September 10, 2025 • 16 mins
*The Music Television Video Video Music Awards Major Label Debut Graham Wright Thoughts
(Graham talks VMAs and the space awards shows occupy in the industry landscape)
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(Graham talks VMAs and the space awards shows occupy in the industry landscape)
Wanna watch MLD on YouTube?
Need an MLD t-shirt or mug?
And everything else from Major Label Debut!
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:04):
From the major label debut podcast network. This is MLD News.
I am your news anchor and Soul News participant on
this episode, Graham Wright. That's right. Co host John Paul
Bullet continues to be busily working away on projects that
will be revealed in time, and so I am here
by myself to talk to you about the MTVVMAS. That's right,
(00:26):
the Music Television Video Music Awards are still happening. Not
only are they still happening, but I was quite surprised
to see when I was watching my beloved Packers Stomp
the Lions on Sunday an advertisement telling me that the
MTVVMAS are on CBS this year. They're not even on
MTV anymore. And I found that to be a very
(00:48):
fascinating evolution of what MTV is, which obviously has changed
a great deal over the years, but still has some
kind of like branding value to it, as like the younger, cooler,
more current music awards. You know, I think the Grammys
have have long had a reputation for being a bit fusty,
(01:08):
perhaps a bit conservatively minded and old fashioned in terms
of embracing new genres and new voices in music, and
the VMAs, by their very demographic nature, are a little
more with it, or at least that's how I've always
interpreted them. And I got to tell you, listen, very
little about the twenty twenty five MTV VMAs intersects with
(01:32):
much of what we are of the kind of music
that we talk about here on Major Label Debut. Frankly
that any of us listen to here at the MLD
HQ and not too typecast. But I'm guessing that in
terms of the listenership of the show, there's not as
many Sabrina Carpenter fans out there. I may be wrong,
(01:54):
and we celebrate Sabrina Carpenter and all of her work
in Shenanigans here, but that's not the same thing as
like really loving those records. And as soon as I
saw that it was happening, I thought, Okay, I'll talk
about the VMAs on MLD. And then I was getting
ready to talk about the VMAs on MLD and sort
of realize that it's a weird thing for me to
(02:15):
talk about because I don't care about it in the
way that I did care about it when I was
a teenager. You know, I would watch the MTV VMAs
every year, as well as the Much Music Video Awards
here in Canada, which were as much Music always was
a little lower budget and maybe a little bit cooler
as well. But you know, when I was a lad,
(02:36):
they were awarding the music that I was listening to.
I bought Limp Biscuits significant other and Limp Biscuit was
prominently featured at that year's VMA's Dittocorn and Raging against
the Machine. A little later, they had that iconic, legendary
performance that certainly I know lives in my heart and
all the Tokyo Police Club guys gathered around the computer
in Dave our Singer's basement to watch it. Ladies and gentlemen,
(02:59):
the Hives and the Vine when they celebrated the so
called return of rock by having the Vines and the
Hives each performed like in It wasn't quite a medley,
but the camera like swung from one stage to the
other and they played sort of right back to back,
and I thought that was so cool, and frankly, I
really thought that I myself would be attending the MTV
(03:19):
VMAs soon and often it never did happen. But that's
not why I don't care about them. I don't care
about them because I'm thirty eight years old and they're
four younger people. However, every awards show is a true
intersection of art and commerce. It is the industry award show, right.
(03:40):
If you've ever been at a hotel or a convention
center when they're having like Midwestern car insurance sales rep
of the year gala dinner, if you've ever been to
a music awards ceremony, it's like the same thing, just
with a little bit more pretension of coolness and of hypness.
I've been lucky enough to attend some awards ceremonies in
(04:02):
my time, and I've had a lot of fun at them.
I'm not trying to talk shit, but they're an industry
gala at the end of the day, and the fact
that they make an entertainment product out of it for
television doesn't change the fact that the awards are being
awarded by and for a industry centered group of people.
You know, these are not the viewers' choice awards. These
(04:23):
are not the choice of teen awards. They're the choices
of some vague voting body. And I think everyone basically
understands by now that it's largely puppet mastered by the
same puppet masters that pupper master everything in the music industry.
