Recession Pop Resurgence in and a Crumbling Pop Music Cycle

Episode Transcript
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Speaker 1 (00:01):
Podcasting since two thousand and five. This is the King
of Podcasts Radio Network, Kingopodcasts dot com.

Speaker 2 (00:08):
It's been long said that pop music runs in a cycle,
but it was those days when we had streaming with
iPods not iPhones.

Speaker 1 (00:21):
The King of Podcasts Radio Network proudly presents to the
Broadcasters Podcast. Here is the King of Podcasts.

Speaker 2 (00:30):
Welcome to episode three hundred and ninety four of The
Broadcasters Podcast, and before you know it, we'll get the
four hundred before the summer is up. King of Podcasts
here with you. Thank you for joining me for the program.
And hey, what did I say about the Superman? Look
at how well it did this weekend in the box office, but.

Speaker 3 (00:48):
Two hundred and twenty million dollars well.

Speaker 2 (00:51):
Global box office? It kicked ass. It did very well,
one hundred and thirty. I think it was for domestic.

Speaker 3 (00:56):
I like the movie. I'll just hit off the bat.

Speaker 2 (01:00):
You know, I'm not gonna put up there with a
Christopher Reee Superman series, But I mean, I thought it
was better than the random Raulh series. And I actually
thought it was a bit better than what I saw
from Man of Steel. Believe it or not, I didn't
mind the direction he went with some extra stars in there.
The casting was right. Yeah, I had to get used
to the fact that Superman was getting his ass kicked

(01:21):
quite a bit, but you know, it was more relatable
we could say, and you know, some of the extrue
things they brought in there, Mister Terrific was really good.

Speaker 1 (01:30):
I like that.

Speaker 2 (01:32):
Again, it's reinterpretation and it's the way we look at
our coming with universes now anyway, they have multiple allies,
saw these major superheroes and are not just going to
stand alone things like that.

Speaker 3 (01:46):
It's okay. I just think that the.

Speaker 2 (01:49):
Basic cast they did pay off. It's what I thought
it was gonna be when I first saw the trailers
for it some eighteen months ago whatever it was. So
it worked out, and that movie's gonna do really well.
Let's see if it a billion dollars, it could very
well do that. The way it's going not a bad
way to go. So tonight we're gonna talk about music.
And there's an ongoing story I've been talking about here

(02:11):
on the program about music being stagnant. Because it is
now I want to go and apply it to one
of the terms that have been used in the music industry,
or the radio industry for that matter, called recession pop.
I don't know if I really believe in that particular theory,
but we're gonna talk about it, and we're gonna apply

(02:32):
what has been said out there for many years what
that's all about.

Speaker 3 (02:37):
I'll give it a shot.

Speaker 2 (02:37):
I'm just not very worry about that, but I'm not
afraid to go ahead and take that and see what
it really means. You know, why not Illuminate put out
a mid year music report, and this is where we're
coming from right now, where it really brings up what

(02:58):
we have going on today. Recession pop could be a trend.
So on demand streaming is slowing down a little bit,
there's a decline in current music volume and a growing
interest in pop music. That was what was going on
between twenty oh seven and twenty twelve, and that's what

(03:18):
was being reported that there's a slowdown from what was
a peak of pop music during those during that time period.
Right there, on demand audio streaming is up almost five
percent in the first six months of the year, equaling

(03:39):
about thirty one billion more streams at this point in
the calendar than there were last year. So there's growth
but not as fast. Last year there were about fifty
billion streams, so they're thinking they're going to get the
sixty billion streams and streaming sixty billion streams, that's a lot. Rock,
Latin Country, and Christian slash gospel are the genres that

(03:59):
are growing the most odd demand this year year over year.
R and B and hip hop is getting the steepest decline. Yeah,
there's not been a lot this year in RMB and
hip hop. The peak of last year with the feud
between Keerdick Lamar and Drake amplified it last year, but
after that, nobody else has stepped in. We haven't had
a lot of the new stars come in play, and
who we've had on have not really panned out well.

