 Speaker 3: wake up call for the industry that this technology had 370 00:19:19,480 --> 00:19:22,960 Speaker 3: reached a certain point where you could have somebody basically, 371 00:19:23,359 --> 00:19:28,719 Speaker 3: you know, create a track and use one of these 372 00:19:28,800 --> 00:19:32,240 Speaker 3: vocal masks in order to like emulate the sound and 373 00:19:32,320 --> 00:19:35,640 Speaker 3: style of like a major artist. You know, I think 374 00:19:35,640 --> 00:19:39,440 Speaker 3: it's telling there that we haven't had any other kind 375 00:19:39,480 --> 00:19:42,919 Speaker 3: of big breakout moments since then, right, And it's not 376 00:19:43,000 --> 00:19:46,040 Speaker 3: like the technology's bad, it's it's like it's kind of gimmicky. 377 00:19:46,359 --> 00:19:46,520 Speaker 2: Yeah. 378 00:19:48,080 --> 00:19:52,040 Speaker 1: I Saebob sing Luther Vandra style, and I was like, 379 00:19:53,720 --> 00:19:56,879 Speaker 1: I'm not convinced that SpongeBob Patrick. 380 00:19:56,280 --> 00:20:00,560 Speaker 5: Yes, Patrick, I think there are two main concerned So 381 00:20:00,800 --> 00:20:04,320 Speaker 5: that one is that already when you look at the 382 00:20:04,359 --> 00:20:07,959 Speaker 5: catalogs or the databases of these major platforms, you know, 383 00:20:08,000 --> 00:20:09,320 Speaker 5: the number of tracks. 384 00:20:08,960 --> 00:20:13,760 Speaker 3: That they have is absolutely eye watering, right, Like, I 385 00:20:13,760 --> 00:20:17,000 Speaker 3: mean Spotify has over one hundred million tracks. And you know, 386 00:20:17,040 --> 00:20:19,280 Speaker 3: we were talking before about how hard it is to 387 00:20:19,320 --> 00:20:23,760 Speaker 3: get heard, right, and if people are uploading forty thousand 388 00:20:23,800 --> 00:20:27,840 Speaker 3: tracks a day, right, it just makes it all the 389 00:20:27,880 --> 00:20:32,560 Speaker 3: more difficult to break through. And you know, maybe some 390 00:20:32,720 --> 00:20:36,880 Speaker 3: portion of those are AI generated block but it doesn't matter. 391 00:20:36,960 --> 00:20:39,480 Speaker 3: It's just adding to the noise that you have to 392 00:20:39,760 --> 00:20:42,880 Speaker 3: get past. So that's one problem. I think the other 393 00:20:42,920 --> 00:20:47,080 Speaker 3: problem is, like it's a little more indirect. So about 394 00:20:47,760 --> 00:20:51,960 Speaker 3: two years ago, the head of UMG Loosing Range, comes 395 00:20:51,960 --> 00:20:55,440 Speaker 3: out with like a letter that he publishes just this 396 00:20:55,600 --> 00:20:58,160 Speaker 3: sort of state of the union for the music industry, 397 00:20:59,400 --> 00:21:02,840 Speaker 3: and he said streaming has been great, helping the record 398 00:21:02,920 --> 00:21:05,159 Speaker 3: industry get back on his feet, but the revenue sharing 399 00:21:05,200 --> 00:21:08,199 Speaker 3: model is broken. And he cited the fact that you know, 400 00:21:08,240 --> 00:21:13,919 Speaker 3: there's just so much garbage now populating streaming platforms. You know, 401 00:21:14,320 --> 00:21:16,800 Speaker 3: all the white noise playlists to help you sleep, you know. 402 00:21:16,760 --> 00:21:20,080 Speaker 2: Which, Yes I'm playing this, yeah, yeah, I mean. 403 00:21:20,040 --> 00:21:20,560 Speaker 4: I'm a fan. 404 00:21:20,640 --> 00:21:24,200 Speaker 3: But he cited AI generated music right, AI slop right. 