You know, it's not a coincidence that the biggest artists
win the awards. That's typically how it goes, and you know,
(04:46):
every once in a while you get a surprise or
a left field thing. But looking through the winners from
this year's VMAs, I don't see a lot of shockers
in there. You know, Ariana Grande and Sabrina Carpenter, Lady Guy.
These are all people who I would expect to win VMAs.
The Best Rock Award at the VMAs, the nominations were
(05:08):
twenty one Pilot's, Lincoln Park, Lenny kravitzs, Green Day, Evanescence,
and the winner, my beloved Coldplay with their song All
My Love, which again I love Coldplay. I think that
it's pretty clear by now this is a band that
I truly respect and adore. I'm not being ironic or
funny about it. However, Coldplay song All My Love, and
indeed Coldplay's output over the last five years really stretches
(05:32):
the definition of what is rock. But that too, I mean,
this is what I want to talk about about the
VMAs as much as anything I'm not going to give
you a rundown of the show. You can watch the
videos on YouTube. You can read the winners on Wikipedia
like I am, or probably other websites as well. But
I think that as investigators of the art commerce, uneasy bedfellowsmanship,
(05:56):
as we are here on major label debut, I'm just
interested in investigating. It's like checking the dipstick on the
popular culture. You know, what are they doing with the
VMAs now? Just the fact that they put them on CBS,
I think is very notable and interesting. More people get
that channel. It was on after football. A lot of
people watch football, and you know, probably a good bet
(06:19):
to assume that if you have a show with Ariana
Grande and Sabrina Carpenter on it, some people are going
to stay tuned rather than watch Sunday night football on
another channel. What anyone gets out of it is an
open question, And maybe it's an open question about any
awards show, And maybe it's the kind of question that
is better off just unasked. You know, maybe, like everything,
(06:39):
it's a little bit of entertainment for the night and
it helps your career. I don't know if Sabrina Carpenter's
career is meaningfully impacted by winning some VMAs. But I
know in my award nominated days with Tokyo Plis Club
never won any awards, but we were nominated for a few,
and even getting nominated, you would literally see like more
and better show offers come in, particularly from universities and
(07:04):
colleges who are booking bands to play. Also, like you know,
we call them corporates, corporate gigs where you play some
private show for Absolute Vodka shareholders or whatever. It's not
something that bands love to yack about too much because
it can feel a little corny, but it is like
a big part of a lot of bands business. And
if you get nominated for award, an award is there's
(07:25):
just this sense people have that there's like a legitimizing factor.
And there's a few things that can add to it.
Obviously like being on the radio a lot is very
legitimizing in people's eyes, but also winning an award, winning
a Grammy certainly, but also an MTV VMA, it just
tells people that, Okay, this is like a good band,
(07:48):
a popular band. If I have a budget and no taste,
I could just scroll through the list of winners of
the VMAs and book one, and I stand a pretty
good chance of booking someone that's going to appeal to
most of the people who are coming to whatever my
event is. Like I say, that's a real industry engine.
And the awards shows are part of the industry ecosystem,
(08:08):
maybe more than they're part of the popular metabolization of music.
And maybe the reason they keep going and keep getting
pushed has less to do with the audience demanding it
and more to do with the industry just needing it
to function, and any of these vestiges of the old
music industry, I think in twenty twenty five you got
(08:31):
to consider that factor as a big part of it.
The music industry, as we're always talking about here on
Major label Debut, is run by people. Some of them
are very strange people. Some of them are very inhuman people,
or have forgotten quite what it's like to be what
you might call a normal person. But nonetheless they are still,
at the end of the day, sacks of meat and
(08:53):
bones and goo with brains and emotions and biases and feelings.
And as especially the people at the top who tend
to be a little older and a little have they
been around for a while, and they've ascended up the
ladder through one music industry, only you know, ten years ago,
twenty years ago, to start to look down behind them
(09:14):
and realize that where they came from doesn't exist anymore.
And the foundation of the building that they've worked their
asses off to ascend to the top of is crumbling
and in many cases has kind of just vanished all together.