(04:23):
We try to Scott put an album earlier, right, and
we had Feene and we had a couple of songs
and it just kind of came and went, you have
now Cardi B. That's gonna be putting up an album. Let's
see how that works out for and I'm trying to
think of it. Also, they Drakes got onto their album
coming up as well. He already had an album that
came out that was like kind of a mixtape, kind
of deal, but wasn't really anything special. But nothing has

(04:44):
really stood out that really stands out now. According to
Jimmy Murkinett, who's VP of Music Insights Industry Relations, that lluminate.
They say that we've seen this in the past when
it comes to decreases the current music volume and R

(05:05):
and B hip hop as a core genre is offs
most of the current volume. Country has actually grown the most.
Morgan Wall's new album has been at the top of
the charts. Come to Drive Down Again. Thirty seven songs
day on that album. More than a month ago. We
talked about that and that's what's driving country right now.
But a lot of the songs that go in that
Morgan Wall en route too. Let's just make that point
clear too. Zach Brian had a big year last year

(05:26):
and country is still on a real mainstream kick at
the moment as we speak. So there's the mention of
recession pop. And here's what we got now. To identify
and define what recession pop is, we need to go

(05:47):
ahead and go into a couple of different links that
will explain this right here. So the definition I'm gonna
give to you from my description on the podcast today,
recession pop is referred to the Great Sity Recession of
twenty and eight to twenty twelve. It's a distinctive genre
characterist right by you fork, high energy and escape as qualities,

(06:10):
which was pretty big when times are tough. So the
idea is, and this is based on the music cycle
theory that Guys Napoleon, who's a renowned radio consultant, has
talked about for years. So if you're notice sometimes when
we have music that when economic times are tough, music

(06:33):
always comes around to be something that changes with the
times because to get our minds off of what is
a really bad time, you know, making ends meet, or
you want to go and go anywhere, you want to
find an escape. So the escape is the music. So

(06:53):
late seventies, when disco music became very popular, that was
one of those things where people really got into, you know,
going into out of the clubs, getting out there, shaking
it all out and just trying to you know, shake
the stress and anxiety away. In the eighties we had
more into house music and eighty and the start of
em Safty goes into the really into the early two

(07:15):
thousand's also, you know, right around nine to eleven all
and then we had another recession, and then we had
again twenty eight twenty twelve. It was one of those
things where consumer behaviors are evolving, economic anxieties were in place,
and it's just the way that pop music changes. And
it's true because pop music kind of defines what the
cycle of music is. As we know, pop music defines

(07:40):
really what is mainstream music. Of course, I'm always the
person of the opinion that pop music it's really not
so much pop music as it is top forty and
the radio world. I would still say the top forty
songs are the most popular songs. Thus we say pop music,
but we know that that phrase has changed over the

(08:03):
years because what popular music was, according to the charts,
was what charted, and it didn't matter if it came
from soul or country or somewhere else around the world.
Along with the pop music up there or rock, it
would be up there in some way to perform country,
same thing. It would just be whatever was popular would

(08:24):
make it to the mainstream. But popular music that was
made to be popular, that a pops sound, we all
know what that is. That is always what's been driving
the music industry forever because of the hits and popular
music is also based on the hits that we have
and how many hits do we have? So in that time,

(08:46):
artists that really defined that recession pop period would be
Lady Gaga, Kesha, Katie Perry Florida because yet upbeat, dagibel
tracks serving as a temporary escape for the anxieties of
the financial crisis. I would say flow Rid mean, Pittbull
would be proaby a part to that mix. I would say,
there's other that you could see in that mix, but
that's a pretty good idea of it. And again, the

(09:07):
music cycle has always changed because when you go through
and you see the changes of music where we get high,
upbeat music, high energy music always kind of comes in
when pop music isn't necessarily holding up. Now, what's interesting
about some of the stars they talk about here. You
know when it came to Kesha and Katy Perry is

(09:29):
where you had the sound coming from. Because in every
pop music cycle for many years, it was always that
you had songwriters, you had producers that were specifically cranking
out those type of heads. So you talk about the
brill building in the fifties and the sixties, there Wrecking Crew,
and you know, the writer, the singer songwriters are going

(09:52):
in into the into the seventies, and then you just
kind of fall along. You look into into the nineties
and you see all the boy bands coming across. You
see you know, the young pop stars that are coming
in because of Max Martin, Doctor Luke and that Scandinavian
sound Sweden, and you just sometimes places just came across

(10:13):
and gave us music. It was mainstream, very gordy over
at Motown. The same thing goes kind of works that way.
So there is a return to that kind of music
right now. So music streaming is still positive, but nostalgia

(10:34):
plays a crucial role. So TikTok we're seeing is definitely
being a contributing factor.

