1 00:00:00,120 --> 00:00:02,520 Speaker 1: Hey guys, it's Bobby here. Thanks for listening and being 2 00:00:02,560 --> 00:00:04,720 Speaker 1: subscribe to the podcast. I didn't want to take a 3 00:00:04,720 --> 00:00:07,000 Speaker 1: second when we don't put anything up like today and 4 00:00:07,240 --> 00:00:10,320 Speaker 1: give you a sample of a show called The Biz Tape. 5 00:00:10,720 --> 00:00:13,760 Speaker 1: It's our newest podcast here on the Nashville Podcast Network. 6 00:00:13,920 --> 00:00:16,360 Speaker 1: It's kind of a media podcast, a music podcast hosted 7 00:00:16,400 --> 00:00:19,040 Speaker 1: by two guys named Joe and Colin. They break down 8 00:00:19,040 --> 00:00:20,880 Speaker 1: the nerdy side of the music industry, so they do 9 00:00:20,880 --> 00:00:22,840 Speaker 1: a lot of research from the biggest music topics, from 10 00:00:22,880 --> 00:00:25,279 Speaker 1: the charts, music law, and more. They even't have on 11 00:00:25,400 --> 00:00:27,600 Speaker 1: music lawyers and writers. So it's a great podcast if 12 00:00:27,600 --> 00:00:29,360 Speaker 1: you want to learn more about the music business side 13 00:00:29,440 --> 00:00:31,360 Speaker 1: or just be smarter than your friends when talking to music. 14 00:00:31,480 --> 00:00:34,440 Speaker 1: This episode, they talk about how Drake always dominates the charts, 15 00:00:34,680 --> 00:00:37,120 Speaker 1: and they talk about universal music groups Insane first day 16 00:00:37,159 --> 00:00:39,840 Speaker 1: of public trading. They also talk about how Nashville country 17 00:00:39,880 --> 00:00:43,000 Speaker 1: labels are partnering with their pop counterparts to make sure 18 00:00:43,000 --> 00:00:46,000 Speaker 1: the crossover artists happen from country music. So check it 19 00:00:46,040 --> 00:00:48,519 Speaker 1: out and also, if you like it, go subscribe to 20 00:00:48,560 --> 00:00:51,279 Speaker 1: The Biz Tape wherever you listen to podcasts. All right, 21 00:00:51,320 --> 00:00:53,000 Speaker 1: here you go. Here's an episode of the biz tape 22 00:00:54,880 --> 00:01:01,000 Speaker 1: Drake Dominates Charts, g Goes Public and Nashville Country Pop 23 00:01:03,320 --> 00:01:18,720 Speaker 1: Bill Biz Tape. Welcome to episode fifty one of the 24 00:01:18,800 --> 00:01:21,720 Speaker 1: biz tape You're All Thinks, Music, Business and Media Podcasts. 25 00:01:21,760 --> 00:01:24,000 Speaker 1: I'm your host Colin, with my co host Joe and 26 00:01:24,080 --> 00:01:27,960 Speaker 1: our wonderful guest Alexander zee Warner, who is a writer 27 00:01:28,120 --> 00:01:30,800 Speaker 1: over at Your Milk and also has his own fun 28 00:01:30,840 --> 00:01:34,160 Speaker 1: little enterprise we'll get into called Beatley Music Beatley Music 29 00:01:34,200 --> 00:01:36,039 Speaker 1: dot Com. Can I do that for you if you 30 00:01:36,080 --> 00:01:39,480 Speaker 1: get with Beatley Music, like, do your little radio ads 31 00:01:39,520 --> 00:01:43,440 Speaker 1: like Beatley Music dot Com. Yeah, can we go to radio. 32 00:01:43,480 --> 00:01:46,880 Speaker 1: I'll definitely have you up out there doing it for me. Sweet. 33 00:01:47,360 --> 00:01:49,440 Speaker 1: It's definitely got the radio voice out of the two 34 00:01:49,440 --> 00:01:51,400 Speaker 1: of us. Beatley Music dot Com you know what I mean, 35 00:01:51,440 --> 00:01:53,520 Speaker 1: what were those like sites back in the day. They 36 00:01:53,520 --> 00:01:55,680 Speaker 1: would do that all the time on radio. It would 37 00:01:55,680 --> 00:01:57,480 Speaker 1: oh it was go Daddy, Go Daddy would do that 38 00:01:57,640 --> 00:02:00,840 Speaker 1: the Go Daddy dot Com Like, oh yeah, yeah, they 39 00:02:00,880 --> 00:02:07,200 Speaker 1: cleaned up their acts. Really weird associate Alexander with that 40 00:02:07,280 --> 00:02:12,080 Speaker 1: in anyway? Just good? Sorry, Um, well, we're so glad 41 00:02:12,120 --> 00:02:14,960 Speaker 1: to have you on. We really appreciated. Alexander reached out 42 00:02:15,000 --> 00:02:18,360 Speaker 1: to us and we were very impressed with what he's 43 00:02:18,400 --> 00:02:21,200 Speaker 1: got going on. So I was like, come on, and uh, 44 00:02:21,680 --> 00:02:24,960 Speaker 1: I mean, first off, you have like I wanted to 45 00:02:24,960 --> 00:02:26,520 Speaker 1: talk to you about, like, what do you kind of 46 00:02:26,520 --> 00:02:28,440 Speaker 1: do in the music space? What do you what is 47 00:02:28,480 --> 00:02:32,680 Speaker 1: your kind of role? Yeah? Sure, well, you know, my 48 00:02:32,760 --> 00:02:35,320 Speaker 1: two main jobs right now in the music space, I 49 00:02:35,320 --> 00:02:37,480 Speaker 1: would say is obviously I have a lot of writing 50 00:02:37,680 --> 00:02:40,200 Speaker 1: U You know, through my life I've done writing for 51 00:02:40,320 --> 00:02:43,560 Speaker 1: my own personal blog, and then I also wrote a 52 00:02:43,560 --> 00:02:45,880 Speaker 1: book on the history of hip hop. You know, growing up, 53 00:02:45,919 --> 00:02:47,959 Speaker 1: I played a lot of travel basketball, and one of 54 00:02:48,000 --> 00:02:50,560 Speaker 1: the big things with travel basketball is like you have 55 00:02:50,680 --> 00:02:54,440 Speaker 1: kids from Atlanta in New York and Texas all come together. 56 00:02:54,840 --> 00:02:56,720 Speaker 1: And one of the big things I brought us together 57 00:02:57,160 --> 00:03:00,280 Speaker 1: was music, and specifically hip hop music, and so it's 58 00:03:00,280 --> 00:03:03,040 Speaker 1: always been a massive genre for meum and led me 59 00:03:03,080 --> 00:03:06,000 Speaker 1: to write the book The History of Hip Hop, which 60 00:03:06,000 --> 00:03:08,280 Speaker 1: I was able to publish on Amazon. And one of 61 00:03:08,320 --> 00:03:10,880 Speaker 1: the best best things I would say about publishing an 62 00:03:10,880 --> 00:03:13,960 Speaker 1: Amazon is, you know it's an international company, right, So 63 00:03:14,240 --> 00:03:17,560 Speaker 1: I had guys from Japan and the UK and a 64 00:03:17,560 --> 00:03:20,960 Speaker 1: bunch of different countries buying books. Um, it was. It 65 00:03:21,000 --> 00:03:22,720 Speaker 1: came with pousitive and negatives. You know, it was great 66 00:03:22,720 --> 00:03:26,280 Speaker 1: to see like how international hip hop is. Um, but 67 00:03:26,400 --> 00:03:28,520 Speaker 1: I also did get I got an email from an 68 00:03:28,600 --> 00:03:32,800 Speaker 1: angry UK buyer that told me he was like, man, 69 00:03:33,040 --> 00:03:35,080 Speaker 1: there was no UK hip hop in here, like what 70 00:03:35,120 --> 00:03:38,040 Speaker 1: are you doing? I was like from America, Like I 71 00:03:38,400 --> 00:03:40,240 Speaker 1: I can't, like, I don't really know that much about 72 00:03:40,320 --> 00:03:42,720 Speaker 1: UK hip hop. But maybe for part two, maybe for 73 00:03:43,840 --> 00:03:47,160 Speaker 1: grime book next time, you know, yeah, exactly, I gotta 74 00:03:47,160 --> 00:03:51,880 Speaker 1: I gotta piece for my customers. So like, um, I mean, 75 00:03:52,520 --> 00:03:56,720 Speaker 1: just so I'm aware, Alexander, how old are you? I'm 76 00:03:56,720 --> 00:03:59,200 Speaker 1: only nineteen right now. That's crazy. Why do you think 77 00:03:59,200 --> 00:04:02,600 Speaker 1: I brought him on? Yeah? It's like book already. Yeah 78 00:04:02,800 --> 00:04:07,640 Speaker 1: we're not. We're not even through even to book level 79 00:04:08,080 --> 00:04:12,000 Speaker 1: in my career yet. So you're doing something right, sure, sure, 80 00:04:12,560 --> 00:04:15,880 Speaker 1: thank you. If we had if we had a short play, 81 00:04:15,960 --> 00:04:20,280 Speaker 1: that'd be pretty pretty intense. Oh yeah yeah, but yeah, 82 00:04:20,400 --> 00:04:23,880 Speaker 1: so that that's crazy. Okay, here we go. Here's another 83 00:04:23,920 --> 00:04:26,320 Speaker 1: impressive reason. So you're also a writer at ear Milk. 84 00:04:26,440 --> 00:04:29,239 Speaker 1: I know that, um, which makes sense a lot because 85 00:04:29,360 --> 00:04:32,200 Speaker 1: that publication focuses a lot with hip hop and rap 86 00:04:32,200 --> 00:04:34,240 Speaker 1: and pop. So that makes sense. If you have, you know, 87 00:04:34,320 --> 00:04:36,320 Speaker 1: such a love for hip hop and wrote a book 88 00:04:36,360 --> 00:04:40,640 Speaker 1: about it, I'm sure they've loved to have you obviously. Yeah, 89 00:04:40,720 --> 00:04:43,160 Speaker 1: you know, I reached out to ear Milk. I knew 90 00:04:43,160 --> 00:04:45,520 Speaker 1: a couple writers in the Lanta area that are writing 91 00:04:45,560 --> 00:04:47,160 Speaker 1: for them, and I was like, hey, like, you know, 92 00:04:47,200 --> 00:04:51,440 Speaker 1: I've been doing a couple essays and writings and news 93 00:04:51,440 --> 00:04:54,280 Speaker 1: posts on my own blog and I've been also wrote 94 00:04:54,279 --> 00:04:55,960 Speaker 1: this book, and I was like, I love to come on, 95 00:04:56,400 --> 00:04:59,400 Speaker 1: get a like broader experience talk to some new artists. 96 00:05:00,400 --> 00:05:03,239 Speaker 1: And they emailed me and said, hey, like come on, Like, well, 97 00:05:03,400 --> 00:05:05,360 Speaker 1: we'll see see how it goes. So that was definitely 98 00:05:05,360 --> 00:05:07,799 Speaker 1: a great experience. I Mean one of the crazy things 99 00:05:07,839 --> 00:05:09,640 Speaker 1: for me was like when I was on my own 100 00:05:09,680 --> 00:05:11,839 Speaker 1: blog and writing for that, you know, I had to 101 00:05:11,880 --> 00:05:14,279 Speaker 1: reach out to artists to get them to come on 102 00:05:14,320 --> 00:05:17,279 Speaker 1: and do interviews. But now I'm like having people reach 103 00:05:17,320 --> 00:05:19,240 Speaker 1: out to me because I'm writing for ear Milk. So 104 00:05:19,240 --> 00:05:22,480 Speaker 1: that was definitely a crazy switch up and has opened 105 00:05:22,480 --> 00:05:26,080 Speaker 1: my eyes to the massive amounts of genres in the 106 00:05:26,160 --> 00:05:28,600 Speaker 1: music space. You know, I've originally coming on I was 107 00:05:28,640 --> 00:05:31,640 Speaker 1: really just a hip hop writer. I've definitely expanded to 108 00:05:32,640 --> 00:05:35,599 Speaker 1: alternative indie, a lot of those types of genres that 109 00:05:35,680 --> 00:05:38,200 Speaker 1: ear Milk has really found in themselves on UM. So 110 00:05:38,200 --> 00:05:40,640 Speaker 1: I feel like it's been a great experience just all around. 111 00:05:41,480 --> 00:05:43,840 Speaker 1: Do you think like the blog space, because I know, 112 00:05:44,120 --> 00:05:48,680 Speaker 1: for a long time, like especially in the early twenty tens, 113 00:05:48,760 --> 00:05:50,560 Speaker 1: that's how a lot of indie acts and a lot 114 00:05:50,640 --> 00:05:55,520 Speaker 1: of wrap acts got their start was through blog interfaces, 115 00:05:55,560 --> 00:05:58,960 Speaker 1: and like just you know, getting more exposure through that realm. 116 00:05:59,160 --> 00:06:03,360 Speaker 1: Do you think that's coming back a little bit more? Yeah, 117 00:06:03,360 --> 00:06:06,920 Speaker 1: you know, UM actually leads up to my idea for 118 00:06:07,040 --> 00:06:09,800 Speaker 1: my next for my company. I'm working on Beatley music, 119 00:06:10,160 --> 00:06:12,279 Speaker 1: you know, one of the big things for me. You know, 120 00:06:12,360 --> 00:06:15,559 Speaker 1: obviously in the modern streaming like the modern music streaming world, 121 00:06:15,760 --> 00:06:18,160 Speaker 1: there's just so much music put out every single day. 122 00:06:18,279 --> 00:06:21,360 Speaker 1: You know, there's thousands and thousands of albums and songs, 123 00:06:21,800 --> 00:06:24,360 Speaker 1: and you know, writing for Earmoke, we have to pick 124 00:06:24,440 --> 00:06:26,600 Speaker 1: through all those thousands of songs that put out every 125 00:06:26,600 --> 00:06:29,840 Speaker 1: single day and find something that we really like. And 126 00:06:29,920 --> 00:06:32,239 Speaker 1: like many times when I was writing articles for Earmoke, 127 00:06:32,600 --> 00:06:34,720 Speaker 1: it was taking me longer to find the music than 128 00:06:34,760 --> 00:06:36,720 Speaker 1: to actually write about the music, and I was like, 129 00:06:36,720 --> 00:06:38,880 Speaker 1: this is ridiculous, Like I need to find something that's easier. 130 00:06:39,560 --> 00:06:41,479 Speaker 1: And I thought, you know, like if I was able 131 00:06:41,520 --> 00:06:44,400 Speaker 1: to see an album cover for a song or an 132 00:06:44,400 --> 00:06:48,000 Speaker 1: album or project and see what other critics think, but 133 00:06:48,120 --> 00:06:50,800 Speaker 1: with just a like average critic score on top of that, 134 00:06:51,040 --> 00:06:52,880 Speaker 1: it would just be so much easier for me to 135 00:06:53,160 --> 00:06:56,080 Speaker 1: like with like we down all the songs to find 136 00:06:56,120 --> 00:06:59,359 Speaker 1: something I liked. And that basically led me to create 137 00:06:59,400 --> 00:07:03,200 Speaker 1: Beatley Music, which basically brings together the best of like 138 00:07:03,279 --> 00:07:06,559 Speaker 1: IMDb and Ron Tomatoes to music. So we average critic 139 00:07:06,640 --> 00:07:11,000 Speaker 1: ratings from a bunch of repertal sources like Anti Pantano, 140 00:07:11,080 --> 00:07:15,800 Speaker 1: Complex or Not Complex, Pitchfork, a lot of those sort 141 00:07:15,800 --> 00:07:18,120 Speaker 1: of critic reviewers, and then we average them together to 142 00:07:18,120 --> 00:07:20,560 Speaker 1: get one critic rating, and then you can go on 143 00:07:20,560 --> 00:07:22,920 Speaker 1: the website and see the average critic ratings for all 144 00:07:22,960 --> 00:07:26,600 Speaker 1: the best albums Donda CLB anything you want. Wow, that's crazy. 