And so when you see these vestigial institutional events and
(09:35):
apparatuses still functioning, you've got to remember that the people
making the decisions are just from basic human insecurity, have
a real vested interest in things staying the way they
used to be. And everybody knows that things have not
stayed the way they used to be, cannot stay the
(09:55):
way they used to be, and it's totally futile to try.
And you know, like while coyote running off the cliff
and staying running in the air until he looks down,
it's only a matter of time before the inevitable crumbling
of all of these venerable institutions is complete. However, every
year they have a VMAs is another year that they've
(10:17):
held on to at least that one part of it.
I know, that's a very cynical way to look at
these things. But I mean, it's the fucking mtvvmas. Why
would you not be cynical looking at it. I think
you can enjoy it looking at it cynically. I know.
I have some friends where we like to get together
and have a few drinks and watch old mtvvmas on YouTube.
(10:39):
If you're ever interested in a time capsule of the
music industry and like a bracing reminder of what it
was actually like instead of just a vague, gauzy memory
of how cool it used to be, watching a turn
of the century mtvvmas is a great place to hear
some breath taking the casual homophobia, a number of words
(10:59):
that you serve we can't say on television now being
thrown around with great impunity and seeming glee. There's a
particular Chris Rock joke after a fat Boy Slim performance
of Praise You that I will not repeat here, but
if you look it up, it's a real jaw dropper,
but it's not delivered like a jaw dropper. It's just
a throw to commercial and it's just sort of, you know,
(11:20):
it's just people talk and the way people used to talk,
and it's a good reminder that most of the things
we leave behind in the past are maybe best left there.
But in the spirit of looking backwards at VMA's I
pulled up you know, there's the twenty twenty five VMAs,
which I just listed. Your video of the Year was
Ariana Grande. Your Artist of the Year was Lady Gaga.
(11:40):
Your best new artist Alex Warren. Your best pop artist
Sabena Carpenter. Let's go back ten years to twenty fifteen.
Your video of the year Taylor Swift Bad Blood, the
version featuring Kendrick Lamar, which I always thought took out
the best part of the song to replace it with
like a pretty mid Kendrick verse. But I am not
an expert in Kendrick Lamar, hip hop, pop, Taylor Swift,
(12:01):
or MTV VMAs, so your mileage might very best video
was split into Best Male Video and Best Female Video.
That's already feels a little old fashioned. Mark Ronson won male,
Taylor Swift one female, and it was the other one
I said best New Artist. I can't even find that
on here. How much scrolling am I going to do? Oh?
It's called artist to watch back then and it was
Fetti wop and indeed we did all watch two thousand
(12:24):
and five Video of the Year Boulevard, Broken Dreams, Green
Day Cold Plays on there with Speed of Sound just
runner up Best Male Video, Kanye Kelly Clarkson Since You've
Been Gone won Best Female Video, and I think we
can all agree that that's one of the best female
videos ever made. Best New Artist was called Best New
Artist in a Video and it was the Killers Mister Brightside.
So there you go a little bit of honest to
(12:46):
god guitar band music. We only had to go back
twenty years to find that. In the MTV VM a
big winners list, people loved Boulevard and Growing Dreams. Go
back ten more years. Your Video of the Year is
TLC's Waterfalls. Best Male Video was a Tom Petty Madonna one.
Another one. This is starting to feel a little bit
boring as I list these offs, so I'll just wrap
(13:06):
up by saying that Whody and the Blowfish won Best
New Artist in nineteen ninety five, and I think that
that decision stands up pretty well. And that, my friends,
is how you make an MLD news episode added of
an awards show where you barely know any of their
performers or awards winners. But I do think I love
that it's still going on, and I love to follow it,
and I love to know about it, and I love
(13:27):
to yap about it into this microphone. I hope that
my analysis, if you could call it, that my pattern,
was coherent, sensical, and perhaps slightly illuminating. I wish I
had ever won an award so I could tell you
what it was like to win an award, but they
never gave Graham Right an awards so far. Next year,
(13:48):
when they add Best Podcast to the MTV VMAs, I
really think MLD has a great chance, So we'll all
look forward to that, and then I can report live
from the floor of wherever they're hosting it next year
and on whatever channel. But in the meantime, that's your
MLD news for the week, such as it was. Thank
you so much for listening to the podcast, especially these
(14:11):
ones where I'm just sort of checking in on goings
on around the music industry. I'm not pretending to be
like a journalist here. I'm not pretending to bring you
real updates. I'm not doing a ton of research. It's
not that kind of show. This is not Deep Dives
on the MTV VMAs. It's me and it's John Paul,
and it's Josh the accluded producer, just being who we
are and talking about how we experience these things. And
(14:33):
you know, obviously I am a longtime lover of music.