Speaker 3 (10:40):
And the same thing.

Speaker 2 (10:41):
Goes with the social media that people are obviously getting
into their eras of what brought them joy, what brought
them interest, and when the music is not satisfying right now,
so like, for instance, we have idiom music, we have
house music, we have upbeat music that is playing all
around Europe, all around the world. But what happens when

(11:02):
pop music is very light, which has been We did
have an influx last year when you had Sabrina Carpenter
and Chapel Roone and even to some point Taate McCray
or you could say, you know, just like there was
a change up to it with some of the pop
stars we're seeing right now that are trying to move
up to the forefront. Rose. You have the you know,

(11:23):
the members of Black Pink, and there are others who
are trying to make their way through and just buying
their way.

Speaker 3 (11:32):
Into the cycle. But it's very difficult.

Speaker 2 (11:35):
Record labels are not putting in the money or the
time of the process to really build talent because they
don't have the interest of it anymore. If they're only
going to get paid what forty cents or whatever it
is they're going to make off of streaming for every
song that's played or everan you know, I mean, they're
gonna make minuscule money now compared to what they used
to make. So I'll listened to a book called The

(11:56):
Song Factory by the author's name is John Seabrook, and
the book was from twenty fifteen. But one of the
things he would make a mention of is that, you know,
it was twenty years ago that I remember that we
all were buying CDs if you wanted to buy them
at full price, and you wanted to buy a new
album with twelve fourteen fifteen songs on it. You're paying

(12:17):
sixteen ninety nine seventeen dollars for a new album. And
we paid for it, and it wasn't a bad price
for us. I mean, it was a little pricey, but
we're like, yeah, we're gonna buy it. And I could
tell you I went to spect your peaches, and I
definitely would spend I remember spending hundreds of dollars on
music to the point of every month roughly, because when

(12:37):
there was new music that came out, we would find
what was going to play on our CD players and
we did it. And that was what a lot of
younger listeners now and younger consumers, they don't know what
it's like to be on that because it was what
twenty years ago that we started getting into Napster and
peer sharing and all the downloadable MP threes get.

Speaker 3 (13:01):
Kind of I was into it.

Speaker 2 (13:01):
I've never gotten the nap stray myself, but definitely got
in the Lime Wire, definitely got into Kazah. I can't
remember those. That was definitely in the those right in
that point. Because the other problem was that if you're
going to pirate music. You had to make sure you
had you know, DSL. You couldn't do that on you know,

(13:23):
just the old AOL kind of stuff.

Speaker 3 (13:26):
You couldn't do that.

Speaker 2 (13:26):
Like it was like you needed fifty six bits to
be able to go ahead and get that music downy
six kb. If you didn't have that, you really couldn't
do it. And it took a while for you to
get to that point. I remember that time we just
had one computer in the house and it was sitting
on one bed and the den, and I was like,
you know, they go and find time to go and
get on, and it wasn't that easy to get on
as much as people would like to do. But now

(13:49):
everything's so portable and so easy to get online that
I mean, we did get streaming ten years ago. That
also made a change for all of us. That our
music tastes are differ. And I mean the music that
let me talk about you could say here might still apply,
but I don't necessarily know if it does. So Guy
na Pullon, as I mentioned, he's a radio consultant, has

(14:10):
been around for a long time. He explains that pop
music goes through a cycle, ten year cycles, and I've
heard this before. So yeah, phrases like birth or pure
pop extremes and doldrums. So it's an ebb and flow
of musical styles. A fifteen year gap since the initial recession,

(14:32):
pop Boom places his revival perfectly within the cycle of
generational nostalgia. So those coming of age during the great
recessions are now looking back and finally on the music
of their youth. TikTok is helping the gun really amplify that.

Speaker 3 (14:46):
As I said, so.