145 00:07:26,680 --> 00:07:29,080 Speaker 1: I mean, that's a very unique idea that I haven't 146 00:07:29,240 --> 00:07:33,160 Speaker 1: heard in the music space before. So that I think 147 00:07:33,160 --> 00:07:36,560 Speaker 1: you're definitely definitely onto something for sure, because I feel like, 148 00:07:37,120 --> 00:07:39,720 Speaker 1: you know a lot of music reviewers, the people people 149 00:07:39,760 --> 00:07:43,040 Speaker 1: go to are like the people you named Complex, Pitchfork, 150 00:07:43,160 --> 00:07:49,120 Speaker 1: Anthony Pantano, you know, up against the two megalists. But yeah, 151 00:07:49,160 --> 00:07:51,520 Speaker 1: it's it's definitely interesting because I think it's almost like 152 00:07:52,440 --> 00:07:56,840 Speaker 1: there's so much combination with the entertainment industry now with 153 00:07:57,280 --> 00:08:02,680 Speaker 1: kind of like you interfaces like that, and bringing the 154 00:08:02,680 --> 00:08:06,560 Speaker 1: things that worked with maybe traditional media into more of 155 00:08:07,520 --> 00:08:11,720 Speaker 1: just audio based media as well. So that's super interesting, man. 156 00:08:12,160 --> 00:08:14,200 Speaker 1: That is That's something that I'm definitely going to hit 157 00:08:14,280 --> 00:08:16,600 Speaker 1: up a lot of the time. And I will say 158 00:08:16,640 --> 00:08:20,239 Speaker 1: when I was a music programmer, I would have fucking 159 00:08:20,400 --> 00:08:24,920 Speaker 1: loved to use that thing for my automation when I 160 00:08:24,960 --> 00:08:28,640 Speaker 1: was uploading ship to automation because like, I'm with you, man, 161 00:08:28,720 --> 00:08:31,240 Speaker 1: like we used to get I mean, your email is 162 00:08:31,280 --> 00:08:33,800 Speaker 1: probably like this too. I would get on a day. 163 00:08:33,920 --> 00:08:37,280 Speaker 1: On an average day, I think I got like five 164 00:08:37,360 --> 00:08:41,920 Speaker 1: hundred emails like and just people. Yeah, and it's like 165 00:08:42,000 --> 00:08:44,320 Speaker 1: how do I how do I sift through this crap? 166 00:08:44,440 --> 00:08:47,240 Speaker 1: I don't know, like who's good who isn't. So you 167 00:08:47,320 --> 00:08:50,000 Speaker 1: kind of just have your few reputable people that you're like, oh, 168 00:08:50,080 --> 00:08:52,320 Speaker 1: I know they're gonna give me good stuff, you know, 169 00:08:52,440 --> 00:08:54,679 Speaker 1: But this is kind of making it more for like 170 00:08:55,040 --> 00:08:57,720 Speaker 1: general public can tell you what they want, which I 171 00:08:57,720 --> 00:09:02,240 Speaker 1: think is very unique. So dope, it's also aggregated, which 172 00:09:02,240 --> 00:09:04,960 Speaker 1: I think is great because you know, everybody, every reviewer 173 00:09:05,080 --> 00:09:08,040 Speaker 1: has their own personal flavor, so like it's great to 174 00:09:08,080 --> 00:09:10,040 Speaker 1: have a resource where you can look at all these 175 00:09:10,080 --> 00:09:12,679 Speaker 1: different things combined, you know, and kind of get more 176 00:09:12,679 --> 00:09:15,280 Speaker 1: of a general consensus. So do they do they comment? 177 00:09:15,640 --> 00:09:17,600 Speaker 1: Like do they kind of leave their own like review 178 00:09:17,760 --> 00:09:20,120 Speaker 1: space kind of like Rotten Tomatoes where it's like you 179 00:09:20,200 --> 00:09:24,080 Speaker 1: have a chain of like reviews and stuff like that. Yeah, 180 00:09:24,120 --> 00:09:26,040 Speaker 1: So if you go onto the website and you click 181 00:09:26,200 --> 00:09:31,600 Speaker 1: say the Donda album, we'll see an excerpt from each 182 00:09:31,600 --> 00:09:36,319 Speaker 1: critic reviewer just with a general idea about the review, 183 00:09:36,559 --> 00:09:39,200 Speaker 1: and then the critic score they gave. And then you 184 00:09:39,200 --> 00:09:41,240 Speaker 1: can also go on as a user and give your 185 00:09:41,280 --> 00:09:43,920 Speaker 1: own user score, which you'll see right next to the 186 00:09:43,920 --> 00:09:47,360 Speaker 1: critic scores. Um. So you know, like obviously the critic 187 00:09:47,400 --> 00:09:50,720 Speaker 1: scores are important. You know, critics definitely have a you know, 188 00:09:50,760 --> 00:09:52,959 Speaker 1: I would say, have a very good sense of like 189 00:09:53,000 --> 00:09:57,000 Speaker 1: what music does well well music doesn't do well. But 190 00:09:57,559 --> 00:10:00,720 Speaker 1: the users and the fans are also eat as important. 191 00:10:00,800 --> 00:10:03,160 Speaker 1: M I vue um. And so I'm trying to create 192 00:10:03,200 --> 00:10:07,480 Speaker 1: the platform that highlights critic viewers but also equally highlights 193 00:10:07,679 --> 00:10:14,320 Speaker 1: the Fanner years as well. First thing I want to 194 00:10:14,320 --> 00:10:16,880 Speaker 1: talk about, which you would be qualified for, especially since 195 00:10:16,920 --> 00:10:19,000 Speaker 1: you already raffled off saying it as we're going to 196 00:10:19,080 --> 00:10:23,319 Speaker 1: talk about CLB, which for the uninformed, Certified lover Boy UM, 197 00:10:23,720 --> 00:10:26,480 Speaker 1: which is so funny to me to say, um, it 198 00:10:26,559 --> 00:10:28,880 Speaker 1: sounds like a yacht rock band, Like that's what I mean, 199 00:10:30,440 --> 00:10:35,839 Speaker 1: rod band. Okay, So this man, I'm sure Alexander knows, 200 00:10:35,920 --> 00:10:39,680 Speaker 1: just destroyed all the charts and everything. Like we had 201 00:10:39,760 --> 00:10:42,400 Speaker 1: down to come up first, and we're like wow, and 202 00:10:42,440 --> 00:10:45,880 Speaker 1: then Drake came up and we're like what is going on? 203 00:10:46,559 --> 00:10:49,800 Speaker 1: So Certified Lover Boy launched at number one on the 204 00:10:49,800 --> 00:10:54,240 Speaker 1: Billboard two hundred with six hundred thirteen thousand equivalent album 205 00:10:54,360 --> 00:10:57,480 Speaker 1: units according to MRC data, making the biggest weekly sum 206 00:10:57,520 --> 00:11:00,160 Speaker 1: for an album in over a year, and he becomes 207 00:11:00,160 --> 00:11:02,840 Speaker 1: the eighth artist with ten or more number ones in 208 00:11:03,160 --> 00:11:07,320 Speaker 1: chart history. So here's the other thing Drake has, which 209 00:11:07,360 --> 00:11:09,000 Speaker 1: is what I want to talk about, and I kind 210 00:11:09,000 --> 00:11:11,280 Speaker 1: of have a fun low game for us, is Drake 211 00:11:11,400 --> 00:11:17,719 Speaker 1: has insane like Billboard and chart like records that are 212 00:11:17,920 --> 00:11:21,320 Speaker 1: so big. So, for instance, in the sixty three years 213 00:11:21,400 --> 00:11:23,880 Speaker 1: of the Hot one hundred, this is only a second 214 00:11:23,960 --> 00:11:27,160 Speaker 1: time that an artist has controlled twenty one spots of 215 00:11:27,200 --> 00:11:30,640 Speaker 1: the top forty, including all the top ten. And the 216 00:11:30,760 --> 00:11:36,000 Speaker 1: only other time was also Drake with Scorpio the Spider 217 00:11:36,040 --> 00:11:39,560 Speaker 1: Man Mean where he points out us, ye, who's hitting 218 00:11:39,559 --> 00:11:43,200 Speaker 1: me off the chart my own album, So yeah, man, 219 00:11:43,320 --> 00:11:47,480 Speaker 1: it's insane. He also has drastically extended his lead of 220 00:11:47,559 --> 00:11:51,560 Speaker 1: the most top forty hits with one hundred and forty three. 221 00:11:51,600 --> 00:11:55,400 Speaker 1: Oh my god. Yeah. He also has appeared on the 222 00:11:55,440 --> 00:12:00,360 Speaker 1: top one hundred, two hundred and fifty eight times, two 223 00:12:00,400 --> 00:12:05,400 Speaker 1: and a half. Dude, it's insane. So they were labeling off, 224 00:12:06,240 --> 00:12:08,160 Speaker 1: and we can get into a Drake discussion after this, 225 00:12:08,200 --> 00:12:09,920 Speaker 1: but I wanted to do this little game thing for you, 226 00:12:10,000 --> 00:12:13,559 Speaker 1: is they were labeling off kind of who has the 227 00:12:13,600 --> 00:12:17,120 Speaker 1: most Top one hundred appearances after Drake. Drake has two 228 00:12:17,200 --> 00:12:20,440 Speaker 1: undred and fifty eight. So the first I thought we 229 00:12:20,480 --> 00:12:23,360 Speaker 1: could guess what these are, I blacked them out kind 230 00:12:23,360 --> 00:12:30,280 Speaker 1: of shittily in the Google docum. So the first that 231 00:12:31,040 --> 00:12:33,400 Speaker 1: I should have made I should have made both black 232 00:12:33,480 --> 00:12:36,760 Speaker 1: instead of this like one kind of whider um. So, 233 00:12:36,840 --> 00:12:41,040 Speaker 1: first off, who's directly behind Drake Joe? Do you have 234 00:12:41,080 --> 00:12:45,360 Speaker 1: a guess of the most appearances on the top one 235 00:12:45,440 --> 00:12:49,120 Speaker 1: hundred behind Drake? Drake's a two fight. Okay, I can 236 00:12:49,160 --> 00:12:51,400 Speaker 1: give you hints, and Alexander feel free to butt in. 237 00:12:51,440 --> 00:12:53,760 Speaker 1: I know it's weird with zooms. I'm gonna go left field. 238 00:12:53,760 --> 00:12:56,720 Speaker 1: I'm gonna say Taylor Swift, but I don't think that's correct. Okay, 239 00:12:56,840 --> 00:13:00,440 Speaker 1: Taylor Swift, Alexander, do you have a guess? I would 240 00:13:00,440 --> 00:13:03,440 Speaker 1: have to go with maybe someone older, maybe like Michael 241 00:13:03,520 --> 00:13:06,200 Speaker 1: Jackson or something like that. Okay, that's a good guest too. 242 00:13:06,240 --> 00:13:09,760 Speaker 1: I'm gonna preface now that you two will not get this, 243 00:13:10,280 --> 00:13:13,400 Speaker 1: but it makes sense after I reveal what it is. 244 00:13:14,040 --> 00:13:23,360 Speaker 1: So the second highest is the Glee cast seven get 245 00:13:23,440 --> 00:13:26,560 Speaker 1: out of here. It makes sense though. I always joke 246 00:13:26,640 --> 00:13:29,480 Speaker 1: with my spouse is I'm very glad that we're out 247 00:13:29,480 --> 00:13:32,840 Speaker 1: of the time period where like Acapella was like the 248 00:13:32,960 --> 00:13:36,240 Speaker 1: rage and everything and that was about Yeah, that was 249 00:13:36,280 --> 00:13:40,440 Speaker 1: like late two thousand's, early twenty ten. Sorry Acapella fans um, 250 00:13:40,760 --> 00:13:45,199 Speaker 1: but yeah, right, come back. They got two hundred and 251 00:13:45,280 --> 00:13:49,600 Speaker 1: seven and that's just you know, that's close like and 252 00:13:49,800 --> 00:13:53,080 Speaker 1: but sadly, unless the Glee reunion happens, I don't know 253 00:13:53,120 --> 00:13:56,480 Speaker 1: if they're gonna beat that ever. Um, but it makes sense. 254 00:13:56,520 --> 00:13:58,640 Speaker 1: I mean it was a huge deal, huge show, and 255 00:13:58,720 --> 00:14:01,360 Speaker 1: that was kind of thing. They kind of kids bopped 256 00:14:01,400 --> 00:14:03,400 Speaker 1: a bunch of songs too, to make them, you know, 257 00:14:03,520 --> 00:14:07,200 Speaker 1: family friendly. So I'm surprised Kids Bop isn't up there. 258 00:14:07,440 --> 00:14:09,439 Speaker 1: It's not up there. I'll tell you that right now. 259 00:14:09,480 --> 00:14:13,719 Speaker 1: They're not up there. In Europe, I'm pretty sure, right, Yeah, 260 00:14:13,760 --> 00:14:17,280 Speaker 1: they have a huge international presence. Um, okay, let's go 261 00:14:17,320 --> 00:14:19,920 Speaker 1: to number three. Number three, I'll give you a hint. 262 00:14:20,200 --> 00:14:25,120 Speaker 1: Is a rapper, but it's an older rapper. And again 263 00:14:25,160 --> 00:14:28,680 Speaker 1: this is top one hundred appearances to one. Okay, rapper, 264 00:14:28,760 --> 00:14:31,320 Speaker 1: but older rapper, yeah, not too old. Don't think like 265 00:14:31,520 --> 00:14:34,760 Speaker 1: old doctor dre Okay, that's your guest. Let's go with that. 266 00:14:34,920 --> 00:14:40,000 Speaker 1: And then Alexander. Um, I'm gonna go with Eminem Okay, 267 00:14:40,120 --> 00:14:43,640 Speaker 1: around that time period. It's around that time period. But 268 00:14:43,680 --> 00:14:49,480 Speaker 1: it's little Wayne. No what yeah, little Wayne. You have 269 00:14:49,520 --> 00:14:52,960 Speaker 1: to think about it like this, Drake. The same reason 270 00:14:53,000 --> 00:14:56,600 Speaker 1: that Drake has such high that's different number from how 271 00:14:56,600 --> 00:14:58,920 Speaker 1: many times he's personally been on the board with his 272 00:14:59,040 --> 00:15:02,760 Speaker 1: records feature how many times his little Wayne been He 273 00:15:04,080 --> 00:15:06,640 Speaker 1: did the Rihanna thing. He was on like every other 274 00:15:06,680 --> 00:15:09,400 Speaker 1: record for a while. You know, now he just gets 275 00:15:09,440 --> 00:15:12,120 Speaker 1: really depressed to a Blink one eighty two concert. But like, 276 00:15:12,520 --> 00:15:14,200 Speaker 1: which have you never seen that video? I don't know 277 00:15:14,240 --> 00:15:17,040 Speaker 1: if you ever seen that Alexander is He went on 278 00:15:17,080 --> 00:15:20,320 Speaker 1: tour with Blink one eighty two and it was the 279 00:15:20,360 --> 00:15:24,040 Speaker 1: weirdest pairing of bands, and he basically just like gave up. 280 00:15:24,320 --> 00:15:28,560 Speaker 1: He was like he it was really save up on stage, right, 281 00:15:28,600 --> 00:15:30,680 Speaker 1: he was just like, I can't buck this and he 282 00:15:30,760 --> 00:15:32,840 Speaker 1: was like enjoyed Blink one eighty two, And it was 283 00:15:32,920 --> 00:15:35,680 Speaker 1: just because the tour was so weird and people weren't 284 00:15:35,680 --> 00:15:39,760 Speaker 1: getting hype. He was the opener for Blink wyn eighty two. Yeah, 285 00:15:39,800 --> 00:15:41,920 Speaker 1: it was a kind of a weird pairing up right, 286 00:15:42,080 --> 00:15:46,440 Speaker 1: Who would you who would you book for that? Um? 287 00:15:47,680 --> 00:15:49,400 Speaker 1: I will let me start the story and then I'll 288 00:15:49,400 --> 00:15:52,160 Speaker 1: get into that. Um. But actually I went to this 289 00:15:52,280 --> 00:15:58,520 Speaker 1: concert with post Malone and Aerosmith. Oh, the difference in 290 00:15:58,600 --> 00:16:02,480 Speaker 1: crowd was ridicul list right and like ninety year old 291 00:16:02,520 --> 00:16:06,080 Speaker 1: like Grandpas and Grandma's up there like shaking their canes, 292 00:16:06,200 --> 00:16:09,200 Speaker 1: like all hype for Aerosmith. And we had like a 293 00:16:09,200 --> 00:16:11,400 Speaker 1: bunch of like sixteen year old, like seventeen year old 294 00:16:11,480 --> 00:16:14,240 Speaker 1: kids like who's Aerosmiths? And I was sitting there like 295 00:16:14,560 --> 00:16:16,800 Speaker 1: I know Aeron Smith, Like I was up there for 296 00:16:16,880 --> 00:16:19,640 Speaker 1: both of them, and like up there like going crazy 297 00:16:19,720 --> 00:16:23,160 Speaker 1: all the people that were from the eighties and the like. 298 00:16:23,240 --> 00:16:25,760 Speaker 1: When post Malone came out, did this grandpa next to me? 299 00:16:25,800 --> 00:16:27,760 Speaker 1: He was like this is not real music? And I 300 00:16:27,880 --> 00:16:31,040 Speaker 1: was like, I think it's pretty solid. Like he's got 301 00:16:31,040 --> 00:16:32,880 Speaker 1: a bud light up there. There's a lot of people 302 00:16:32,920 --> 00:16:38,320 Speaker 1: that would claim Aerosmith isn't real music. Yeah, I don't know. Yeah, Okay, 303 00:16:38,360 --> 00:16:40,400 Speaker 1: I'll leave you with the last two. The last two 304 00:16:40,440 --> 00:16:43,200 Speaker 1: are usual suspects. These are the people that you would imagine. 