I'm a longtime professional musician, and so I have an
angle on these things that I find endlessly interesting. And
so if you find it fifteen minutesly interesting, then that's
good enough for me. We really appreciate you listening, and
if you have any thoughts on these matters or questions,
or if there's anything you wish I'd gone in depth on.
(14:54):
You know, sometimes you're listening to a podcast and you're like,
oh my god, you just tossed out one idea and
then veered away from it. I thought that was the
only interesting idea in the whole show. Hit us up.
All of the social medias have DM features. We have
a website. I think there's an email or a contact
forum somewhere. If there's not, I'll make them put one on.
And by them, I mean me. It's a work in progress,
(15:15):
and I'm still figuring out how to engage with the
non interview episodes in a way that is like interesting
for me and for you. So this was interesting for
me and I should probably stop just qualifying it. This
is bad broadcast practice, but you know I'm a bad
broadcaster anyway. Major Label Debut will return with more bad broadcasting.
(15:36):
Produced by John Paul Bullock, Josh Hook. Music by Greg Alsop.
We love you, Greg. Delta Underground, one of Greg's musical projects,
has new music out right now, so look up Delta
Underground on your streaming service and choice as well. At
the MLDVMAS, we know that de Delta Underground will be
winning all the awards, so look out for that, probably
on CBS next fall, I assume. So thank you so
(15:59):
much for listening to this show. We really appreciate it.
I really appreciate it. My name is Graham Wright. This
has been Major Label Debut. We'll be back with more
tales and news from the intersection of art and Commerce.
From the major label debut podcast network. This is MLD News.
I am your news anchor and Soul News participant on
this episode, Graham Wright. That's right. Co host John Paul
Bullet continues to be busily working away on projects that
will be revealed in time, and so I am here
by myself to talk to you about the MTVVMAS. That's right,
(00:26):
the Music Television Video Music Awards are still happening. Not
only are they still happening, but I was quite surprised
to see when I was watching my beloved Packers Stomp
the Lions on Sunday an advertisement telling me that the
MTVVMAS are on CBS this year. They're not even on
MTV anymore. And I found that to be a very
(00:48):
fascinating evolution of what MTV is, which obviously has changed
a great deal over the years, but still has some
kind of like branding value to it, as like the younger, cooler,
more current music awards. You know, I think the Grammys
have have long had a reputation for being a bit fusty,
(01:08):
perhaps a bit conservatively minded and old fashioned in terms
of embracing new genres and new voices in music, and
the VMAs, by their very demographic nature, are a little
more with it, or at least that's how I've always
interpreted them. And I got to tell you, listen, very
little about the twenty twenty five MTV VMAs intersects with
(01:32):
much of what we are of the kind of music
that we talk about here on Major Label Debut. Frankly
that any of us listen to here at the MLD
HQ and not too typecast. But I'm guessing that in
terms of the listenership of the show, there's not as
many Sabrina Carpenter fans out there. I may be wrong,
(01:54):
and we celebrate Sabrina Carpenter and all of her work
in Shenanigans here, but that's not the same thing as
like really loving those records. And as soon as I
saw that it was happening, I thought, Okay, I'll talk
about the VMAs on MLD. And then I was getting
ready to talk about the VMAs on MLD and sort
of realize that it's a weird thing for me to
(02:15):
talk about because I don't care about it in the
way that I did care about it when I was
a teenager. You know, I would watch the MTV VMAs
every year, as well as the Much Music Video Awards
here in Canada, which were as much Music always was
a little lower budget and maybe a little bit cooler
as well. But you know, when I was a lad,
(02:36):
they were awarding the music that I was listening to.