Speaker 2 (14:51):
The desire for escapism and familiarity is driving consumers towards
catalog and music, which is music more than eighteen months
or older, outing for seventy five point eight percent of
market share of total US audio streams in the first
half of twenty twenty five. Now they talk about recession now,
which there has been a recession going on for several years,

(15:13):
you know, worldwide, and right now there's supposedly a recovery
from that recession going on as we speak, not there yet,
there's a whole lot left to go. So at the
moment stars beginning to be a part of this chapel
roone tarli XCX should also be brought on that at

(15:34):
popfront as well, So escapism is what we're talking about now.
Guy Zapollion actually talked about this more into his report
of the mid year twenty twenty five, so he's talking
about right now that we're in the doldrums period of
the ten year music cycle. So Guy Papilion has written

(15:58):
a recent article that says that in the last five
years we've been to the lowess soul of concessus hits
at least fifty percent of top forty stations hiring a
song at one point, so new music consuming pop stations
that if you're listening on the radio, the newest songs
are consuming what everybody's listening to all the time because
there's so many new songs to play, so many current.

Speaker 3 (16:19):
Songs to play.

Speaker 2 (16:20):
But we know that in radio in the last few years,
a lot of these stations, some stations that were playing
current music have gone into a different format where they're
playing more gold to recurrent. Like you said, catalog music,
that you're not playing the songs from the year of
you're playing them from several years ago or even farther back,
because you're trying to fill the void of what music

(16:41):
is out there, because there's not enough songs that are
becoming bonifide worldwide knock them out hits. So I mentioned
a while back the article from Billboard hit songs that
are lasting on on the charts, but why, and you
referred to it as a hit stagnation on the Hot

(17:01):
one hundred dating May twenty fourth, zero songs in the
top ten had spent a single digit number of weeks
on the chart. But we have to think about the
fact of why is this going on like this? Why
are songs? Why is it that music is not coming
out with new music? Okay, the music industry, the record
labels are not putting out augh music, new music that

(17:23):
would normally fill the coffers of radio stations and streamers
with new music. They're not putting out albums, they're not
putting out a lot of singles. That's the part. This
is open room for a lot of other music to
come out. New artists get a chance to go and
jump into the limelight here.

Speaker 3 (17:41):
And usually when we go.

Speaker 2 (17:42):
Ahead and discover new artists we'd never heard of before.
And this is like usually in these kind of areas
of the music cycle, we get new stars and all
of a sudden, boom, here we go.

Speaker 3 (17:54):
Because that's how it happens. Put it to you like.

Speaker 2 (17:59):
This sometimes in the doldrms of what music is, right, Okay, say,
like when we had the Beatles and the Stones and
the British invasion and that whole pop cycle that came
into the sixties late sixties, you go into psychedelic, you
go into other areas soul music. It's a real big push,
and then you get songs from artists like the Carpenters.

(18:19):
Then all of a sudden become big. Elton John comes
into anet period in nineteen seventy, and you start seeing
the stars that will become big stars and you'll have
a sustained career. I look at the early eighties and
then you look at we were coming off a disco
and a lot of slow music coming in, and then

(18:41):
the change of artists that were coming into there. Kenny
Rodgers comes into big play. Then you start getting into
Michael Jackson, who gets really big. Then you get the Prince,
you get the Madonna, and then so on and so forth.
Big the stars come out to them. Nineteen ninety, right,
we're going into We had a period in the late
eighties early nineties where Latin freestyles on the charts, when

(19:04):
you had, you know, dance hits on the charts, not
so much pop. And even if you did it, or
you had like New Jack's Wing kind of feels songs
to it, it was just like the eighties still kind
of like crossing over into something else. And Mariah Carey
all of a sudden nineteen ninety lasts into the music
scene and just kills it and there will be more

(19:26):
that come after that. Selene Deon comes out of that period,
and then you know when Houston really picks up at
that period as well, and then that's where things go.
It's like, well, we move along and with some artists
they might go in pan out bigger than others. But
like the thing was is that we would have moments

(19:47):
where the music industry goes to us this kind of
cycle and we would see the next crop of stars
come in. I mean at the end of the two thousands.
It was a bit of adulterer. It says well because
in Billy A all of a sudden came through to
mean the twenty twenties. Excuse me, so twenty nineteen into
the twenty twenties, and then Billie Oge comes in a

(20:08):
little bit right around the end of the twenty nineteen.
Maybe you can say twenty eighteen specifically, right, and then
you go to the Rodrigo that comes in and she
hits it out of the park. It's just what happens.
We get then artists that are just with lasting part
because of just a time period to come in and then.