305 00:16:43,240 --> 00:16:45,280 Speaker 1: I'll give you a hint. You said one of them earlier. 306 00:16:45,560 --> 00:16:48,480 Speaker 1: Of who would be in the top one hundred the 307 00:16:48,560 --> 00:16:53,360 Speaker 1: most times, Taylor Swift? Okay, that's one. Who's the other one? Um, 308 00:16:53,600 --> 00:16:57,760 Speaker 1: I'm gonna go with Kanye You got them both right? Wow? Um, 309 00:16:58,080 --> 00:16:59,960 Speaker 1: do you want to guess who's ahead of any other? Dude? 310 00:17:00,080 --> 00:17:01,400 Speaker 1: Do you want to guess who's ahead of the other. 311 00:17:02,000 --> 00:17:04,320 Speaker 1: I mean Taylor, Taylor's ahead of the other. I thought 312 00:17:04,359 --> 00:17:06,119 Speaker 1: maybe I was like, I thought I could fake you 313 00:17:06,160 --> 00:17:09,359 Speaker 1: out with that because the other ones, no one would 314 00:17:09,359 --> 00:17:12,439 Speaker 1: have guessed. You know. So Taylor has one hundred and 315 00:17:12,440 --> 00:17:15,440 Speaker 1: thirty six and Kanye has one hundred and thirty three, 316 00:17:15,480 --> 00:17:18,760 Speaker 1: so their neck and neck. Oh wow? Yeah, Okay, I 317 00:17:18,840 --> 00:17:21,880 Speaker 1: believe the Strake thing with the number one right now 318 00:17:22,760 --> 00:17:25,639 Speaker 1: right now from Drake was way too sexy, which is 319 00:17:25,680 --> 00:17:29,359 Speaker 1: a weird song, but whatever. I don't think it's my 320 00:17:29,400 --> 00:17:32,560 Speaker 1: favorite on that album. But it marks the fifty second 321 00:17:32,560 --> 00:17:37,080 Speaker 1: week that Drake has reigned, encompassing cumulative weeks of all 322 00:17:37,240 --> 00:17:39,399 Speaker 1: nine of his number one hits. So he's been a 323 00:17:39,520 --> 00:17:42,840 Speaker 1: number one for a year in terms of like adding 324 00:17:42,920 --> 00:17:45,919 Speaker 1: up all the time that he's had a number one record. Wow. 325 00:17:46,240 --> 00:17:49,160 Speaker 1: And then he's the fourth act to reach the one 326 00:17:49,240 --> 00:17:51,000 Speaker 1: year mark, which I'm just going to tell you what 327 00:17:51,040 --> 00:17:54,760 Speaker 1: the other ones were. The number one who's been the 328 00:17:54,800 --> 00:17:57,800 Speaker 1: longest number one is Mariah Carey with eighty four weeks, 329 00:17:58,280 --> 00:18:02,240 Speaker 1: then Rihanna with sixty and the Beatles with fifty nine. Wow, 330 00:18:03,080 --> 00:18:09,080 Speaker 1: which is I'm honestly impressive. Yeah, he beat out Mariach Carry. Well, no, 331 00:18:09,200 --> 00:18:13,200 Speaker 1: he hadn't beat out Mariah Carry. He's uh, yeah, he's fourth. 332 00:18:13,240 --> 00:18:16,320 Speaker 1: He's behind the Beatles, which is weird because then Drake 333 00:18:16,359 --> 00:18:19,320 Speaker 1: can go, I'm bigger than Jesus, I'm bigger than the Beatles. 334 00:18:21,840 --> 00:18:24,840 Speaker 1: You know that's gonna be coming up in the next album. Yeah, dude, Uh, 335 00:18:25,400 --> 00:18:27,919 Speaker 1: this man is just insane. Like I was saying before 336 00:18:28,040 --> 00:18:30,119 Speaker 1: you knew the guy from de Grass, that's what I 337 00:18:30,160 --> 00:18:34,359 Speaker 1: think of dude. We're like, we're on the we're on 338 00:18:34,400 --> 00:18:36,760 Speaker 1: the cup. Well, Alexander, I think, is really on the cusp, 339 00:18:36,800 --> 00:18:39,000 Speaker 1: but we're on the cusp of the people that understand 340 00:18:39,040 --> 00:18:43,400 Speaker 1: that reference, because people younger than Alexander are like, what 341 00:18:43,440 --> 00:18:45,720 Speaker 1: the hell are you talking about? And I'm like, he 342 00:18:45,840 --> 00:18:47,720 Speaker 1: was Jimmy in the wheelchair. You don't remember that in 343 00:18:47,720 --> 00:18:50,240 Speaker 1: the school shooting thing, But like I was, I was 344 00:18:50,240 --> 00:18:53,280 Speaker 1: probably I was like eight or nine years old, watching 345 00:18:53,280 --> 00:18:55,919 Speaker 1: like Nick Nick fourteen or whatever, you like, right, it 346 00:18:56,000 --> 00:18:58,040 Speaker 1: was on the way out when you were I was 347 00:18:58,080 --> 00:18:59,800 Speaker 1: on the way out when Yeah, when I was getting older, 348 00:19:00,119 --> 00:19:02,640 Speaker 1: I caught the reference a little bit. But people my age, 349 00:19:02,640 --> 00:19:05,199 Speaker 1: you'd ask him, what's grass he is? They're like, is 350 00:19:05,200 --> 00:19:08,280 Speaker 1: that like a movie or like they would have no 351 00:19:08,320 --> 00:19:13,320 Speaker 1: clue what you're talking about that grass treatment, Like, let's 352 00:19:13,359 --> 00:19:16,680 Speaker 1: talk about it. Like Drake is insane with his chart 353 00:19:17,000 --> 00:19:20,879 Speaker 1: presence and has always been, which is interesting because he 354 00:19:20,920 --> 00:19:23,480 Speaker 1: had this whole feud with Kanye West about like who's 355 00:19:23,480 --> 00:19:26,120 Speaker 1: going to have a bigger album and their speculation if 356 00:19:26,160 --> 00:19:29,160 Speaker 1: like even parts of that are real, you know. And 357 00:19:29,200 --> 00:19:32,080 Speaker 1: so why do you think he's so successful? Jay got 358 00:19:32,240 --> 00:19:34,640 Speaker 1: an opinion? Why do you think he I think he's 359 00:19:34,720 --> 00:19:40,640 Speaker 1: easily digestible ye for mass audience consumption in a genre 360 00:19:40,880 --> 00:19:45,800 Speaker 1: that historically was not appealing to white audiences. Yea. To 361 00:19:45,920 --> 00:19:48,359 Speaker 1: be honest, I think that's kind of like Drake's almost 362 00:19:48,359 --> 00:19:50,280 Speaker 1: like a gateway drug for a lot of people into 363 00:19:50,359 --> 00:19:54,720 Speaker 1: round and hip hop. What do you think thought? I 364 00:19:54,720 --> 00:19:56,920 Speaker 1: feel like he I honestly, I feel like he's mastered 365 00:19:57,080 --> 00:19:59,400 Speaker 1: how to make a pop hit almost you know, even 366 00:19:59,440 --> 00:20:02,399 Speaker 1: though some times than music may not be like have 367 00:20:02,600 --> 00:20:05,080 Speaker 1: that much depth. I mean, I don't think anyone out 368 00:20:05,080 --> 00:20:07,400 Speaker 1: here would say way Too Sexy is like a very 369 00:20:07,480 --> 00:20:12,320 Speaker 1: deep song with like heavy lyrics. I think he's mastered 370 00:20:12,320 --> 00:20:15,400 Speaker 1: the way to appeal to his audience. You know, Obviously 371 00:20:15,400 --> 00:20:17,440 Speaker 1: a lot of the massive hits. Right now, we're coming 372 00:20:17,440 --> 00:20:19,840 Speaker 1: off of TikTok, and to me, Way Too Sexy is 373 00:20:19,840 --> 00:20:23,480 Speaker 1: a very much a TikTok song, and I feel like 374 00:20:23,600 --> 00:20:26,240 Speaker 1: he definitely plays his audience and where people are digesting 375 00:20:26,320 --> 00:20:28,800 Speaker 1: music at the time. Yeah, that's a good point because 376 00:20:28,800 --> 00:20:31,920 Speaker 1: there has been a lot with people that we've talked 377 00:20:31,960 --> 00:20:35,840 Speaker 1: to but also the industry about getting that like really 378 00:20:36,000 --> 00:20:40,640 Speaker 1: good sub thirty seconds of a song, especially for TikTok. 379 00:20:40,640 --> 00:20:43,040 Speaker 1: As we've talked multiple times on the show about the 380 00:20:43,080 --> 00:20:46,920 Speaker 1: power of TikTok, and there's people that you know, almost 381 00:20:47,119 --> 00:20:49,520 Speaker 1: I've literally talked to some people that are going like, well, 382 00:20:49,880 --> 00:20:52,399 Speaker 1: the chorus of this song is good, it's just too long. 383 00:20:52,440 --> 00:20:55,920 Speaker 1: Can you make it shorter? And literally it's because of TikTok, 384 00:20:56,440 --> 00:20:58,680 Speaker 1: which I think is insane. And he does a really 385 00:20:58,720 --> 00:21:02,600 Speaker 1: good and you know, rapping hip hop specifically, it's all 386 00:21:02,640 --> 00:21:05,760 Speaker 1: based on hooks, So if you got a good hook 387 00:21:05,760 --> 00:21:09,000 Speaker 1: in there, that's perfect for a TikTok. Yeah, and he's 388 00:21:09,119 --> 00:21:11,040 Speaker 1: very good at hype cycles, So I was gonna say 389 00:21:11,080 --> 00:21:13,920 Speaker 1: that was my reason. He's very good at like having 390 00:21:14,000 --> 00:21:18,159 Speaker 1: these periods of time and making like like his albums 391 00:21:18,640 --> 00:21:21,720 Speaker 1: together are not like that crazy apart in time, but 392 00:21:21,800 --> 00:21:24,760 Speaker 1: he creates a hype cycle that's like if the Beatles 393 00:21:24,800 --> 00:21:28,400 Speaker 1: were releasing a new album, like which is insane and 394 00:21:28,640 --> 00:21:31,639 Speaker 1: like it's just like crazy interaction with fans and stuff. 395 00:21:31,960 --> 00:21:34,200 Speaker 1: And he has that thing like you're saying, it's digestible 396 00:21:34,200 --> 00:21:37,680 Speaker 1: where it's like it's almost like it's cool music, Like 397 00:21:37,720 --> 00:21:40,960 Speaker 1: it's like you know, hip music, but like it's not 398 00:21:41,080 --> 00:21:43,639 Speaker 1: too hip that you don't understand what's going on or 399 00:21:43,680 --> 00:21:46,159 Speaker 1: like what he's saying. I think too, like he was 400 00:21:46,240 --> 00:21:50,320 Speaker 1: really on the on the end when hip hop was 401 00:21:50,400 --> 00:21:54,480 Speaker 1: becoming the standard like popular genre. Yeah too, And I 402 00:21:54,520 --> 00:21:56,840 Speaker 1: think that helped a lot for his growth as an 403 00:21:56,920 --> 00:22:01,239 Speaker 1: artist because of that, and then I mean, obviously the 404 00:22:01,320 --> 00:22:06,679 Speaker 1: Degrassi thing helped. But yeah, I do think it is 405 00:22:06,680 --> 00:22:10,240 Speaker 1: like just very digestible. Um. I mean, if you play 406 00:22:10,800 --> 00:22:14,320 Speaker 1: like Drake in front of your family, like even if 407 00:22:14,320 --> 00:22:16,800 Speaker 1: it's like a conservative family or something, right, they're probably 408 00:22:16,800 --> 00:22:19,440 Speaker 1: gonna be okay with it for the most part. Whereas 409 00:22:19,520 --> 00:22:22,760 Speaker 1: if you contrast that with like Kindrick Lamar or Kanye 410 00:22:23,200 --> 00:22:25,520 Speaker 1: Yeah or Kanye, where it's a bit more grittier and 411 00:22:25,560 --> 00:22:29,040 Speaker 1: it's a bit more like I I kind of want 412 00:22:29,080 --> 00:22:31,359 Speaker 1: to say real, but like you can you can have 413 00:22:31,400 --> 00:22:35,159 Speaker 1: your own opinion on that where it's like it's a 414 00:22:35,200 --> 00:22:40,000 Speaker 1: bit more harsh, I guess for for the listener, the 415 00:22:40,000 --> 00:22:44,160 Speaker 1: the there is a stark like contrast in that. Um, 416 00:22:44,160 --> 00:22:47,400 Speaker 1: and he knows he knows how to just be consistent too. 417 00:22:47,440 --> 00:22:50,560 Speaker 1: I think that's another huge thing where I expect a 418 00:22:50,600 --> 00:22:54,439 Speaker 1: Drake record record every year at this point, you know, 419 00:22:54,640 --> 00:22:57,879 Speaker 1: it comes out with one like the new iPhones. Yeah, exactly, 420 00:22:59,119 --> 00:23:03,879 Speaker 1: every new iPhone comes with the Drake record. Who is it? 421 00:23:03,960 --> 00:23:06,040 Speaker 1: Is it? Ja Cole? That was like I got the feature. 