405 00:21:25,160 --> 00:21:28,760 Speaker 3: And so basically what UMG started pushing is what they 406 00:21:28,800 --> 00:21:33,679 Speaker 3: call artists centric model, where it's basically, in order to 407 00:21:33,680 --> 00:21:38,240 Speaker 3: get any kind of payment from a streaming platform, you'd 408 00:21:38,240 --> 00:21:43,000 Speaker 3: have to pass a certain kind of threshold of monthly listeners, right, 409 00:21:43,400 --> 00:21:47,080 Speaker 3: and a certain number of listeners listening to your music, right, 410 00:21:48,040 --> 00:21:51,040 Speaker 3: and so like if you only get nine hundred and 411 00:21:51,119 --> 00:21:55,160 Speaker 3: ninety nine streams one month. Right, you're not a real 412 00:21:55,280 --> 00:21:57,719 Speaker 3: artist acquarding to this, right, which you know, like there 413 00:21:57,720 --> 00:22:01,680 Speaker 3: are a lot of like musicians working in more obscure yeah, 414 00:22:01,880 --> 00:22:06,200 Speaker 3: genres that you know, they're not pulling in huge numbers, 415 00:22:06,200 --> 00:22:07,960 Speaker 3: but they may be super talented musicians. 416 00:22:08,040 --> 00:22:08,280 Speaker 2: Yeah. 417 00:22:08,320 --> 00:22:11,160 Speaker 4: So you know, AI in this case is being. 418 00:22:11,080 --> 00:22:14,639 Speaker 3: Used as a kind of pretext in order to like 419 00:22:14,760 --> 00:22:19,800 Speaker 3: restructure the way in which streaming economies work. 420 00:22:20,040 --> 00:22:21,119 Speaker 2: I don't like that though. 421 00:22:21,400 --> 00:22:24,679 Speaker 1: Well, you know, the music industry, in the podcast industry 422 00:22:24,720 --> 00:22:26,480 Speaker 1: is not sounded so different. I don't know who wrote 423 00:22:26,480 --> 00:22:28,959 Speaker 1: the letter for podcasting this year, but take away some 424 00:22:29,000 --> 00:22:32,720 Speaker 1: of the microphones. Not ours, but some other people. We've 425 00:22:32,720 --> 00:22:34,880 Speaker 1: gotten a lot from you to think about, and it's 426 00:22:34,960 --> 00:22:36,359 Speaker 1: really got our brains going. 427 00:22:36,920 --> 00:22:39,080 Speaker 2: We are lovers of music, like. 428 00:22:39,680 --> 00:22:42,800 Speaker 1: Zakia, and our friendship has introduced me to a lot 429 00:22:42,840 --> 00:22:45,720 Speaker 1: of music. Now I'm trying to think of somebody you 430 00:22:45,760 --> 00:22:49,000 Speaker 1: put me onto I can think as a win and 431 00:22:49,080 --> 00:22:52,560 Speaker 1: it's actually relevant right now too. Our homegirl, Rachel Lizzy. 432 00:22:53,240 --> 00:22:56,480 Speaker 1: She just got roasted on the internet for not liking 433 00:22:56,480 --> 00:22:59,439 Speaker 1: Anita Baker. But you know, when I first met you, 434 00:22:59,440 --> 00:23:02,280 Speaker 1: you didn't know the difference between Nita Baker and Josephine Baker. 435 00:23:02,280 --> 00:23:03,760 Speaker 1: I said, do you want to hear some Anita Baker? 436 00:23:03,800 --> 00:23:05,520 Speaker 1: And she said, is that the lady with the bananas? 437 00:23:05,560 --> 00:23:11,560 Speaker 1: And I almost lost it. But as soon as I 438 00:23:11,640 --> 00:23:15,720 Speaker 1: realized who Anita Baker was, I am now I'm a fan. 439 00:23:15,960 --> 00:23:18,520 Speaker 2: I love her. Bake me up, I love it. She 440 00:23:18,760 --> 00:23:20,040 Speaker 2: is just chefs kissed. 441 00:23:20,040 --> 00:23:23,040 Speaker 1: She is on every playlist that I have that to 442 00:23:23,400 --> 00:23:25,000 Speaker 1: get me in the right mood. 443 00:23:26,160 --> 00:23:28,800 Speaker 2: And so I'm very grateful to z A Kia for that. 444 00:23:29,000 --> 00:23:33,000 Speaker 1: And we're very thankful to you, Professor Drot, for explaining 445 00:23:33,040 --> 00:23:35,360 Speaker 1: all of this because t T we really didn't know 446 00:23:35,560 --> 00:23:38,400 Speaker 1: what was going on. No, we just knew that we 447 00:23:38,400 --> 00:23:44,000 Speaker 1: were team Kendrick and that was but now we know 448 00:23:44,200 --> 00:23:46,120 Speaker 1: that it might be a little bit deeper than rap. 449 00:23:46,760 --> 00:23:48,600 Speaker 2: So yeah, it's good to know. 450 00:23:52,359 --> 00:23:55,560 Speaker 1: All this talk about music is making me think about 451 00:23:55,800 --> 00:23:58,959 Speaker 1: my favorite songs right now, tit. You know, I always 452 00:23:59,000 --> 00:24:00,920 Speaker 1: want to know what you're listening to, go ahead and 453 00:24:00,920 --> 00:24:02,879 Speaker 1: give it to me what you're feeling right now? Okay, 454 00:24:02,920 --> 00:24:08,560 Speaker 1: So honestly, it's the entire Chromacopeia album by Tyler the creator. 