Speaker 3 (20:26):
They take off.

Speaker 2 (20:32):
You can almost apply the same thing where we had
a slowdown of music when it comes to the late
nineties where Backstreet Boys came in, Britney Spears, Christiana Aguilera,
and then American Idol came into play and change things up. Well,
Kelly Clarkson comes into play, Carrie Underwood comes into play,
and that's just another change. Matt Bailey wrote a story

(20:54):
about linger factor on his graphs about songs dot com website,
and the limit for how long the song can remain
on the hot one hundred in the top ten has
going ever longer with every methodological and technological update lose control.
Teddy Swims has been on the charts more than any
song in chart history other than Blinding Lights by the

(21:16):
weekend now because secudively it's been up there, what almost
one hundred weeks now, I want to say it's a
crazy number. Now, if I just look at what we
have in terms of the numbers as we speak, let's
go into that real quick. The current listing of the
charts right now, just to give you the number of

(21:36):
weeks on the charts of the songs we have. This
is the mid year chart that if you're going to
count everything that Billboard does in terms of points, in
terms of their methodology on what they chart right now
of the year end songs. So we had a year
end list of twenty twenty five right now, your top
ten would be This Love Somebody, Morgan Wall that's thirty

(21:59):
eight weeks on the chart. Apt Rose Reno Mars would
be up there, thirty eight weeks on the chart. Espresso
Serbrita Carpenter, a twenty twenty four hit, would be charting
now at number eight. Your end I had some help,
Morgan Wong post Malone, that's a twenty twenty four song,
also a chart sixty one weeks on the chart. Benson

(22:20):
Boone Beautiful Things seventy six weeks on the chart, and
that would be number six right now. Lose Control of
Teddy Swims ninety nine weeks on the chart, and that
would be the fifth most listened to song in the country,
most popular song in the country right now, if we
were at the end of twenty twenty five, Birds of
a Feather, Billy Eilish sixty weeks on the chart, these

(22:44):
top ten songs, except for what apt was last year
as well, these are not any of these are twenty
twenty five songs bar song Tipsy Shaboozie sixty five weeks
on the chart. The only songs, the only actually that
even comes in from this year, and I don't even

(23:05):
know if it does. Wait, no, it doesn't. Luther actually
was a twenty twenty four song. Kendrick Delmarcissa and That
with a Spile also a twenty twenty four song. And
that's where we are. And that's based on the fact
that all those songs have crossed over a billion street
or or a billion plays and airplay and their sales

(23:27):
there's a differentiation where they might have sold between three
and five thousand units digitally as they've done, or physical units,
whatever it is, and that's where they are, Like, that's
it's impressive. Not a lot of twenty twenty five songs
on here, even if you go back farther down.

Speaker 3 (23:48):
That's so true.

Speaker 2 (23:49):
TV off Pink Pony Club, timeless like We're going down here,
let Me go go Top twenty okay, not like us
taste squabble Up, I'm the problem Ordinary would be a
twenty twenty five song Messy Lil Young, twenty thirty four song. Right,
It's like that's where we are. There is not that
much music coming out now. So as guys Apollyon might

(24:13):
be giving us the point of this music cycle, it's
in a worst space than ever has Like that says
everything for you right there. Back to guys Apollyon here
he does say that there's a rebirth on the horizon
because a trend is to be now is that they

(24:35):
feel like music is not gonna go ahead and be
so reliant upon new music all the time, that not
a lot of people are gonna listen to new music
as much as they did, and that it's okay if
there's only so much new music coming out.

Speaker 3 (24:55):
Now. In the graph about song Graphs about Songs.

Speaker 2 (24:58):
Point, they made a think about where they looked at
basically the rock and roll era, the sixty years plus
of the Billboard Hot one hundred so paper reporting just
sales going out there nineteen fifty eight to nineteen ninety one,
the average length of a song of the top ten
at any one time of the year would be at

(25:21):
the most twelve weeks in the sound skin era, which
is when all sales of records would be digitally compiled. Officially,
all of it will be compiled that way. And then
also was the change of the chart itself because they
would change the way it was constructed that the Hot

(25:44):
one hundred was no longer the mainstream chart that was
going to be applied. Is that with the change of music,
you wouldn't necessarily have the sales figures you would have
that would show look at the variety of music that
we have, like it would be control of what hits
would be more prominent than others. So you know, when

(26:05):
you have maybe like rap or country or other outside
music outside of popular music, out of pop music, pop
music was going to stay strong. I Meanwhile, the other
genres is not gonna go and hold up so much
because people are not buying so much of those records
like they would be popular music.