422 00:23:06,160 --> 00:23:08,640 Speaker 1: Somebody was like that for a while. Um, but like 423 00:23:08,880 --> 00:23:11,439 Speaker 1: that's what Drake does very well too. He's got a 424 00:23:11,480 --> 00:23:14,560 Speaker 1: big number of features on there as well from big artists, 425 00:23:14,560 --> 00:23:16,879 Speaker 1: like he has features on his record, on his record, 426 00:23:16,960 --> 00:23:20,000 Speaker 1: and also the opposite fair point is that he has 427 00:23:20,200 --> 00:23:23,359 Speaker 1: big features on other people's songs as much. Anymore. It 428 00:23:23,400 --> 00:23:27,320 Speaker 1: seems like he has the ability to you know, demand like, 429 00:23:27,600 --> 00:23:29,359 Speaker 1: oh you want to come on to my record, I 430 00:23:29,440 --> 00:23:33,240 Speaker 1: don't have to go under yours sometimes. But that seems 431 00:23:33,240 --> 00:23:35,560 Speaker 1: it was crazy to me. I mean it was crazy 432 00:23:35,600 --> 00:23:38,960 Speaker 1: to see that, like Kanye had this massive album roll out, 433 00:23:39,000 --> 00:23:41,600 Speaker 1: you know, he had one, two, three listening parties with 434 00:23:41,720 --> 00:23:44,680 Speaker 1: massive attendance on Apple Music, and Drake was still able 435 00:23:44,720 --> 00:23:46,400 Speaker 1: to beat him out for numbers in the first week. 436 00:23:46,640 --> 00:23:48,560 Speaker 1: That's what was so crazy to me. That's how powerful 437 00:23:48,640 --> 00:23:51,480 Speaker 1: Drake's music is. That is point, like Kanye had to 438 00:23:51,480 --> 00:23:54,119 Speaker 1: put on the Kanye circus and Drake just had to 439 00:23:54,200 --> 00:23:57,200 Speaker 1: you know, Drake literally had to get up and just 440 00:23:57,480 --> 00:23:59,560 Speaker 1: hit this. Yeah, he just had to say some shit, 441 00:24:00,040 --> 00:24:02,320 Speaker 1: know like and be like I'm putting out a record 442 00:24:02,359 --> 00:24:04,840 Speaker 1: and you know, give some beef with Kanye and be like, 443 00:24:04,840 --> 00:24:07,359 Speaker 1: I got these people on it and have good marketing team. 444 00:24:07,400 --> 00:24:09,080 Speaker 1: And that was it. Kanye I had to put on 445 00:24:09,359 --> 00:24:12,160 Speaker 1: three shows and this whole thing. And like, I don't 446 00:24:12,160 --> 00:24:15,879 Speaker 1: think he had to. I think I definitely by a 447 00:24:15,880 --> 00:24:20,800 Speaker 1: lot because it was like yeah, yeah, so yeah, what 448 00:24:20,800 --> 00:24:26,000 Speaker 1: what I mean Kanye is wild drinking going anywhere. That's true. Hey, 449 00:24:26,040 --> 00:24:31,600 Speaker 1: We're gonna be like doing the Tutsie Slide in twenty forty. Yeah, 450 00:24:31,640 --> 00:24:36,960 Speaker 1: what's your favorite Drake song? Mine? Yeah? Um, honestly, I'm 451 00:24:37,000 --> 00:24:38,840 Speaker 1: gonna go with the Tutsie Slide right now because I 452 00:24:38,880 --> 00:24:41,240 Speaker 1: just like, how like goofy that song is the other 453 00:24:41,240 --> 00:24:43,200 Speaker 1: thing I want to say before we move on. Is 454 00:24:43,320 --> 00:24:47,200 Speaker 1: Drake is fucking creepy as hell with people. Sometimes you 455 00:24:47,280 --> 00:24:51,720 Speaker 1: can't I don't know, like and there's like lines on 456 00:24:51,760 --> 00:24:53,879 Speaker 1: the wall that I just can't ignore it. So I 457 00:24:53,920 --> 00:24:55,960 Speaker 1: don't want anybody to be like, I'm a Drake fan 458 00:24:56,040 --> 00:24:59,120 Speaker 1: and like I'm just gonna like let that go. But 459 00:24:59,280 --> 00:25:03,800 Speaker 1: U It's just it's definitely interesting because that that will 460 00:25:03,840 --> 00:25:06,960 Speaker 1: be interesting in this future, I think if he decides 461 00:25:07,000 --> 00:25:09,040 Speaker 1: to do that. But at the same time, Kanye has 462 00:25:09,080 --> 00:25:11,600 Speaker 1: done that. He's done fucking things that people find horrific 463 00:25:12,119 --> 00:25:16,240 Speaker 1: and terrible and survived. But I don't know if he's 464 00:25:16,480 --> 00:25:19,919 Speaker 1: too hard then I don't know if grooming was necessarily 465 00:25:19,920 --> 00:25:23,240 Speaker 1: a thing that I heard about Kanye. Yeah, Buch is 466 00:25:23,320 --> 00:25:25,399 Speaker 1: way different in the public sphere. I mean, like that 467 00:25:25,400 --> 00:25:28,600 Speaker 1: would be way easier to cancel people for rightfully. So yeah, 468 00:25:28,600 --> 00:25:30,720 Speaker 1: but making out with the sixteen year old girl on 469 00:25:30,760 --> 00:25:34,639 Speaker 1: stage isn't exactly. Yeah, that was not the best not 470 00:25:34,720 --> 00:25:38,959 Speaker 1: the best time. Yeah. But besides that, Sandrew, what's your 471 00:25:38,960 --> 00:25:42,800 Speaker 1: favorite drink song? I would have to go with the 472 00:25:43,040 --> 00:25:46,200 Speaker 1: Starter from the Bottom that, I mean, absolute classic year 473 00:25:47,080 --> 00:25:49,320 Speaker 1: growing up. That was always the song people play it at, 474 00:25:49,640 --> 00:25:54,000 Speaker 1: you know, basketball games, at basketball hype matches like the 475 00:25:55,119 --> 00:25:57,840 Speaker 1: a lot of school stuff. I think it's one of 476 00:25:57,880 --> 00:26:00,560 Speaker 1: those Drake songs that's catchy, but it has like that 477 00:26:00,920 --> 00:26:04,240 Speaker 1: deep down internal meeting that like is perfect to put 478 00:26:04,240 --> 00:26:07,240 Speaker 1: on whenever you're going on a run, doing a test, 479 00:26:07,320 --> 00:26:11,000 Speaker 1: anything like that. Yeah, yeah, mine is hot wyven bling. 480 00:26:11,400 --> 00:26:15,280 Speaker 1: I think that was pinnacle. Drake was was the Yes, 481 00:26:15,480 --> 00:26:19,240 Speaker 1: it was the music video it was. It was the 482 00:26:19,240 --> 00:26:21,120 Speaker 1: best thing I've ever seen in my life, the best 483 00:26:21,200 --> 00:26:23,720 Speaker 1: dance moves I've ever seen. That brought dance back in 484 00:26:23,760 --> 00:26:31,160 Speaker 1: my opinion. All Right, well, we're gonna jump into something 485 00:26:31,200 --> 00:26:33,680 Speaker 1: a little bit heaty, and what I mean by hetty 486 00:26:33,840 --> 00:26:35,920 Speaker 1: is like you're gonna get a headache because there's gonna 487 00:26:35,920 --> 00:26:37,560 Speaker 1: be a lot of numbers involved, and I just want 488 00:26:37,560 --> 00:26:41,480 Speaker 1: to We're trying our best. It's a big deal. It's 489 00:26:41,520 --> 00:26:43,679 Speaker 1: a lot of stuff going on, but it is definitely 490 00:26:43,760 --> 00:26:46,480 Speaker 1: something you need to know about, which is Universal Music 491 00:26:46,480 --> 00:26:50,040 Speaker 1: Group goes public for the first time. Oh my god, yeah, 492 00:26:50,080 --> 00:26:54,840 Speaker 1: I know. It is crazy. It is the highest valued 493 00:26:55,400 --> 00:27:01,000 Speaker 1: music business to go public, uh general and in ever 494 00:27:01,480 --> 00:27:04,439 Speaker 1: so with just one day of public trading on the 495 00:27:04,480 --> 00:27:09,360 Speaker 1: euronext Amsterdam Stock Exchange, UMG shares were up thirty six 496 00:27:09,440 --> 00:27:14,080 Speaker 1: point five percent, which the valuation of UMG is now 497 00:27:14,280 --> 00:27:18,320 Speaker 1: fifty four point three billion dollars, which makes sense after 498 00:27:18,400 --> 00:27:21,440 Speaker 1: analyzing the absolute bedlam that was the first day of trading, 499 00:27:21,480 --> 00:27:25,840 Speaker 1: which was literally all of the music business outlets were 500 00:27:25,840 --> 00:27:29,840 Speaker 1: just like, guys, it's happening, right they remembering It was like, 501 00:27:30,160 --> 00:27:32,920 Speaker 1: it's like tuning into ESPN to go, like we got 502 00:27:33,000 --> 00:27:37,200 Speaker 1: twenty four seven coverage on this stock. Right now, here's 503 00:27:37,240 --> 00:27:39,480 Speaker 1: the chart. I remember, let's getting this Like when we 504 00:27:39,520 --> 00:27:42,959 Speaker 1: first started the podcast, people were having rumblings. So now yeah, 505 00:27:42,960 --> 00:27:46,600 Speaker 1: it's well, apparently it's been happening since twenty eighteen because, 506 00:27:46,840 --> 00:27:49,919 Speaker 1: according to Variety, rumblings over the announcement of the IPO 507 00:27:50,040 --> 00:27:53,800 Speaker 1: began in twenty eighteen and continued with Chinese media giant 508 00:27:53,880 --> 00:27:57,720 Speaker 1: ten cents acquisition of twenty percent of the company and 509 00:27:57,960 --> 00:28:02,119 Speaker 1: billionaire Bill Ackerman's acquisition of ten percent. So they basically 510 00:28:02,200 --> 00:28:07,040 Speaker 1: it was owned collectively by Vivendi, which if anybody knows, 511 00:28:07,080 --> 00:28:12,560 Speaker 1: it's like one of the biggest like yeah, of all time. 512 00:28:13,000 --> 00:28:17,399 Speaker 1: And so they decided or they didn't really decide. I 513 00:28:17,440 --> 00:28:20,120 Speaker 1: think like a lot of laws and trading laws were 514 00:28:20,119 --> 00:28:24,400 Speaker 1: put into place here where they can't necessarily buy stock 515 00:28:24,720 --> 00:28:27,880 Speaker 1: going public if it's owned under them, I'm pretty sure 516 00:28:28,119 --> 00:28:30,880 Speaker 1: is kind of the reasoning. I was trying to look 517 00:28:30,920 --> 00:28:33,000 Speaker 1: more into it. There might be a little bit more 518 00:28:33,080 --> 00:28:36,600 Speaker 1: nuanced to it that I just couldn't find. But basically, 519 00:28:36,600 --> 00:28:38,680 Speaker 1: over the past couple of years, they've been selling it 520 00:28:38,760 --> 00:28:41,520 Speaker 1: off bit by bit by bit, and they sold off 521 00:28:41,760 --> 00:28:46,160 Speaker 1: ninety percent of it. So VIVINDI, like back in twenty 522 00:28:46,440 --> 00:28:50,400 Speaker 1: seventeen had one hundred percent and now it only has 523 00:28:50,480 --> 00:28:54,360 Speaker 1: ten percent. Yeah, which is crazy. But the reason they 524 00:28:54,400 --> 00:28:58,920 Speaker 1: did that is because they wanted what's called pure play opportunity, 525 00:28:58,960 --> 00:29:01,280 Speaker 1: which means they have a chance of getting higher market 526 00:29:01,320 --> 00:29:05,719 Speaker 1: share in the music scene with the US trade amount, 527 00:29:05,800 --> 00:29:10,320 Speaker 1: which was like, basically, the US trade amount for last 528 00:29:10,360 --> 00:29:14,280 Speaker 1: year was twelve point two billion dollars, which accounted for 529 00:29:14,360 --> 00:29:17,280 Speaker 1: more than half of twenty one point six billion dollars 530 00:29:17,280 --> 00:29:22,040 Speaker 1: in global revenue reported by the International Federation of the 531 00:29:22,080 --> 00:29:29,440 Speaker 1: Phonographic Industry. Now, pornographic, phonographic, audio, sonographic gets your mind er, 532 00:29:29,560 --> 00:29:33,280 Speaker 1: So let me mark. So you're saying that Universal had 533 00:29:33,400 --> 00:29:36,760 Speaker 1: twelve point two billion dollars of trade, So I'd say 534 00:29:36,760 --> 00:29:39,560 Speaker 1: it's out of twenty one point six billion in global revenue. 535 00:29:39,640 --> 00:29:42,560 Speaker 1: So no, it's just US trade amount in general. But 536 00:29:43,200 --> 00:29:46,800 Speaker 1: because that number is so high and it's fifty percent, 537 00:29:47,440 --> 00:29:50,719 Speaker 1: that's kind of the business reasoning behind them selling it 538 00:29:50,760 --> 00:29:53,240 Speaker 1: off and then buying more shares into it because they 539 00:29:53,360 --> 00:29:56,880 Speaker 1: know that like it's going to propel forward. Okay, if 540 00:29:56,960 --> 00:29:59,600 Speaker 1: that if that makes sense, because because if they kept 541 00:29:59,600 --> 00:30:02,680 Speaker 1: it all together, than like they would be more locked down, 542 00:30:02,720 --> 00:30:04,760 Speaker 1: they'd probably be more likely to have like you know, 543 00:30:04,920 --> 00:30:08,160 Speaker 1: maybe monopoly kind of stuff of the business expanded all 544 00:30:08,240 --> 00:30:10,480 Speaker 1: that kind of they wouldn't be able to really shift 545 00:30:10,520 --> 00:30:13,880 Speaker 1: around as much. And what is the biggest money maker 546 00:30:14,120 --> 00:30:17,200 Speaker 1: for the company, do you think? So, there's a lot 547 00:30:17,200 --> 00:30:20,960 Speaker 1: of big moneymakers. It's actually the let me pull it 548 00:30:21,240 --> 00:30:24,400 Speaker 1: up here. It is the world's largest label group and 549 00:30:24,520 --> 00:30:29,280 Speaker 1: second largest music publisher, which, honestly, the past couple of years, 550 00:30:29,320 --> 00:30:33,560 Speaker 1: the music publishing has really rose a lot, especially like 551 00:30:33,800 --> 00:30:36,800 Speaker 1: here where we are in Nashville. It's the publishing capital 552 00:30:36,800 --> 00:30:41,640 Speaker 1: of the world, and so a lot of their dominating 553 00:30:41,720 --> 00:30:45,280 Speaker 1: resources are being funneled into publishing. At least a lot 554 00:30:45,280 --> 00:30:48,080 Speaker 1: of the behind the scenes stuff that I've heard from 555 00:30:48,080 --> 00:30:51,000 Speaker 1: people and like I've seen it's that a lot of 556 00:30:51,000 --> 00:30:53,880 Speaker 1: the publishing money is kind of a huge focus for them, 557 00:30:54,560 --> 00:31:02,960 Speaker 1: especially since they just invested that thirty million dollars. Yeah, 558 00:31:03,080 --> 00:31:10,160 Speaker 1: sorry mister zero there. Sorry sorry mister Dillon, But yeah, 559 00:31:10,200 --> 00:31:12,160 Speaker 1: it's it's kind of all over the place. I think 560 00:31:12,200 --> 00:31:14,959 Speaker 1: they still make a lot of money on mechanical when 561 00:31:15,000 --> 00:31:18,600 Speaker 1: it comes to streaming, Um, that's their biggest money maker 562 00:31:18,680 --> 00:31:20,680 Speaker 1: for sure, but they also do get a lot of 563 00:31:20,720 --> 00:31:26,200 Speaker 1: publishing royalties for the publishing, especially like their sinc licensing, 564 00:31:26,240 --> 00:31:29,600 Speaker 1: their distribution. I mean, when you're that big of a company, 565 00:31:29,680 --> 00:31:32,840 Speaker 1: you're getting so much money from different channels that it's 566 00:31:32,880 --> 00:31:37,320 Speaker 1: hard to compare to a lot of other I guess 567 00:31:37,360 --> 00:31:41,000 Speaker 1: smaller indies or something like that. So it is, it 568 00:31:41,120 --> 00:31:44,400 Speaker 1: is kind of insane. But yeah, I would say, final 569 00:31:44,480 --> 00:31:47,440 Speaker 1: answer locking it in here. I think streaming is probably 570 00:31:47,480 --> 00:31:51,200 Speaker 1: their highest revenue. But that's something else that I wanted 571 00:31:51,240 --> 00:31:55,360 Speaker 1: to get into is kind of um, why does this matter? 