I bought Limp Biscuits significant other and Limp Biscuit was
prominently featured at that year's VMA's Dittocorn and Raging against
the Machine. A little later, they had that iconic, legendary
performance that certainly I know lives in my heart and
all the Tokyo Police Club guys gathered around the computer
in Dave our Singer's basement to watch it. Ladies and gentlemen,
(02:59):
the Hives and the Vine when they celebrated the so
called return of rock by having the Vines and the
Hives each performed like in It wasn't quite a medley,
but the camera like swung from one stage to the
other and they played sort of right back to back,
and I thought that was so cool, and frankly, I
really thought that I myself would be attending the MTV
(03:19):
VMAs soon and often it never did happen. But that's
not why I don't care about them. I don't care
about them because I'm thirty eight years old and they're
four younger people. However, every awards show is a true
intersection of art and commerce. It is the industry award show, right.
(03:40):
If you've ever been at a hotel or a convention
center when they're having like Midwestern car insurance sales rep
of the year gala dinner, if you've ever been to
a music awards ceremony, it's like the same thing, just
with a little bit more pretension of coolness and of hypness.
I've been lucky enough to attend some awards ceremonies in
(04:02):
my time, and I've had a lot of fun at them.
I'm not trying to talk shit, but they're an industry
gala at the end of the day, and the fact
that they make an entertainment product out of it for
television doesn't change the fact that the awards are being
awarded by and for a industry centered group of people.
You know, these are not the viewers' choice awards. These
(04:23):
are not the choice of teen awards. They're the choices
of some vague voting body. And I think everyone basically
understands by now that it's largely puppet mastered by the
same puppet masters that pupper master everything in the music industry.
You know, it's not a coincidence that the biggest artists
win the awards. That's typically how it goes, and you know,
(04:46):
every once in a while you get a surprise or
a left field thing. But looking through the winners from
this year's VMAs, I don't see a lot of shockers
in there. You know, Ariana Grande and Sabrina Carpenter, Lady Guy.
These are all people who I would expect to win VMAs.
The Best Rock Award at the VMAs, the nominations were
(05:08):
twenty one Pilot's, Lincoln Park, Lenny kravitzs, Green Day, Evanescence,
and the winner, my beloved Coldplay with their song All
My Love, which again I love Coldplay. I think that
it's pretty clear by now this is a band that
I truly respect and adore. I'm not being ironic or
funny about it. However, Coldplay song All My Love, and
indeed Coldplay's output over the last five years really stretches
(05:32):
the definition of what is rock. But that too, I mean,
this is what I want to talk about about the
VMAs as much as anything I'm not going to give
you a rundown of the show. You can watch the
videos on YouTube. You can read the winners on Wikipedia
like I am, or probably other websites as well. But
I think that as investigators of the art commerce, uneasy bedfellowsmanship,
(05:56):
as we are here on major label debut, I'm just
interested in investigating. It's like checking the dipstick on the
popular culture. You know, what are they doing with the
VMAs now? Just the fact that they put them on CBS,
I think is very notable and interesting. More people get
that channel. It was on after football. A lot of
people watch football, and you know, probably a good bet
(06:19):
to assume that if you have a show with Ariana
Grande and Sabrina Carpenter on it, some people are going
to stay tuned rather than watch Sunday night football on
another channel. What anyone gets out of it is an
open question, And maybe it's an open question about any
awards show, And maybe it's the kind of question that
is better off just unasked. You know, maybe, like everything,
(06:39):
it's a little bit of entertainment for the night and
it helps your career. I don't know if Sabrina Carpenter's
career is meaningfully impacted by winning some VMAs. But I
know in my award nominated days with Tokyo Plis Club
never won any awards, but we were nominated for a few,
and even getting nominated, you would literally see like more
and better show offers come in, particularly from universities and
(07:04):
colleges who are booking bands to play. Also, like you know,
we call them corporates, corporate gigs where you play some
private show for Absolute Vodka shareholders or whatever. It's not
something that bands love to yack about too much because
it can feel a little corny, but it is like
a big part of a lot of bands business. And
if you get nominated for award, an award is there's
(07:25):
just this sense people have that there's like a legitimizing factor.