Speaker 3 (26:20):
Because it hits.

Speaker 2 (26:22):
Eighteen weeks on average would a song be in the
top ten, and the iTunes here which was two than
six to twenty seventeen. The sound scan era was nineteen
ninety one to two thousand and five, so when iTunes
first came on, average a song might be in the
top ten twenty five weeks, and now on the current
day streaming era from twenty eighteen to current day, forty

(26:45):
two weeks is the average time a song might be
in the top ten. If you look at streaming as
listens versus a one time purchase of for song, you
have fragmentation caused by so many different platforms that listeners
use to consume music. All that helps because the song
will last much longer on the streaming charts, so it's

(27:09):
limiting the amount of new songs and new artists breaking through.

Speaker 3 (27:12):
It's not good. I don't like that part.

Speaker 2 (27:14):
Then you have a consensus paralysis with fewer consensus hits,
where we don't have a mainstream that can absolutely say, Okay,
this artist is a big deal. There's not that many
they're able to go and cross through that spectrum to
get to the very.

Speaker 3 (27:30):
Top and everybody knows who they are.

Speaker 2 (27:32):
We're not gonna be geting those type of stars, and
if we do, it all depends on the fact that
you have certain stars that have to go, and you
either gotta go to their own go to big festivals
and get noticed, or you have to go ahead piggyback
off of somebody else like Sabrina Carver for her matter,
for her to get the big shows that she's doing
right now. She was working on the Taylor Swift Aeros

(27:55):
tour she was starting. She was a opening act and
that helped her out tremendously that she got the endorsement
of Taylor Swift. That's why people followed her anyway in
their career.

Speaker 3 (28:05):
Anyway, which was great and good for her and Chapel Roam.

Speaker 2 (28:12):
When she had her album out, it took a while
for another ago and take off and now she's off
to a run. Kate McCrae also took a while to
go and get herself off to a run and get somewhere.
But now what happens in radio and what happens in
streaming as well, by the way, because of the listener
habits now, whether you are streaming your music or streaming

(28:32):
on a live station or stream or listening on AMFM station,
which FM station come on or satellite. To be honest,
there's the industry believed that current music is completely faded
and a replaced with gold consumption, which means songs from
a couple of years ago, five years ago, ten years ago, whatever.

(28:54):
So eliminate now declares older songs which are at least
eighteen months or older seventy percent. Music market and new
music takes up thirty percent, and it continused the shrink.
Between the period of twenty twenty to twenty twenty three,
popular music or pop music if you're not counting holiday music,

(29:16):
makes up eighty seven percent of songs that played between
twenty twenty twenty twenty five on Spotify. They go for
that that they want music that's within the last few years,
but they're not listening to just new music. Stations and

(29:38):
streaming platforms right now are showing signs of embracing of
war broader definition of.

Speaker 3 (29:42):
Hits right now.

Speaker 2 (29:45):
And that's one thing that's actually pretty good is that
we're getting a diversity of hits because even the streamers
have to understand, Okay, if you don't have all this
new music, these record companies that want to build out
these big stars, go ahead, get them out there, put
them out albums, put out singles, do the whole cycle.
Because they don't have the faith or that they want
to put the investment into a star that's going to
fail because they can afford to have a star fail anymore,

(30:07):
not like they used to when they had a whole
lot of money coming in because of the physical units
that were selling. When they don't have that anymore. They
had never figured out a plan, never had a good idea.
They might have tried to go and latch onto digital downloads,
but that went away and it ever really didn't anything
to work with the stream. Isser resists they are kind

(30:28):
of somewhat, but they only can get so far with
being on there because everything is so homogenized. Like to
get your music on the Spotify, I mean it still
comes down to if you want to have a national
list into that Today's Top hits or Apple Music's Top Hits.
That's a fifty song list of everything around the country,

(30:49):
even around the world for that matter. Very tough, but
Spotify is today's top hits. Apple Music even top forties
are not playing country, pop, pop, rock, R and B,
hip hop and some alternative. It's a healthy musical ecosystem.
This is what is called a rebirth phrase, a strong
balance of rock, pop, rock, an alternative in twenty twenty five,