572 00:31:56,120 --> 00:31:59,440 Speaker 1: Because how does this affect the music industry? Well, essentially, 573 00:31:59,480 --> 00:32:02,240 Speaker 1: it's showing that the growing value of music is having 574 00:32:02,440 --> 00:32:06,640 Speaker 1: an impact on companies such as streaming platforms, labels, publishers, 575 00:32:06,680 --> 00:32:10,480 Speaker 1: film studios, and more, as well as health of the 576 00:32:10,560 --> 00:32:17,640 Speaker 1: overall industry except asterix artists because you know, fuck them. Yeah, 577 00:32:17,680 --> 00:32:20,600 Speaker 1: that's kind of how the music business operates. As we've seen, 578 00:32:21,520 --> 00:32:26,680 Speaker 1: there's actually a lot of grumblings over the CEO of 579 00:32:26,840 --> 00:32:29,240 Speaker 1: UMG is getting like one hundred and fifty million dollar 580 00:32:29,360 --> 00:32:33,280 Speaker 1: bonus and each year he gets So he gets one 581 00:32:33,360 --> 00:32:35,960 Speaker 1: hundred and fifty million dollars this year, then next year 582 00:32:36,040 --> 00:32:39,120 Speaker 1: I think it's two hundred million, and then next year 583 00:32:39,160 --> 00:32:43,520 Speaker 1: it's three hundred million. Which there's a really great article 584 00:32:43,600 --> 00:32:46,160 Speaker 1: that will link that Rolling Stone did like breaking the 585 00:32:46,200 --> 00:32:50,000 Speaker 1: whole situation down, but they kind of talked about like 586 00:32:51,080 --> 00:32:54,600 Speaker 1: isn't this kind of crazy? Like he may have earned 587 00:32:54,640 --> 00:32:56,840 Speaker 1: the payout, but like, isn't this kind of nuts where 588 00:32:56,840 --> 00:33:01,160 Speaker 1: it's like this business is making big billions of dollars, 589 00:33:01,840 --> 00:33:06,880 Speaker 1: but artists on Spotify aren't getting paid a living wage? Right? 590 00:33:07,040 --> 00:33:10,040 Speaker 1: You know? Isn't that kind of a disparity that we 591 00:33:10,080 --> 00:33:14,960 Speaker 1: need to come to terms with? So, yeah, that's something 592 00:33:15,000 --> 00:33:18,480 Speaker 1: that is very interesting and I want to ask you guys, 593 00:33:19,680 --> 00:33:21,920 Speaker 1: do you think do you think that this is like 594 00:33:22,560 --> 00:33:24,200 Speaker 1: just kind of like a one off thing, or do 595 00:33:24,240 --> 00:33:28,600 Speaker 1: you think music value is actually increasing now because of this? 596 00:33:28,960 --> 00:33:34,360 Speaker 1: That's an interesting question. Um so we saw previously, Well, 597 00:33:34,520 --> 00:33:39,760 Speaker 1: Sony is obviously under the giant corporation of Sony, so 598 00:33:39,840 --> 00:33:43,040 Speaker 1: like they're technically part of that company in that way, 599 00:33:43,080 --> 00:33:45,200 Speaker 1: and so they're you know, if that's doing well, the 600 00:33:45,280 --> 00:33:49,160 Speaker 1: stock will do better. But still they could have, you know, 601 00:33:49,200 --> 00:33:51,520 Speaker 1: if they wanted to, they could split off that side 602 00:33:51,520 --> 00:33:54,480 Speaker 1: and make that public. But the other big one of 603 00:33:54,520 --> 00:33:58,400 Speaker 1: the big three, WMG, had recently just gone public as well, 604 00:33:58,800 --> 00:34:01,880 Speaker 1: I think in the last two years. Yeah. And actually, 605 00:34:02,000 --> 00:34:06,640 Speaker 1: just to cut in because of this, uh this launch 606 00:34:06,840 --> 00:34:14,720 Speaker 1: of UMG wmg's position in their stock, their estimated growth 607 00:34:14,800 --> 00:34:18,000 Speaker 1: was grown by like a billion dollars. Wow. Just from 608 00:34:18,280 --> 00:34:22,160 Speaker 1: just from that, I think you're seeing more of the 609 00:34:23,520 --> 00:34:26,480 Speaker 1: like you're saying, kind of divesting of some people are 610 00:34:26,560 --> 00:34:30,439 Speaker 1: bigger conglomerates from these companies to try to umbrella them 611 00:34:30,440 --> 00:34:33,440 Speaker 1: and make them bigger in terms of having more investors 612 00:34:33,440 --> 00:34:35,680 Speaker 1: and all that kind of stuff. And I am kind 613 00:34:35,719 --> 00:34:38,400 Speaker 1: of excited from that from you know, a lot of 614 00:34:38,440 --> 00:34:40,560 Speaker 1: record labels and all this kind of stuff. I mean, 615 00:34:40,760 --> 00:34:43,319 Speaker 1: let's be honest, they're very clicky, they're very you know, 616 00:34:43,600 --> 00:34:47,000 Speaker 1: small insider trying to get into a room kind of stuff. 617 00:34:47,400 --> 00:34:51,560 Speaker 1: So if you have more accountability from you know, public stockholders, 618 00:34:52,239 --> 00:34:54,759 Speaker 1: then I'm fine with that. I would I actually kind 619 00:34:54,760 --> 00:34:58,160 Speaker 1: of applaud it because you know, let's say, obviously these 620 00:34:58,160 --> 00:35:01,200 Speaker 1: are multimillion dollar companies buying it, but it actually gives 621 00:35:01,239 --> 00:35:05,719 Speaker 1: the opportunity as opposed to you know, you owning just 622 00:35:06,040 --> 00:35:10,360 Speaker 1: Vivendi stock of being like, oh okay, well, like who's 623 00:35:10,360 --> 00:35:12,640 Speaker 1: like a Bill Ackerman who owns ten percent of it? 624 00:35:12,880 --> 00:35:14,640 Speaker 1: Like if he came in and was like, I need 625 00:35:14,719 --> 00:35:16,520 Speaker 1: I think you guys should up it because I owned 626 00:35:16,600 --> 00:35:19,080 Speaker 1: ten percent of like the payouts for artists, because like, 627 00:35:19,440 --> 00:35:21,600 Speaker 1: UMG's getting shipped on with the public and it's making 628 00:35:21,600 --> 00:35:23,480 Speaker 1: our stock look bad and all that kind of stuff. 629 00:35:23,560 --> 00:35:26,960 Speaker 1: That kind of helps more having all those outside perspectives. 630 00:35:27,200 --> 00:35:29,080 Speaker 1: But at the end of the day, it's like you 631 00:35:29,160 --> 00:35:32,479 Speaker 1: got to be billionaire Bill Ackerman, you know, to really 632 00:35:32,520 --> 00:35:35,680 Speaker 1: have like this giant change, or you have to be 633 00:35:35,800 --> 00:35:40,480 Speaker 1: ten cent giant Chinese media giant or something like that. 634 00:35:41,000 --> 00:35:43,640 Speaker 1: So it's kind of like what you're saying is like 635 00:35:43,800 --> 00:35:47,760 Speaker 1: it definitely shows I think an increase of how music 636 00:35:48,320 --> 00:35:50,600 Speaker 1: is being monetized. We've seen that from a lot of 637 00:35:50,600 --> 00:35:55,080 Speaker 1: different places, especially like the crackdown on Twitch and YouTube, 638 00:35:55,480 --> 00:35:58,120 Speaker 1: you know, trying to crack down on unauthorized song use 639 00:35:58,280 --> 00:36:02,319 Speaker 1: or TikTok signing giant lissing deals for the music. So 640 00:36:02,360 --> 00:36:05,279 Speaker 1: I think we're seeing, you know, these companies kind of 641 00:36:05,320 --> 00:36:08,400 Speaker 1: rastle back from the two thousands, where you know, music 642 00:36:08,520 --> 00:36:11,799 Speaker 1: was free, everything's free, who cares? And so now they're 643 00:36:11,920 --> 00:36:14,120 Speaker 1: like finally getting these companies to be like, you have 644 00:36:14,200 --> 00:36:17,640 Speaker 1: to pay us. But I think that's why it's expanding, 645 00:36:17,760 --> 00:36:20,560 Speaker 1: like music in general, it's because they're finally going, Okay, 646 00:36:21,200 --> 00:36:23,600 Speaker 1: we've been on this streak of like you scratch my back, 647 00:36:23,600 --> 00:36:25,840 Speaker 1: I'll scratch yours. Like our artists gets bigger, so we 648 00:36:25,880 --> 00:36:28,880 Speaker 1: get more money in streams, but you get to do 649 00:36:28,920 --> 00:36:31,200 Speaker 1: the songs for free. Now they're like, nah, we know 650 00:36:31,320 --> 00:36:33,319 Speaker 1: this is an incentive of your platform, so you have 651 00:36:33,360 --> 00:36:35,920 Speaker 1: to give us some money. Now whatever money comes down 652 00:36:35,920 --> 00:36:38,960 Speaker 1: to the artist is very low. So Alexander, what do 653 00:36:38,960 --> 00:36:42,839 Speaker 1: you think? Yeah, I mean, I totally have to doree 654 00:36:42,920 --> 00:36:45,640 Speaker 1: what you're saying. You know, like, obviously technology has been 655 00:36:45,680 --> 00:36:48,319 Speaker 1: a big thing in decreasing the revenue of a lot 656 00:36:48,360 --> 00:36:51,160 Speaker 1: of artists. You know, right when technology came out with Napster, 657 00:36:51,560 --> 00:36:53,719 Speaker 1: the artists are getting paid nothing and their music was 658 00:36:53,760 --> 00:36:57,000 Speaker 1: getting streighted millions and millions of times. And as we 659 00:36:57,120 --> 00:37:00,360 Speaker 1: developed the technology and a lot the music to anology 660 00:37:00,400 --> 00:37:04,040 Speaker 1: space has increase in importance. We've seen a increase in 661 00:37:04,080 --> 00:37:06,520 Speaker 1: the revenue of a lot of these artists. You know, obviously, 662 00:37:06,640 --> 00:37:10,880 Speaker 1: like you said, with the TikTok licensing and Spotify, you know, 663 00:37:11,000 --> 00:37:15,040 Speaker 1: artists have slowly started to get the revenue to increase, increase, increase, 664 00:37:15,920 --> 00:37:18,239 Speaker 1: And personally, I'm really interested in a lot of the 665 00:37:18,640 --> 00:37:21,640 Speaker 1: the NFT type space for music. I think there's gonna 666 00:37:21,640 --> 00:37:24,279 Speaker 1: be a lot of great innovation in the music technology 667 00:37:24,280 --> 00:37:27,640 Speaker 1: space that's going to continue to increase a lot of 668 00:37:27,640 --> 00:37:29,840 Speaker 1: the artists revenue back to the days of the nineteen 669 00:37:29,920 --> 00:37:33,640 Speaker 1: fifties and nineteen sixties where these artists are making tons 670 00:37:33,640 --> 00:37:37,160 Speaker 1: of money out vinyl and stuff like that. Recorded music, yeah, up, 671 00:37:37,280 --> 00:37:40,200 Speaker 1: recorded music. Yes, I think I think recording music will 672 00:37:40,239 --> 00:37:46,400 Speaker 1: continue to gain importance with stuff like NFTs and increases 673 00:37:46,400 --> 00:37:50,000 Speaker 1: in Spotify revenue. That's right, I completely agree with that. 674 00:37:50,080 --> 00:37:53,240 Speaker 1: I mean, just the new technology for that is crazy. 675 00:37:53,280 --> 00:37:55,840 Speaker 1: I mean, Jared, you want to say anything on it before, Yeah, 676 00:37:55,880 --> 00:37:59,360 Speaker 1: I mean I think I agree that's a direction I 677 00:37:59,400 --> 00:38:04,279 Speaker 1: definitely kind of want more. I do kind of want 678 00:38:04,280 --> 00:38:07,520 Speaker 1: the industry to kind of go back into. Um is 679 00:38:07,520 --> 00:38:12,800 Speaker 1: the emphasis unrecorded music revenue being source of money for artists? Yeah, exactly, 680 00:38:12,840 --> 00:38:16,800 Speaker 1: because I do think and like looking back historically again 681 00:38:16,920 --> 00:38:22,440 Speaker 1: like the way that record labels have kind of almost 682 00:38:22,760 --> 00:38:26,239 Speaker 1: where there's there isn't anate value right that we have 683 00:38:26,280 --> 00:38:30,439 Speaker 1: of recorded music now and it is obvious with this 684 00:38:31,040 --> 00:38:34,600 Speaker 1: that record labels are making money from streaming, right, Yeah, 685 00:38:35,080 --> 00:38:38,160 Speaker 1: but where is it going? That's kind of my thing. 686 00:38:38,239 --> 00:38:41,680 Speaker 1: I mean clearly upward exactly, So it's not going to 687 00:38:41,719 --> 00:38:45,440 Speaker 1: the artist like we we you know, are seeing that clearly. 