And there's a few things that can add to it.
Obviously like being on the radio a lot is very
legitimizing in people's eyes, but also winning an award, winning
a Grammy certainly, but also an MTV VMA, it just
tells people that, Okay, this is like a good band,
(07:48):
a popular band. If I have a budget and no taste,
I could just scroll through the list of winners of
the VMAs and book one, and I stand a pretty
good chance of booking someone that's going to appeal to
most of the people who are coming to whatever my
event is. Like I say, that's a real industry engine.
And the awards shows are part of the industry ecosystem,
(08:08):
maybe more than they're part of the popular metabolization of music.
And maybe the reason they keep going and keep getting
pushed has less to do with the audience demanding it
and more to do with the industry just needing it
to function, and any of these vestiges of the old
music industry, I think in twenty twenty five you got
(08:31):
to consider that factor as a big part of it.
The music industry, as we're always talking about here on
Major label Debut, is run by people. Some of them
are very strange people. Some of them are very inhuman people,
or have forgotten quite what it's like to be what
you might call a normal person. But nonetheless they are still,
at the end of the day, sacks of meat and
(08:53):
bones and goo with brains and emotions and biases and feelings.
And as especially the people at the top who tend
to be a little older and a little have they
been around for a while, and they've ascended up the
ladder through one music industry, only you know, ten years ago,
twenty years ago, to start to look down behind them
(09:14):
and realize that where they came from doesn't exist anymore.
And the foundation of the building that they've worked their
asses off to ascend to the top of is crumbling
and in many cases has kind of just vanished all together.
And so when you see these vestigial institutional events and
(09:35):
apparatuses still functioning, you've got to remember that the people
making the decisions are just from basic human insecurity, have
a real vested interest in things staying the way they
used to be. And everybody knows that things have not
stayed the way they used to be, cannot stay the
(09:55):
way they used to be, and it's totally futile to try.
And you know, like while coyote running off the cliff
and staying running in the air until he looks down,
it's only a matter of time before the inevitable crumbling
of all of these venerable institutions is complete. However, every
year they have a VMAs is another year that they've
(10:17):
held on to at least that one part of it.
I know, that's a very cynical way to look at
these things. But I mean, it's the fucking mtvvmas. Why
would you not be cynical looking at it. I think
you can enjoy it looking at it cynically. I know.
I have some friends where we like to get together
and have a few drinks and watch old mtvvmas on YouTube.
(10:39):
If you're ever interested in a time capsule of the
music industry and like a bracing reminder of what it
was actually like instead of just a vague, gauzy memory
of how cool it used to be, watching a turn
of the century mtvvmas is a great place to hear
some breath taking the casual homophobia, a number of words
(10:59):
that you serve we can't say on television now being
thrown around with great impunity and seeming glee. There's a
particular Chris Rock joke after a fat Boy Slim performance
of Praise You that I will not repeat here, but
if you look it up, it's a real jaw dropper,
but it's not delivered like a jaw dropper. It's just
a throw to commercial and it's just sort of, you know,
(11:20):
it's just people talk and the way people used to talk,
and it's a good reminder that most of the things
we leave behind in the past are maybe best left there.
But in the spirit of looking backwards at VMA's I
pulled up you know, there's the twenty twenty five VMAs,
which I just listed. Your video of the Year was
Ariana Grande. Your Artist of the Year was Lady Gaga.
(11:40):
Your best new artist Alex Warren. Your best pop artist
Sabena Carpenter. Let's go back ten years to twenty fifteen.
Your video of the year Taylor Swift Bad Blood, the
version featuring Kendrick Lamar, which I always thought took out
the best part of the song to replace it with
like a pretty mid Kendrick verse. But I am not
an expert in Kendrick Lamar, hip hop, pop, Taylor Swift,
(12:01):
or MTV VMAs, so your mileage might very best video
was split into Best Male Video and Best Female Video.