(31:10):
pop an R and B all reasserted themselves as major
hit genres. It's a great sign for healthy music cycle
when you see the genre of fusion because they're talking
about the fact that now we have artists that are
also taking from other genres. They're not just straight out
pop hits, so genre collaborations Post Malone, Tate McCay working

(31:31):
with Morgan Wallen on various hits, genre fusion with artists
like Chapel Roan, Chaboozie, Teddy Swims, either giving you a
country feel, a soul feel, a pop field, whatever it is.
Then you have pop with an R and B field
to it, or R and P with a pop field
to it. Melodic says a Weekend dojakat all fitting in

(31:53):
the last five years for that pop rock and alternative
pop that would be Benson Boone, Hosier, Teddy Swims alternative.
You have a little young that's come out with you know,
with a hit and also coming in a little bit more.
The Maria is also coming out as well with a
moderate had top forty, and then you have superstars on
all these different genres. Organ wall ruling countries to Carpenter

(32:15):
ruling pop. Kendrick Kamar is the hit. It's the biggest
in and hip hop on R and B general. But
of course other genres like Latin country or alternative rock
are getting the exposure he deserves. They're not getting the exposure.

Speaker 3 (32:31):
So what happens there?

Speaker 2 (32:33):
Like even for myself, I know that my change of
music right now, of my current music when I listen
to it. If I had the broadcast the radio station now,
if I had a program of music station right now
of just popular music, it would be tough because at
least where I'm at in South Florida, we have a
very large Latin contingency obviously, so playing Latin music would

(32:53):
be something I would definitely do quite a bit of.
I would put a station out that would cater bilingual
English and Spanish, that's my personal field to it and
make it upbeat. The other thing, too, is that I
look at genre some other areas that has focused here
on the program as well. Like even for the Latin music,
if I go into gorrios, right, if I go in

(33:15):
to reggaton, that's not just from the Caribbean or not
just from South America. Now, we're getting it from where
we are getting from South America, if we're getting from Argentina,
or we're getting that's La Jauki that's down there, or
Danny Floyd to in Mexico doing a new style of
regaton over here. Then we have Brazilian fonk that's also
coming into the place right And then when it comes

(33:36):
to music, you have EDM, you have afrobeats that's kind
of replacing the R and B sound that's out there,
but now the R and B stars or just music
that's out there with an R and B tinge, it's
afrobeats now. You can feel it's an afrobeat field, like
there's a denbo to it. There's a feel, a lushness,
a tropical feel to the songs now that are coming out,
and even Latin music is taking that of picking up

(33:58):
on that as well. K pop when there's not the
you know, you're pretty pop stars that are out there,
not as many. Look at what we have right now.
When Black Peing decided to Grina break go on the
singles runs, try to put some songs out there, see
what happens.

Speaker 3 (34:14):
That's where you get.

Speaker 2 (34:14):
Rose and Jenny and Lesa and all these other stars
coming into play to see what happens saying thing with
BTS bringing them off with you know, Jen and I
forget the other names. Trust me, I don't know all
the BTS names. I just know they're out there and
doing stuff. But that's what's filling the space because what

(34:36):
else is there. So when we have these phases, as
we mentioned, even going into the change of music that
we have, we get open up the new music, new styles,
new everything. Every time we kind of move along. So
when you think about late seventies or early eighties, new

(34:59):
way started to come into play, it was the dominant
music over punk and anything else coming out. But also
just originate from Britain, which always Britain always states ahead
of things. We always know about that great Britain love
you guys always to takes Bakers when it comes to music.
I'll always pay attention to it. That's why I always
listened over to BBC Radio one here their chart show,
because I noticed they're on top of things. But even

(35:22):
they right now are feeling the dol drums as they
say here, where music is just not hitting that much.
There's not a lot of new means to go and
work off of. Even though I might hear songs over
there in Britain that will not cross over here because
of America.

Speaker 3 (35:34):
There's just not a room for it.