688 00:38:45,920 --> 00:38:47,799 Speaker 1: So it's it's kind of one of those things where 689 00:38:47,840 --> 00:38:51,120 Speaker 1: it's like I do hope that NFTs kind of create 690 00:38:51,160 --> 00:38:53,280 Speaker 1: that space where it's like you get an exclusive album, 691 00:38:53,360 --> 00:38:56,920 Speaker 1: you get you know, whatever thing that adds the value 692 00:38:56,920 --> 00:38:59,680 Speaker 1: back into kind of more of like a physical format 693 00:39:00,080 --> 00:39:03,400 Speaker 1: kind of deal or I guess more just like the 694 00:39:03,480 --> 00:39:06,279 Speaker 1: ownership over something right where you're like, you feel like 695 00:39:06,320 --> 00:39:12,439 Speaker 1: you're supporting an artist. But what I worry is how 696 00:39:12,480 --> 00:39:18,840 Speaker 1: oversaturated NFTs are getting, and especially how they're going to 697 00:39:18,920 --> 00:39:22,160 Speaker 1: react to big, big businesses coming in or I think 698 00:39:22,440 --> 00:39:25,040 Speaker 1: sixty of like taking revenue front. I mean, what would 699 00:39:25,080 --> 00:39:27,560 Speaker 1: stop a record label from doing what they do with 700 00:39:27,680 --> 00:39:30,600 Speaker 1: merchandise and you know other more of doing it. Yeah, 701 00:39:30,680 --> 00:39:33,400 Speaker 1: just adding another clauset and you're going, okay, well I 702 00:39:33,400 --> 00:39:35,960 Speaker 1: get this percentage you know, which I guarantee you is 703 00:39:35,960 --> 00:39:38,279 Speaker 1: already a thing. I bet you it's already a thing 704 00:39:38,320 --> 00:39:40,920 Speaker 1: in three sixty deals and and everything is. They got 705 00:39:40,920 --> 00:39:44,560 Speaker 1: an NFT clause they have atmack dab and the record 706 00:39:44,920 --> 00:39:48,359 Speaker 1: contracts about like it says like and or future technology 707 00:39:48,560 --> 00:39:50,880 Speaker 1: of like it, which is where it comes from. So 708 00:39:51,160 --> 00:39:53,120 Speaker 1: that's what they're trying to do is expand that and 709 00:39:53,160 --> 00:39:55,560 Speaker 1: then be like, well it's technically underhere, so now we 710 00:39:55,600 --> 00:39:59,080 Speaker 1: can clarify it in your contract. Yeah. But then some 711 00:39:59,160 --> 00:40:01,279 Speaker 1: I'm worried about. When I'm worried about because I've talked 712 00:40:01,320 --> 00:40:04,160 Speaker 1: a lot of artists, I'm like, you know, how how 713 00:40:04,200 --> 00:40:06,520 Speaker 1: are you increasing your revenue? And they're like, oh, I'm 714 00:40:06,520 --> 00:40:10,320 Speaker 1: looking into NFTs, I'm looking into live streaming on Twitch, 715 00:40:10,360 --> 00:40:15,160 Speaker 1: I'm looking into creating tiktoks, and you know, I've talked 716 00:40:15,200 --> 00:40:16,440 Speaker 1: I'm like, all right, so like, are you gonna be 717 00:40:16,440 --> 00:40:19,000 Speaker 1: getting all this revenue? Like obviously these are new sort 718 00:40:19,000 --> 00:40:21,480 Speaker 1: of paths, and all of them been like, yeah, like 719 00:40:21,520 --> 00:40:24,160 Speaker 1: the record labels have been cracking down on NFTs for 720 00:40:24,200 --> 00:40:26,520 Speaker 1: a lot of artists because you know, there's seen there's 721 00:40:26,560 --> 00:40:29,760 Speaker 1: been so many news articles about artists making a million 722 00:40:29,840 --> 00:40:32,840 Speaker 1: two million dollars just off of releasing an NT of 723 00:40:32,880 --> 00:40:36,440 Speaker 1: an album, which is crazy. Yeah, and it's because it's 724 00:40:36,480 --> 00:40:39,239 Speaker 1: the new thing right now, right where it's like it 725 00:40:39,760 --> 00:40:42,000 Speaker 1: obviously like maybe three years from now, it's not going 726 00:40:42,040 --> 00:40:43,440 Speaker 1: to be the case, like you're not going to get 727 00:40:43,600 --> 00:40:46,000 Speaker 1: a million dollars probably unless you have like some hype, 728 00:40:46,520 --> 00:40:49,960 Speaker 1: you have some like crazy ass you get an Apple 729 00:40:50,040 --> 00:40:52,520 Speaker 1: to do another record, you know, and they just release 730 00:40:52,600 --> 00:40:56,480 Speaker 1: it on there. But it is just kind of one 731 00:40:56,520 --> 00:40:59,920 Speaker 1: of those things that I worry about giving more ammunition 732 00:41:00,040 --> 00:41:05,240 Speaker 1: and too labels because labels have had a huge issue 733 00:41:05,239 --> 00:41:11,120 Speaker 1: of cannibalizing the industry and have really taken a lot 734 00:41:11,120 --> 00:41:13,880 Speaker 1: of the power away from the artist. So that's something 735 00:41:13,920 --> 00:41:16,960 Speaker 1: that a lot of artists are very worrisome over now. 736 00:41:18,320 --> 00:41:21,560 Speaker 1: And with you know, TikTok, with all this other new 737 00:41:21,600 --> 00:41:27,080 Speaker 1: medium stuff, do you guys think that labels are even 738 00:41:27,120 --> 00:41:31,920 Speaker 1: we need them at this point? I think for the 739 00:41:32,040 --> 00:41:35,000 Speaker 1: distribution and marketing. It's still very important for a lot 740 00:41:35,040 --> 00:41:37,359 Speaker 1: of things. Well. See, here's my thing is, like i 741 00:41:37,400 --> 00:41:40,400 Speaker 1: feel like the lines between publisher and label are getting 742 00:41:40,400 --> 00:41:44,600 Speaker 1: blurred or super day by day because I've talked to 743 00:41:44,640 --> 00:41:47,799 Speaker 1: publishers that do things that label heads would have been 744 00:41:47,840 --> 00:41:52,279 Speaker 1: doing twenty years ago. You know, yeah, I mean for me, 745 00:41:52,880 --> 00:41:54,480 Speaker 1: you know, you look at some of the big artists 746 00:41:54,560 --> 00:41:57,799 Speaker 1: right now, dreat Kanye, will nus X, you know, it 747 00:41:57,800 --> 00:42:01,360 Speaker 1: feels like they're so like warmth thin. You know. Willnos 748 00:42:01,520 --> 00:42:05,799 Speaker 1: X is doing tiktoks and twitters and Instagram. He's on Facebook, 749 00:42:06,280 --> 00:42:09,120 Speaker 1: you know, and he's also doing all this marketing stuff. 750 00:42:09,160 --> 00:42:11,719 Speaker 1: Like a lot of these artists that have to put 751 00:42:11,719 --> 00:42:13,880 Speaker 1: their hand in so many pots now, I think record 752 00:42:13,920 --> 00:42:17,279 Speaker 1: labels are almost essential for those type of artists, the 753 00:42:17,280 --> 00:42:19,919 Speaker 1: ones that are like all over the place to even 754 00:42:19,960 --> 00:42:22,440 Speaker 1: be able to like focus on your music, because it's 755 00:42:22,440 --> 00:42:25,680 Speaker 1: just willnos X is in so many different avenues that 756 00:42:26,160 --> 00:42:28,880 Speaker 1: it would be almost impossible for him to do it himself. 757 00:42:29,239 --> 00:42:32,360 Speaker 1: In my opinion, Yeah, I mean, you would get spread 758 00:42:32,480 --> 00:42:35,400 Speaker 1: very thin. But also do you think that's the managements 759 00:42:36,040 --> 00:42:39,120 Speaker 1: take at that point? That's true, that's true. I feel 760 00:42:39,160 --> 00:42:41,880 Speaker 1: like you would need a very good management. And you know, 761 00:42:42,080 --> 00:42:44,040 Speaker 1: obviously a lot of artists have come out and been like, 762 00:42:44,080 --> 00:42:47,080 Speaker 1: my management so bad. So I feel like it's very 763 00:42:47,120 --> 00:42:49,160 Speaker 1: important to find that manager that's really going to be 764 00:42:49,239 --> 00:42:52,080 Speaker 1: that type of person to make sure to keep track 765 00:42:52,080 --> 00:42:54,320 Speaker 1: of everything because there's just so much right now for 766 00:42:54,360 --> 00:42:57,400 Speaker 1: the modern artists. Yeah, I mean, we know somebody with 767 00:42:57,440 --> 00:43:02,239 Speaker 1: two managers, you man, Yeah, yeah, And I guess a 768 00:43:02,360 --> 00:43:04,799 Speaker 1: day to day at that point, but yeah, day to 769 00:43:04,840 --> 00:43:07,759 Speaker 1: day and big picture. It's literally the office thing. It's 770 00:43:07,800 --> 00:43:09,719 Speaker 1: like I handled day to day. He handles big day 771 00:43:09,760 --> 00:43:12,600 Speaker 1: to day is literally like actually doing the management stuff, 772 00:43:12,719 --> 00:43:15,879 Speaker 1: and then the manager is doing big picture. I guess, well, 773 00:43:15,920 --> 00:43:17,919 Speaker 1: most of the time it's gonna make your money most 774 00:43:17,920 --> 00:43:19,960 Speaker 1: of the time. It's like the day to day manager 775 00:43:19,960 --> 00:43:22,719 Speaker 1: who started out then becomes the big picture manager and 776 00:43:22,760 --> 00:43:25,400 Speaker 1: then they hire the day to day person like to 777 00:43:25,520 --> 00:43:32,000 Speaker 1: do that because they're tired of it. All right, Colin, 778 00:43:32,160 --> 00:43:34,920 Speaker 1: what else are we getting into? Okay, I want to 779 00:43:34,920 --> 00:43:37,080 Speaker 1: talk about this because it's really big and I kind 780 00:43:37,080 --> 00:43:40,399 Speaker 1: of pulled our Instagram about it. But I'll get into 781 00:43:40,400 --> 00:43:43,759 Speaker 1: that in a second. So Nashville specifically, where we are 782 00:43:44,000 --> 00:43:47,200 Speaker 1: in labels in it are turning to pop partners as 783 00:43:47,280 --> 00:43:49,760 Speaker 1: streaming changes the game. And this is an article by Billboard, 784 00:43:49,840 --> 00:43:52,879 Speaker 1: and specifically they're talking about country music, which I think 785 00:43:52,960 --> 00:43:55,280 Speaker 1: is a really interesting question because people have been asking, 786 00:43:55,920 --> 00:43:59,040 Speaker 1: you know, for years, like what's the difference between country 787 00:43:59,080 --> 00:44:02,040 Speaker 1: music and pop music as we get more infused and 788 00:44:02,200 --> 00:44:05,920 Speaker 1: fused and fused. So we're seeing a lot of examples 789 00:44:05,920 --> 00:44:08,360 Speaker 1: with this, like, for instance, all the big three labels 790 00:44:08,360 --> 00:44:10,840 Speaker 1: are basically doing it. So we're seeing Sony Music Nashville 791 00:44:10,920 --> 00:44:13,520 Speaker 1: partnering with RCA to promote some of their country roster, 792 00:44:14,080 --> 00:44:18,200 Speaker 1: including Taniel Towns and Kane Brown, who have released songs 793 00:44:18,200 --> 00:44:22,000 Speaker 1: with several acts on RCA's pop roster, including Khalid and 794 00:44:23,200 --> 00:44:26,399 Speaker 1: Her and so Billboard points out that these partnerships are 795 00:44:26,440 --> 00:44:29,040 Speaker 1: so common now that they used to do like a 796 00:44:29,080 --> 00:44:31,680 Speaker 1: one off you know, I kind of reference like Nellie 797 00:44:31,760 --> 00:44:34,200 Speaker 1: back in the day doing like a country song. Well 798 00:44:34,280 --> 00:44:36,480 Speaker 1: they're so popular now they have to have these long, 799 00:44:37,000 --> 00:44:40,520 Speaker 1: you know, agreements between them because they're like, oh, this 800 00:44:40,600 --> 00:44:42,480 Speaker 1: is just gonna be a regular occurrence with country people. 801 00:44:42,520 --> 00:44:45,560 Speaker 1: It's not like a one off thing. And so they 802 00:44:45,600 --> 00:44:48,839 Speaker 1: have basically a bunch of different definitions for it, and 803 00:44:48,880 --> 00:44:51,000 Speaker 1: it kind of depends on the deal, and there's no 804 00:44:51,440 --> 00:44:55,120 Speaker 1: like standardization of it. Some of them are like we're 805 00:44:55,160 --> 00:44:57,400 Speaker 1: doing a fifty fifty split. Some of them are like, 806 00:44:58,040 --> 00:45:00,160 Speaker 1: you take part of the revenue here, you take part 807 00:45:00,160 --> 00:45:02,680 Speaker 1: of the regular here. I'll give an example. Billboard says 808 00:45:02,719 --> 00:45:05,120 Speaker 1: the particulars of how to split the revenue differ from 809 00:45:05,160 --> 00:45:07,880 Speaker 1: each deal, from moving around a few percentage points for 810 00:45:07,920 --> 00:45:11,680 Speaker 1: services provided to joint ventures with an even split. Then 811 00:45:11,680 --> 00:45:15,359 Speaker 1: there's the issue of market share designation, which sources say 812 00:45:15,360 --> 00:45:18,880 Speaker 1: can vary wildly but is usually connected to label ownership 813 00:45:18,960 --> 00:45:22,600 Speaker 1: of the primary deal, basically meaning like you get part 814 00:45:22,600 --> 00:45:24,600 Speaker 1: of this country, and I get part of this country 815 00:45:24,640 --> 00:45:27,879 Speaker 1: like actual countries like the United States or Canada. And 816 00:45:27,920 --> 00:45:32,000 Speaker 1: then also everything is negotiable, so radio share is usually 817 00:45:32,040 --> 00:45:34,920 Speaker 1: split by genre, so you know, came Brown did really 818 00:45:34,920 --> 00:45:37,760 Speaker 1: good on the pop stations or on the pop playlist, 819 00:45:37,800 --> 00:45:41,040 Speaker 1: then like OURCA would get it or Sony would you 820 00:45:41,200 --> 00:45:44,720 Speaker 1: get the more country stuff. But there's just no rules. 821 00:45:44,880 --> 00:45:47,800 Speaker 1: So it's really interesting to watch, like all these deals, 822 00:45:48,520 --> 00:45:51,040 Speaker 1: you know, kind of for the first time really be 823 00:45:51,200 --> 00:45:54,760 Speaker 1: long term deals instead of one offs. And the idea 824 00:45:54,920 --> 00:45:58,160 Speaker 1: is to have both of these labels like doing their 825 00:45:58,200 --> 00:46:01,319 Speaker 1: best on both different sides. So you have you know, 826 00:46:01,760 --> 00:46:04,879 Speaker 1: up RCA being like, we're handling the pop side of this, 827 00:46:05,080 --> 00:46:07,279 Speaker 1: and then Sony's like, well, we're in Nashville, we know 828 00:46:07,360 --> 00:46:11,000 Speaker 1: country music. And so it also works the other way, 829 00:46:11,000 --> 00:46:13,399 Speaker 1: which is interesting because there's acts that try to come 830 00:46:13,440 --> 00:46:15,239 Speaker 1: into the country realm. But I want to put an 831 00:46:15,280 --> 00:46:18,920 Speaker 1: asterisk on that, because the people were coming into the 832 00:46:18,920 --> 00:46:22,000 Speaker 1: country realm are basically people that kind of should be 833 00:46:22,040 --> 00:46:26,640 Speaker 1: in country anyway. Like where we've seen I remember it 834 00:46:26,719 --> 00:46:29,319 Speaker 1: was a kid G which they mentioned, who is a 835 00:46:29,320 --> 00:46:33,160 Speaker 1: country hip hop rapper, right, so it's like he's kind 836 00:46:33,160 --> 00:46:41,359 Speaker 1: of already kid G k I D. Which yeah, right. 837 00:46:41,800 --> 00:46:45,000 Speaker 1: So like they had a story about Big Machine apparently 838 00:46:45,160 --> 00:46:47,600 Speaker 1: was trying to get him to sign because he had 839 00:46:47,640 --> 00:46:50,960 Speaker 1: such big TikTok presence and stuff, and he went with instead, 840 00:46:51,040 --> 00:46:53,520 Speaker 1: like uh, I think it was a Rebel music and 841 00:46:53,560 --> 00:46:56,600 Speaker 1: Geffen Records, and so Big Machine came back and was like, 842 00:46:56,680 --> 00:46:59,399 Speaker 1: let's promote you on the countryside and then we'll let 843 00:46:59,480 --> 00:47:03,040 Speaker 1: Geff and handle of the pop side. But those are rare, 844 00:47:03,400 --> 00:47:05,719 Speaker 1: but you're seeing this literally everywhere, like we've seen it 845 00:47:05,760 --> 00:47:08,600 Speaker 1: with Morgan Wallen and Blanco Brown and l King and 846 00:47:08,640 --> 00:47:12,120 Speaker 1: they all have different deals, and people brought up that 847 00:47:12,160 --> 00:47:15,640 Speaker 1: this isn't technically the first time, but the popularity of 848 00:47:15,640 --> 00:47:18,440 Speaker 1: them has increased a lot. They basically said like, this 849 00:47:18,520 --> 00:47:21,240 Speaker 1: is what Taylor Swift did when she was on Big Machine. 