That's already feels a little old fashioned. Mark Ronson won male,
Taylor Swift one female, and it was the other one
I said best New Artist. I can't even find that
on here. How much scrolling am I going to do? Oh?
It's called artist to watch back then and it was
Fetti wop and indeed we did all watch two thousand
(12:24):
and five Video of the Year Boulevard, Broken Dreams, Green
Day Cold Plays on there with Speed of Sound just
runner up Best Male Video, Kanye Kelly Clarkson Since You've
Been Gone won Best Female Video, and I think we
can all agree that that's one of the best female
videos ever made. Best New Artist was called Best New
Artist in a Video and it was the Killers Mister Brightside.
So there you go a little bit of honest to
(12:46):
god guitar band music. We only had to go back
twenty years to find that. In the MTV VM a
big winners list, people loved Boulevard and Growing Dreams. Go
back ten more years. Your Video of the Year is
TLC's Waterfalls. Best Male Video was a Tom Petty Madonna one.
Another one. This is starting to feel a little bit
boring as I list these offs, so I'll just wrap
(13:06):
up by saying that Whody and the Blowfish won Best
New Artist in nineteen ninety five, and I think that
that decision stands up pretty well. And that, my friends,
is how you make an MLD news episode added of
an awards show where you barely know any of their
performers or awards winners. But I do think I love
that it's still going on, and I love to follow it,
and I love to know about it, and I love
(13:27):
to yap about it into this microphone. I hope that
my analysis, if you could call it, that my pattern,
was coherent, sensical, and perhaps slightly illuminating. I wish I
had ever won an award so I could tell you
what it was like to win an award, but they
never gave Graham Right an awards so far. Next year,
(13:48):
when they add Best Podcast to the MTV VMAs, I
really think MLD has a great chance, So we'll all
look forward to that, and then I can report live
from the floor of wherever they're hosting it next year
and on whatever channel. But in the meantime, that's your
MLD news for the week, such as it was. Thank
you so much for listening to the podcast, especially these
(14:11):
ones where I'm just sort of checking in on goings
on around the music industry. I'm not pretending to be
like a journalist here. I'm not pretending to bring you
real updates. I'm not doing a ton of research. It's
not that kind of show. This is not Deep Dives
on the MTV VMAs. It's me and it's John Paul,
and it's Josh the accluded producer, just being who we
are and talking about how we experience these things. And
(14:33):
you know, obviously I am a longtime lover of music.
I'm a longtime professional musician, and so I have an
angle on these things that I find endlessly interesting. And
so if you find it fifteen minutesly interesting, then that's
good enough for me. We really appreciate you listening, and
if you have any thoughts on these matters or questions,
or if there's anything you wish I'd gone in depth on.
(14:54):
You know, sometimes you're listening to a podcast and you're like,
oh my god, you just tossed out one idea and
then veered away from it. I thought that was the
only interesting idea in the whole show. Hit us up.
All of the social medias have DM features. We have
a website. I think there's an email or a contact
forum somewhere. If there's not, I'll make them put one on.
And by them, I mean me. It's a work in progress,
(15:15):
and I'm still figuring out how to engage with the
non interview episodes in a way that is like interesting
for me and for you. So this was interesting for
me and I should probably stop just qualifying it. This
is bad broadcast practice, but you know I'm a bad
broadcaster anyway. Major Label Debut will return with more bad broadcasting.
(15:36):
Produced by John Paul Bullock, Josh Hook. Music by Greg Alsop.
We love you, Greg. Delta Underground, one of Greg's musical projects,
has new music out right now, so look up Delta
Underground on your streaming service and choice as well. At
the MLDVMAS, we know that de Delta Underground will be
winning all the awards, so look out for that, probably
on CBS next fall, I assume. So thank you so
(15:59):
much for listening to this show. We really appreciate it.
I really appreciate it. My name is Graham Wright. This
has been Major Label Debut. We'll be back with more
tales and news from the intersection of art and Commerce.
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