455 00:24:09,119 --> 00:24:12,160 Speaker 2: H Lyrically, it's just perfect. 456 00:24:12,240 --> 00:24:14,960 Speaker 1: I feel like the way that Tyler raps and the 457 00:24:14,960 --> 00:24:18,200 Speaker 1: things that he raps about speaks directly to me. There's 458 00:24:18,240 --> 00:24:20,600 Speaker 1: so many good one liners. I feel like I quote 459 00:24:20,680 --> 00:24:25,000 Speaker 1: him on a daily basis. So, Yes, that is the 460 00:24:25,119 --> 00:24:27,560 Speaker 1: music that makes me happy currently. I like it. I 461 00:24:27,720 --> 00:24:30,520 Speaker 1: like it and pretty much everything by boss Man Dilo. 462 00:24:32,359 --> 00:24:36,040 Speaker 2: Yeah, what about j Zee? What are you liking right now? 463 00:24:36,359 --> 00:24:39,600 Speaker 1: I think right now I am in I'm definitely in 464 00:24:40,240 --> 00:24:43,600 Speaker 1: my love Girl era. Okay, So I've been listening to 465 00:24:43,640 --> 00:24:47,760 Speaker 1: all the R and B and I liked this artist 466 00:24:47,960 --> 00:24:51,200 Speaker 1: a while back. When we were in New Orleans for Suspith, 467 00:24:51,359 --> 00:24:55,880 Speaker 1: we saw Ombre and there's a song Ambre has that's 468 00:24:55,880 --> 00:24:59,120 Speaker 1: called Superstitious. I just saw her live recently at City 469 00:24:59,160 --> 00:25:03,080 Speaker 1: Wannery and she sang it in like it's been my jam. 470 00:25:03,119 --> 00:25:06,359 Speaker 1: So Superstitious and all kinds of other stuff, and bre 471 00:25:06,520 --> 00:25:13,080 Speaker 1: Dustin Conrad Fabo Destin Conrad, a sleeper, Oh my goodness. 472 00:25:12,320 --> 00:25:13,080 Speaker 2: Super sleeper. 473 00:25:13,320 --> 00:25:17,600 Speaker 1: Also Leon Thomas, Leon Thomas. There's more than just mut 474 00:25:17,640 --> 00:25:20,160 Speaker 1: I know y'all are using this Instagram. There's more than 475 00:25:20,160 --> 00:25:22,960 Speaker 1: being used a lot. There's more than mud. Yes is 476 00:25:23,000 --> 00:25:26,359 Speaker 1: a very good song though. Okay, so we've talked about 477 00:25:26,359 --> 00:25:28,960 Speaker 1: our favorite music, but we want to know y'all's favorite music. 478 00:25:29,040 --> 00:25:31,320 Speaker 1: Make sure you send us a message, a comment, a 479 00:25:31,440 --> 00:25:34,359 Speaker 1: DM letting us know what you're listening to right now 480 00:25:34,400 --> 00:25:37,639 Speaker 1: and make it good because we love a good playlist. Yes, 481 00:25:48,680 --> 00:25:51,520 Speaker 1: you can find us on X and Instagram at Dope 482 00:25:51,640 --> 00:25:54,840 Speaker 1: Labs podcast, tt is on X and Instagram at d 483 00:25:55,080 --> 00:25:57,640 Speaker 1: R Underscore T s h O, and you can find 484 00:25:57,720 --> 00:26:01,159 Speaker 1: Zakiya at Z said So. Dope Labs is a production 485 00:26:01,200 --> 00:26:05,479 Speaker 1: of Lamanada Media. Our senior supervising producer is Kristin Lapour 486 00:26:06,000 --> 00:26:10,760 Speaker 1: and our associate producer is Usara Savez. Dope Labs is 487 00:26:10,760 --> 00:26:15,320 Speaker 1: sound designed, edited and mixed by James Farber. Limanada Media's 488 00:26:15,359 --> 00:26:19,760 Speaker 1: Vice President of Partnerships and Production is Jackie Danziger. Executive 489 00:26:19,760 --> 00:26:23,639 Speaker 1: producer from iHeart podcast is Katrina Norvil. Marketing lead is 490 00:26:23,680 --> 00:26:28,960 Speaker 1: Alison Canter. Original music composed and produced by Takayasuzawa and 491 00:26:29,119 --> 00:26:34,119 Speaker 1: Alex sugi Ura, with additional music by Elijah Harvey. Dope 492 00:26:34,200 --> 00:26:37,800 Speaker 1: Labs is executive produced by us T T Show Dia 493 00:26:37,880 --> 00:26:39,760 Speaker 1: and Zakia Wattley.