850 00:47:21,360 --> 00:47:24,040 Speaker 1: And then Republic came in and was like, we'll help 851 00:47:24,080 --> 00:47:27,120 Speaker 1: you get more pop stuff, which makes sense because if 852 00:47:27,160 --> 00:47:29,560 Speaker 1: you're a country artist, in my opinion, you want to 853 00:47:29,600 --> 00:47:31,960 Speaker 1: be a t Swift. You want to be like I 854 00:47:32,000 --> 00:47:36,000 Speaker 1: started out country and every everybody likes me. Every country 855 00:47:36,120 --> 00:47:38,560 Speaker 1: artist is like, I just love Taylor Swift so much. 856 00:47:38,600 --> 00:47:40,960 Speaker 1: And then you've been bringing an older example of Shania Twain, 857 00:47:41,040 --> 00:47:44,480 Speaker 1: because Twain used to and t but Shania, as I 858 00:47:44,560 --> 00:47:46,239 Speaker 1: talked on the show before, it has a weird thing 859 00:47:46,280 --> 00:47:48,920 Speaker 1: of like she we're gonna have a rock and roll Well, 860 00:47:48,920 --> 00:47:51,160 Speaker 1: it's like nineties country used to do this shit that 861 00:47:51,360 --> 00:47:53,400 Speaker 1: you don't see now, where it was like, this is 862 00:47:53,440 --> 00:47:55,960 Speaker 1: the country version of this song, and this is the 863 00:47:56,000 --> 00:47:58,680 Speaker 1: pop version of the song, which would be so fucking weird. 864 00:47:58,719 --> 00:48:01,920 Speaker 1: Of Taylor was like, this is the country version of Fearless, 865 00:48:02,000 --> 00:48:05,520 Speaker 1: and this is the pop version of Fearless. So yeah, 866 00:48:05,560 --> 00:48:09,920 Speaker 1: it's really fucking weird, and it gets to this point 867 00:48:10,040 --> 00:48:13,880 Speaker 1: where there's like, oh, there's just no rules to this. 868 00:48:14,080 --> 00:48:17,759 Speaker 1: It's like there's no consequences from Also apparently there is 869 00:48:17,840 --> 00:48:20,719 Speaker 1: from a lot of insiders. They say, you have to 870 00:48:20,760 --> 00:48:24,560 Speaker 1: watch out for one market that country still dominates, which 871 00:48:24,600 --> 00:48:29,440 Speaker 1: is the radio market. Oh man, because the radio people 872 00:48:29,640 --> 00:48:32,440 Speaker 1: and Billboard says it says country radio has quote been 873 00:48:32,640 --> 00:48:36,960 Speaker 1: notoriously possessive of acts and often accuses artists of trying 874 00:48:37,000 --> 00:48:40,440 Speaker 1: to cross over to pop, of abandoning their base. Oh yeah, 875 00:48:40,480 --> 00:48:42,960 Speaker 1: all the time. I mean the fan base. Yeah, the 876 00:48:43,000 --> 00:48:47,720 Speaker 1: fan base does that too. Once. I'me I researched like something, 877 00:48:47,880 --> 00:48:50,719 Speaker 1: things that weren't country enough for whatever, right that, like 878 00:48:50,920 --> 00:48:55,799 Speaker 1: people thought weren't country enough, and literally everything I came 879 00:48:55,840 --> 00:48:59,160 Speaker 1: across and my research was just like, oh, it doesn't 880 00:48:59,160 --> 00:49:04,400 Speaker 1: sound like my generation of countries, so therefore go yeah. Yeah, 881 00:49:04,480 --> 00:49:06,360 Speaker 1: which is interesting because we've talked about it on the 882 00:49:06,360 --> 00:49:08,600 Speaker 1: show how that ideas kind of died but still very 883 00:49:08,600 --> 00:49:12,000 Speaker 1: prevalent in country radio. Clearly it seems like they're ten 884 00:49:12,080 --> 00:49:14,239 Speaker 1: years behind every every time. Well, here I'll give you 885 00:49:14,239 --> 00:49:17,520 Speaker 1: an example. Apparently, Gabby Barrett wrote a song called and 886 00:49:17,600 --> 00:49:19,400 Speaker 1: has a song called I Hope, which is one of 887 00:49:19,440 --> 00:49:22,120 Speaker 1: the biggest songs of twenty twenty one country and then 888 00:49:22,160 --> 00:49:25,600 Speaker 1: just in general stuff. But apparently her label, Warner Music 889 00:49:25,680 --> 00:49:29,360 Speaker 1: Nashville said they quote waited to market the song outside 890 00:49:29,360 --> 00:49:32,520 Speaker 1: of the country sphere so country radio could claim and 891 00:49:32,600 --> 00:49:37,640 Speaker 1: it discovered the singer songwriter, so like they you know, 892 00:49:38,040 --> 00:49:40,560 Speaker 1: so like some guy or some girl somewhere you'd be like, 893 00:49:41,239 --> 00:49:45,200 Speaker 1: you know, she was a country singer and then she 894 00:49:45,280 --> 00:49:48,160 Speaker 1: got famous. I don't know why that's such a big deal, 895 00:49:48,320 --> 00:49:53,760 Speaker 1: but it is, which is really interesting. So it's it's 896 00:49:54,040 --> 00:49:56,439 Speaker 1: it's crazy for me because man, like I've been so 897 00:49:56,640 --> 00:49:59,839 Speaker 1: on hip hop country for the past like two years. 898 00:49:59,840 --> 00:50:02,600 Speaker 1: I ever since I saw the Little Oozy vert feature. 899 00:50:02,600 --> 00:50:03,800 Speaker 1: I think it might have been on a Kid G 900 00:50:04,000 --> 00:50:07,719 Speaker 1: song and the Little nos X Old Town Road. I 901 00:50:07,760 --> 00:50:10,360 Speaker 1: think in the future maybe maybe if you're listening to 902 00:50:10,400 --> 00:50:12,600 Speaker 1: this in five years, you'll come back and say I'm right. 903 00:50:12,920 --> 00:50:14,880 Speaker 1: But I think hip hop country is going to be 904 00:50:14,920 --> 00:50:17,239 Speaker 1: the next big thing. Like I think one artist is 905 00:50:17,239 --> 00:50:19,360 Speaker 1: going to come out figure out the formula how to 906 00:50:19,400 --> 00:50:21,879 Speaker 1: create a hit for hip hop country and he's really 907 00:50:21,880 --> 00:50:24,640 Speaker 1: going to smash the Billboard charts again. Yeah, we'll clip 908 00:50:24,719 --> 00:50:27,239 Speaker 1: that out well, I'll send it to you. I you know, 909 00:50:27,400 --> 00:50:30,640 Speaker 1: I have been at a lot of country events, and 910 00:50:30,680 --> 00:50:33,640 Speaker 1: I can tell you that it is literally just hip 911 00:50:33,680 --> 00:50:36,960 Speaker 1: hop with country lines on top of it. It's funny 912 00:50:36,960 --> 00:50:39,080 Speaker 1: that you mentioned that because we were talking about at 913 00:50:39,080 --> 00:50:41,600 Speaker 1: the beginning of the show how rapping hip hop has become. 914 00:50:41,760 --> 00:50:44,560 Speaker 1: You know, what's pop now in a lot of ways 915 00:50:44,760 --> 00:50:47,799 Speaker 1: versus you know what rock and roll music is. So 916 00:50:47,840 --> 00:50:50,120 Speaker 1: when I was growing up, and then even you know, 917 00:50:50,280 --> 00:50:52,520 Speaker 1: you can kind of see it shift in Nashville now 918 00:50:52,600 --> 00:50:55,520 Speaker 1: if from mixing country bands, it's like all these like 919 00:50:55,640 --> 00:50:59,520 Speaker 1: older country songs are just rock songs, like they were 920 00:50:59,640 --> 00:51:02,480 Speaker 1: just like I was listening to these guitar solos and 921 00:51:02,520 --> 00:51:04,480 Speaker 1: I was like, they would never do that in a 922 00:51:04,520 --> 00:51:07,319 Speaker 1: country song. They just like ripped that from example, like 923 00:51:07,360 --> 00:51:10,279 Speaker 1: we talked about before Aerosmith, And so now I think 924 00:51:10,280 --> 00:51:13,080 Speaker 1: we're seeing the same thing where rock was popular back then, 925 00:51:13,160 --> 00:51:15,320 Speaker 1: that's why they were stealing all that kind of stuff. 926 00:51:15,520 --> 00:51:17,840 Speaker 1: And then with rap now they're like, Okay, if we 927 00:51:17,920 --> 00:51:20,960 Speaker 1: still want to be popular, we want that crossover, So 928 00:51:21,080 --> 00:51:24,040 Speaker 1: let's go into that. Let's go into rap and hip hop. 929 00:51:24,360 --> 00:51:30,319 Speaker 1: And it's interesting to see the market try to integrate 930 00:51:30,360 --> 00:51:33,960 Speaker 1: with that especially, you know, you get the whole dynamics 931 00:51:34,000 --> 00:51:36,640 Speaker 1: of you know, the two different cultures of rap and 932 00:51:36,719 --> 00:51:40,840 Speaker 1: hip hop versus country, which seems so diametrically opposed that 933 00:51:40,880 --> 00:51:44,600 Speaker 1: I can't even you know. So it's it's weird to 934 00:51:44,680 --> 00:51:46,840 Speaker 1: see that happen, but it makes sense because at the 935 00:51:46,880 --> 00:51:48,400 Speaker 1: end of the day, you want a bigger audience, you 936 00:51:48,400 --> 00:51:50,160 Speaker 1: don't care who they are, which is one of the 937 00:51:50,200 --> 00:51:54,959 Speaker 1: people in this article said basically, but yeah, I thought 938 00:51:54,960 --> 00:51:58,080 Speaker 1: it was interesting from that perspective, and I kind of 939 00:51:58,160 --> 00:52:02,000 Speaker 1: I asked our fans they said, like, do you I 940 00:52:02,040 --> 00:52:05,600 Speaker 1: basically asked them, I said, are you you know, are 941 00:52:05,600 --> 00:52:07,919 Speaker 1: you happy that country music is going more and more 942 00:52:08,000 --> 00:52:11,400 Speaker 1: to a pop sound? And I got like a pretty 943 00:52:11,520 --> 00:52:13,880 Speaker 1: like fifty fifty. I think it ended up being like 944 00:52:14,000 --> 00:52:17,160 Speaker 1: sixty percent said no, they're not happy about it, and 945 00:52:17,239 --> 00:52:21,680 Speaker 1: forty percent said, yeah, we like it. But it's interesting 946 00:52:21,719 --> 00:52:24,680 Speaker 1: because at the end of the day, it's all about crossover, 947 00:52:25,239 --> 00:52:27,000 Speaker 1: you know. I mean, if you wanted to be a 948 00:52:27,000 --> 00:52:29,279 Speaker 1: bigger star, you want to be the biggest star, you 949 00:52:29,320 --> 00:52:33,239 Speaker 1: got to go to everybody, you know. So I think 950 00:52:33,280 --> 00:52:35,520 Speaker 1: if you take country out of it, because they've always 951 00:52:35,520 --> 00:52:37,080 Speaker 1: tried to do it, and take it with like more 952 00:52:37,200 --> 00:52:40,120 Speaker 1: niche or genres. It's like less of a thing to like, 953 00:52:41,000 --> 00:52:43,600 Speaker 1: you know, understand, Like if we talked about DM music, 954 00:52:43,640 --> 00:52:47,479 Speaker 1: for example, you know it's a niche, it's a niche 955 00:52:47,560 --> 00:52:50,080 Speaker 1: er genre. But they're all like, oh, we want a 956 00:52:50,239 --> 00:52:52,200 Speaker 1: top hit, we want a bunch of people dancing in 957 00:52:52,200 --> 00:52:53,719 Speaker 1: the clubs to this, we want that if this was 958 00:52:53,719 --> 00:52:55,680 Speaker 1: on Billboard to be great. And then you see them 959 00:52:56,120 --> 00:52:59,400 Speaker 1: like just like these people collaborate with pop artists and 960 00:52:59,440 --> 00:53:02,840 Speaker 1: do all that kind of stuff just with EDM music. 961 00:53:03,160 --> 00:53:05,680 Speaker 1: But it's interesting to see country kind of hold on 962 00:53:05,719 --> 00:53:07,319 Speaker 1: and be like, no, we don't want to lose our 963 00:53:07,360 --> 00:53:11,600 Speaker 1: identity because of pop music. Yeah. I feel like a 964 00:53:11,640 --> 00:53:14,520 Speaker 1: lot of that is country radio not wanting to waste 965 00:53:14,520 --> 00:53:18,200 Speaker 1: their identity. That isn't because I think they know the 966 00:53:18,320 --> 00:53:21,240 Speaker 1: end is near. Well, we also know it's an older 967 00:53:21,239 --> 00:53:24,320 Speaker 1: fan base on the stereo side. But with an older 968 00:53:24,320 --> 00:53:28,200 Speaker 1: fan base, older people get older, right, and where's the 969 00:53:28,320 --> 00:53:33,040 Speaker 1: fan base. It's it's definitely strange to watch them kind 970 00:53:33,040 --> 00:53:35,759 Speaker 1: of battle with it and figure out like what is 971 00:53:35,760 --> 00:53:39,600 Speaker 1: the comfortable balance? And uh, you know, I've been making 972 00:53:39,640 --> 00:53:42,399 Speaker 1: this joke for years. It's just like country music now 973 00:53:42,520 --> 00:53:45,520 Speaker 1: is like one direction with a catfish line included in it, 974 00:53:45,920 --> 00:53:48,560 Speaker 1: because that's what it is. And like, I don't you 975 00:53:48,600 --> 00:53:51,560 Speaker 1: know all these catfish line and like a pro bass 976 00:53:51,840 --> 00:53:55,880 Speaker 1: right exactly styles and like zaying up there, you know, 977 00:53:56,080 --> 00:53:58,719 Speaker 1: being like Harry Styles and his chiseled ab just with 978 00:53:58,800 --> 00:54:02,359 Speaker 1: a best pro right. So like that's what it is. 979 00:54:02,480 --> 00:54:04,799 Speaker 1: And to be honest with you, if you're you know, 980 00:54:05,239 --> 00:54:07,160 Speaker 1: I'm not a big country fan, so I don't really 981 00:54:07,160 --> 00:54:09,279 Speaker 1: have like a lot of like shed in the game. 982 00:54:09,320 --> 00:54:11,719 Speaker 1: I'm not like, oh, this is gonna upset me so much. 983 00:54:12,120 --> 00:54:17,000 Speaker 1: But I think personally, if you're of that mindset, welcome 984 00:54:17,040 --> 00:54:20,360 Speaker 1: to Americana music, because that's where you'll find your real 985 00:54:20,480 --> 00:54:23,719 Speaker 1: country music. That's where it is. If you're like of 986 00:54:23,840 --> 00:54:27,279 Speaker 1: that mindset, is that kind of because that's what Americana is. 987 00:54:27,320 --> 00:54:30,160 Speaker 1: It's like it's literally like preservation in a lot of 988 00:54:30,160 --> 00:54:33,160 Speaker 1: ways of a lot of those older styles. So if 989 00:54:33,160 --> 00:54:37,480 Speaker 1: you're complaining about that, that's where I would point you towards. Yeah, 990 00:54:37,520 --> 00:54:40,160 Speaker 1: I think country is like one of the only genres 991 00:54:40,600 --> 00:54:43,840 Speaker 1: that is so adamant on keeping sort of that old 992 00:54:44,239 --> 00:54:46,560 Speaker 1: type of music, that old style. I mean a lot 993 00:54:46,560 --> 00:54:50,440 Speaker 1: of genres, hip hop, pop like they've evolved into new things, 994 00:54:50,520 --> 00:54:53,880 Speaker 1: and generally, at least for hip hop, I would say 995 00:54:53,920 --> 00:54:58,040 Speaker 1: they're generally okay with advancing and getting into these new 996 00:54:58,040 --> 00:55:00,719 Speaker 1: type of genres. Obviously, like there was a real backclotch 997 00:55:00,760 --> 00:55:03,319 Speaker 1: when auto tune came out and hip hop um, which 998 00:55:03,360 --> 00:55:05,920 Speaker 1: I think you could say are some similarities to what 999 00:55:06,040 --> 00:55:09,160 Speaker 1: country is right now. I think country is one of 1000 00:55:09,200 --> 00:55:12,600 Speaker 1: the most adamant genres on keeping sort of country how 1001 00:55:12,600 --> 00:55:16,279 Speaker 1: it is, I would say, right continuing the regression as 1002 00:55:16,320 --> 00:55:18,960 Speaker 1: opposed to like the progression of it, like and being like, 1003 00:55:19,040 --> 00:55:22,759 Speaker 1: let's try this new thing. Yeah, but we'll have to 1004 00:55:22,800 --> 00:55:26,360 Speaker 1: see I mean again, I'll clip you out of that, Alexander, 1005 00:55:26,400 --> 00:55:27,920 Speaker 1: I'll clip you that. But then if we're right in 1006 00:55:27,960 --> 00:55:30,759 Speaker 1: five years from twenty twenty six and like everybody's hitting 1007 00:55:30,760 --> 00:55:32,799 Speaker 1: it up, we'll be like, Alexander got this shit in 1008 00:55:33,239 --> 00:55:41,920 Speaker 1: episode fifty two, like go to this man, Well, I 1009 00:55:41,960 --> 00:55:46,040 Speaker 1: guess it's time to get to our final, final, final thing. Here. 1010 00:55:46,600 --> 00:55:48,440 Speaker 1: You made that sound like we were on the Bachelor 1011 00:55:48,480 --> 00:55:54,359 Speaker 1: and we're like time to give your final Yeah. We uh, 1012 00:55:54,719 --> 00:55:56,759 Speaker 1: if you guys can't tell we Me and Calling are 1013 00:55:56,760 --> 00:56:00,719 Speaker 1: a huge fan of trash TV. We love. I want 1014 00:56:00,719 --> 00:56:03,640 Speaker 1: to put that on the record. Okay, I haven't watched 1015 00:56:03,640 --> 00:56:07,719 Speaker 1: The Bachelor yet. It's lame. Watch Love Island. It's all 1016 00:56:07,880 --> 00:56:10,680 Speaker 1: lame called any That's why we love it. So this 1017 00:56:10,760 --> 00:56:13,840 Speaker 1: is the worst segue ever. We listen to trash music too, 1018 00:56:14,480 --> 00:56:17,480 Speaker 1: So let's talk about what music we've been listening to. 1019 00:56:17,880 --> 00:56:21,280 Speaker 1: Would you like to go first year? Yeah? I guess so. Yeah. 1020 00:56:21,719 --> 00:56:25,319 Speaker 1: I've been listening to the new Hatchee single this and 1021 00:56:25,800 --> 00:56:29,680 Speaker 1: enchanted or disenchanted is basically how it's supposed to sound, 1022 00:56:29,719 --> 00:56:33,400 Speaker 1: but it's disenchanted um. And then I've been listening to 1023 00:56:33,440 --> 00:56:36,759 Speaker 1: a band called Hill laker Um and they're kind of 1024 00:56:36,760 --> 00:56:39,759 Speaker 1: like pop punk, but like it's like pop punk with 1025 00:56:39,840 --> 00:56:44,360 Speaker 1: like Pine Grove like had a baby and the baby 1026 00:56:44,480 --> 00:56:48,600 Speaker 1: was like a thirteen year old going through teen angst. 1027 00:56:49,400 --> 00:56:51,640 Speaker 1: That's kind of what it's like. So it's really if 1028 00:56:51,680 --> 00:56:54,240 Speaker 1: you like that show, it's pretty cool. So that's sweet, 1029 00:56:54,320 --> 00:57:01,399 Speaker 1: Alex Alexander, Sorry, I don't know what you're yeah, um yeah, 1030 00:57:01,480 --> 00:57:03,520 Speaker 1: I mean I'll give you two two main ones. I 1031 00:57:03,560 --> 00:57:06,560 Speaker 1: give you a mainstream answer and an underground answer. Um, 1032 00:57:06,600 --> 00:57:08,839 Speaker 1: you know, I think mainstream wise, I've been listening to 1033 00:57:09,160 --> 00:57:13,200 Speaker 1: Lanos X's new album, which I was very surprised by 1034 00:57:13,560 --> 00:57:16,320 Speaker 1: actual tune to his last ep. You know, it was 1035 00:57:16,320 --> 00:57:18,360 Speaker 1: a little spotty for me. I wouldn't give it a 1036 00:57:18,400 --> 00:57:22,439 Speaker 1: great score if I was on beatly music. UM. But 1037 00:57:22,800 --> 00:57:24,960 Speaker 1: you know, with Leans X's new album, I think it 1038 00:57:25,040 --> 00:57:28,320 Speaker 1: was a really good progression for him. You had rock, 1039 00:57:28,520 --> 00:57:30,480 Speaker 1: you had pop, you had hip hop, you had a 1040 00:57:30,480 --> 00:57:33,240 Speaker 1: bunch of different genres, a bunch of different influences. I 1041 00:57:33,280 --> 00:57:35,400 Speaker 1: really liked what he did with the album. UM and 1042 00:57:35,440 --> 00:57:38,120 Speaker 1: I from my underground answer, I'm gonna have to put 1043 00:57:38,200 --> 00:57:40,840 Speaker 1: y'all onto this new artist called Binky b I n 1044 00:57:40,960 --> 00:57:46,520 Speaker 1: K I Oh, I love Binky. I made Colin listen 1045 00:57:46,560 --> 00:57:53,560 Speaker 1: to Binky's so much memory, So good dude, He's so good. 1046 00:57:53,600 --> 00:57:56,520 Speaker 1: I I it was so funny. So a guy reached 1047 00:57:56,520 --> 00:57:58,440 Speaker 1: out to me PR He was like, I got this 1048 00:57:58,520 --> 00:58:00,560 Speaker 1: really good artist. I know your love him him. I 1049 00:58:00,680 --> 00:58:03,360 Speaker 1: was like, oh, ye'aall listen to him. Took one listen 1050 00:58:03,440 --> 00:58:05,720 Speaker 1: to like the new EP that was coming out, and 1051 00:58:05,760 --> 00:58:08,120 Speaker 1: I was like, wow, like this is really good. Has 1052 00:58:08,120 --> 00:58:11,240 Speaker 1: that like alternative like rock, but has a little hip 1053 00:58:11,280 --> 00:58:13,800 Speaker 1: hop influences into it's I really love his music. I 1054 00:58:14,120 --> 00:58:16,880 Speaker 1: can't wait for his new stuff coming up. Yeah, I 1055 00:58:16,960 --> 00:58:19,880 Speaker 1: think he's gonna blow up. Yeah, I just think it's 1056 00:58:19,880 --> 00:58:23,200 Speaker 1: gonna happen. So Colin, where are you listening to? So 1057 00:58:23,280 --> 00:58:26,320 Speaker 1: I got I gotta go the same same half as Alexander. 1058 00:58:26,360 --> 00:58:27,920 Speaker 1: I'll give you a new and old. I also I've 1059 00:58:27,920 --> 00:58:30,440 Speaker 1: been listening to a little and usum really like the album. 1060 00:58:30,600 --> 00:58:33,480 Speaker 1: Was pleasantly surprised how it flows as an album, Like 1061 00:58:33,520 --> 00:58:36,240 Speaker 1: I love the theming of it, and you know, him 1062 00:58:36,280 --> 00:58:39,400 Speaker 1: talking about the repression that he's dealt with and all 1063 00:58:39,480 --> 00:58:42,440 Speaker 1: the adversity and stuff was really good. The features were 1064 00:58:42,440 --> 00:58:44,600 Speaker 1: really good. As I joke with Joe though that I 1065 00:58:44,800 --> 00:58:46,680 Speaker 1: still say as once she was on the whole album. 1066 00:58:46,720 --> 00:58:49,400 Speaker 1: That really makes that Jack Harlow feature seemed way worse 1067 00:58:49,600 --> 00:58:52,720 Speaker 1: than like the rest in my opinion. But I just 1068 00:58:52,800 --> 00:58:54,840 Speaker 1: like I've I mean, it's hard to compete when you 1069 00:58:54,920 --> 00:58:57,640 Speaker 1: got like a Dojaquet and like Miley and Elton John. 1070 00:58:58,080 --> 00:59:01,200 Speaker 1: So it's do you really like it? I think it 1071 00:59:01,200 --> 00:59:03,640 Speaker 1: holds up. I'd saw Fantana put on the red shirt, 1072 00:59:03,720 --> 00:59:08,280 Speaker 1: so we disagree about that, but uh, yeah, I thought 1073 00:59:08,280 --> 00:59:11,040 Speaker 1: it was really good. I'm very excited to see what 1074 00:59:11,160 --> 00:59:15,200 Speaker 1: he does next to be honest, and it's it's amazing 1075 00:59:15,240 --> 00:59:17,720 Speaker 1: to me if you have a good album when I 1076 00:59:17,800 --> 00:59:20,480 Speaker 1: like the B sides of stuff, especially if I like 1077 00:59:20,480 --> 00:59:22,600 Speaker 1: the B sides more than the A side, so at 1078 00:59:22,640 --> 00:59:25,960 Speaker 1: other time and so like there's one in particular where 1079 00:59:25,960 --> 00:59:28,120 Speaker 1: he's like talking about his dad. I can't remember which 1080 00:59:28,120 --> 00:59:31,160 Speaker 1: one it is, UM, but like it's really deep and 1081 00:59:31,200 --> 00:59:33,760 Speaker 1: like really talks about like what he's dealt with and 1082 00:59:33,880 --> 00:59:37,160 Speaker 1: like how his identity has evolved, especially being who he is, 1083 00:59:37,280 --> 00:59:40,800 Speaker 1: especially in terms of rap music. It's very touching to 1084 00:59:40,840 --> 00:59:45,440 Speaker 1: listen to UM. Then UM weird one as always, UM, 1085 00:59:46,400 --> 00:59:50,120 Speaker 1: I was listening to, Well, there's there's a plethora of things. 1086 00:59:50,120 --> 00:59:54,760 Speaker 1: I could stay here, but what would be weirder? Well, first, yes, 1087 00:59:54,920 --> 00:59:58,280 Speaker 1: I listened to September today, UM, which if you don't know, 1088 00:59:58,720 --> 01:00:02,360 Speaker 1: UM nine tw one always the best day to listen to. September, 1089 01:00:02,440 --> 01:00:06,200 Speaker 1: the twenty first of September. And there's a guy who 1090 01:00:06,240 --> 01:00:08,440 Speaker 1: I'm gonna I'll find him. I'll find him right now. 1091 01:00:08,560 --> 01:00:11,680 Speaker 1: There's a guy who does a video about September every 1092 01:00:11,800 --> 01:00:17,760 Speaker 1: year and I fucking love him and he basically yeah, 1093 01:00:17,760 --> 01:00:20,360 Speaker 1: his name is Oh, this is gonna be hard Demi. 1094 01:00:20,840 --> 01:00:24,280 Speaker 1: And then it's like Demi A, let's just call day. 1095 01:00:24,600 --> 01:00:26,680 Speaker 1: I'm not gonna try that, but like you just look 1096 01:00:26,760 --> 01:00:28,760 Speaker 1: up to dates, like if you literally look up nine 1097 01:00:28,920 --> 01:00:32,480 Speaker 1: twenty one, like nine slash twenty one slash, and then 1098 01:00:32,520 --> 01:00:35,240 Speaker 1: all the way at the beginning of twenty fifteen, you 1099 01:00:35,280 --> 01:00:38,760 Speaker 1: can watch him progress to do these like crazy dances 1100 01:00:39,240 --> 01:00:41,760 Speaker 1: with the music and it's like September edited, so it 1101 01:00:41,840 --> 01:00:45,160 Speaker 1: just says twenty first of September like twenty times. But 1102 01:00:45,280 --> 01:00:47,400 Speaker 1: like it's hilarious if you watch it, because the production 1103 01:00:47,480 --> 01:00:49,240 Speaker 1: value just gets up. Like first it starts in his 1104 01:00:49,360 --> 01:00:51,760 Speaker 1: room and he's got a confetti gun, and then last 1105 01:00:51,840 --> 01:00:55,280 Speaker 1: year it was like him in a modeled truck, and 1106 01:00:55,320 --> 01:00:57,040 Speaker 1: then like it's of his room but you don't know 1107 01:00:57,080 --> 01:00:58,680 Speaker 1: it's a truck and he comes out and there's like 1108 01:00:58,720 --> 01:01:01,560 Speaker 1: a plane going by. It says twenty first of September 1109 01:01:01,920 --> 01:01:04,920 Speaker 1: and all this kind of stuff, and uh, it's great. 1110 01:01:04,960 --> 01:01:07,240 Speaker 1: I think I haven't watched new one today, but it's 1111 01:01:07,240 --> 01:01:13,000 Speaker 1: an eight minute video. He's a great guy, Dammia. I 1112 01:01:13,040 --> 01:01:15,120 Speaker 1: would look it up. It's so good. But twenty first 1113 01:01:15,120 --> 01:01:17,440 Speaker 1: to September good, think it. Let's come out the twenty 1114 01:01:17,440 --> 01:01:20,400 Speaker 1: second not as fun. Now we gotta go to wake 1115 01:01:20,440 --> 01:01:26,120 Speaker 1: me up till September ends, and that's just worse. Well, Alexander, 1116 01:01:26,120 --> 01:01:27,919 Speaker 1: thank you so much for joining us on the show. 1117 01:01:27,960 --> 01:01:31,560 Speaker 1: We really appreciate it reaching out and everything and uh, 1118 01:01:31,720 --> 01:01:34,480 Speaker 1: you know, check him out from Beatley music dot com 1119 01:01:34,520 --> 01:01:37,000 Speaker 1: and you know where you're right on Earmilk and everything. 1120 01:01:37,040 --> 01:01:39,160 Speaker 1: Anything else you want to shout out for us or 1121 01:01:39,160 --> 01:01:42,120 Speaker 1: anything before we Um, well, I just like to say 1122 01:01:42,160 --> 01:01:43,480 Speaker 1: thank you so much for having me on. It's been 1123 01:01:43,520 --> 01:01:45,440 Speaker 1: a it's been a pleasure. Um. But yeah, I mean 1124 01:01:45,480 --> 01:01:48,720 Speaker 1: definitely go check out here milk, go check out Beatley Music. Um, 1125 01:01:49,320 --> 01:01:54,920 Speaker 1: I'm buying your book, man, I'm gonna buy your book. Yeah, 1126 01:01:55,040 --> 01:01:57,640 Speaker 1: yeah awesome, But yeah, I mean it's been great. Thank 1127 01:01:57,680 --> 01:01:59,680 Speaker 1: you guys so much. Maybe I can put on the 1128 01:01:59,680 --> 01:02:06,800 Speaker 1: title of this acclaimed author. Yeah, we'll do that for sure. Guys, 1129 01:02:06,800 --> 01:02:09,080 Speaker 1: thanks for listening to the business tape. You're all thanks music, 1130 01:02:09,120 --> 01:02:12,160 Speaker 1: business and media podcasts. You can follow us pretty much 1131 01:02:12,240 --> 01:02:18,640 Speaker 1: anywhere TikTok, Twitter, Facebook, Instagram, I don't know MySpace maybe anyway, 1132 01:02:18,640 --> 01:02:20,960 Speaker 1: thanks so much. Thanks for our guess Alexander. Check out 1133 01:02:20,960 --> 01:02:23,760 Speaker 1: Weekly Music and his articles over at Earmilk and his 1134 01:02:23,800 --> 01:02:26,200 Speaker 1: book on Amazon about the history of hip hop and rap. 1135 01:02:26,920 --> 01:02:30,400 Speaker 1: It's been awesome. We appreciate you listening. Thank you so much. 1136 01:02:30,560 --> 01:02:31,360 Speaker 1: Come back again.