Speaker 2 (35:35):
We don't have the radio stations that are allowed to
going and open up things up, and that's what's not
happening now. In the story, you talk about the fact
that we've had examples of years where the dol drums
will become transition faces, so eighty two to eighty three,
but we really had the change where music changed. Prince
came out, pop alternative, Human League, Soft Cell, go Gos,

(35:58):
Mitel Motels were all part of that new wave sound
to it. You had R and B with a dazz band,
rock with Joan Jet, John Mellencamp, John Cougar Mellencamp ninety five,
ninety six, ninety seven. You had genre collaborations with Mariah Carey,
Jennet Jackson, Boys to Men, pot with the Backstreet Boys,
R and B with two. We had hip hop with Tupocc,

(36:18):
Cool Jay dlc at the pop rock sound with Alanis Morsett,
Google Dolls, Chryl Crow and right now we're getting a
country pop rock crossover in twenty four and twenty five
with Benson Boone, Teddy Swims, post will know Chaboozi, Beyonce
getting into the country mix, who knows what else. So, yes,
we're getting a little more diversity of the charts, but

(36:40):
still not a lot of new music, which you would
like to think that there's a lot of artists out
there that have good music that can go and get
promoted and pushed and marketed. And we can hear new
music all the time, and don't get me wrong, there's
a lot of new music that comes out. But one
of the biggest things that a lot of listeners wire
going to say right now today, and so I'll say,
they don't have lasting there's not quality to it. And

(37:02):
it is something to be said about the difference of
the music that we consume right now that's all being
produced digitally, Like how many artists are out there actually
using instruments completely instruments and nothing but country does quite
a bit. They don't necessarily used to use a lot
of beat machines and other things to go ahead and
replicate drum machines whatever. It is a bit of a change,

(37:26):
but we noticed that it was a different time when
you had artists going into the studio putting out music.
The attention to detail that was out there. And also
there wasn't so many songs that were out there that
already had the three chord structure that we already were
familiar with. It's one thing to be said about certain

(37:47):
songs where people will just go and just sample instead
of just cover or no, but you think about it,
nobody could cover songs anymore. Rarely does it even happen.
But there's more enough sampling out there to give a
little bit of a change going on to music. And
that's the part where I can't stand it when I
hear certain songs just get fully sampled. No wonder song's

(38:08):
gonna go and do really well if you've got the sample,
little boot thing. Paul Russell, I mean, the emotions have
better been paid one hundred percent for that song right there.
I mean the emotions should be getting the deal that
Steely Dan got off Lord Trecomputer Guns for Deja Vu
Uptown Baby.

Speaker 3 (38:28):
Just saying.

Speaker 2 (38:31):
Now, one of the biggest series we've got to go
and focus on when it comes to all this is
for the record labels. Where are they getting their money?
Because now it's very typicult dreamy revenue now is coming
from outside the US for major companies like Spotify. In
twenty twenty four, global music industry revenue is expected to
reach twenty eight point six billion dollars. The fastest growing

(38:53):
markets for music streaming are Asia, Latin America, Africa, and
the Middle East, where major music company have fewer resources.
Emerging markets are forecast to make up seventy percent of
these screaming music by twenty thirty, and major labels are
losing market share because independents are offering new artists far
better terms. And by the way, there's also not just
artists management representation, where who needs the record label to

(39:16):
go and give you some contract? Will you just find
some fine manager for an artist that will find their
way through without to go through the route of anything else.
And that's the biggest change that's been going on here.
Major labels still have a strgglehold on the biggest acts
and the most valuable catalogs, but they're not going anywhere
because they'll expect more consolidation. So they're just gonna merge

(39:36):
with each other and continue to go and pick up
whatever they can to continue to survive. Now, guys only
also makes the point about radio when it comes to
trying to get back to basics I've always said this
many times before, if radio would get back to a
point where they would be the gateway for music to
go and become popular, Like, let that be the starting

(39:58):
point when there are big acts with new music, and
then they trickle down into streaming. I guess the immediate okay, simultaneous, synchronous, synchronized.
Here's a song hitting big on radio and then immediately
goes to streaming and people could go and catch it
right then and there. But we don't have that yet.
Stations can actually attract the younger audience. One of the

(40:21):
stations right now that's actually doing really well according to
his survey here or this research is now one of
two point three FM and Edmonton, Canada, which is a
station I haven't heard yet but I had to go
find it. But younger audience has primarily lived on streaming
platforms or TikTok. And by the way, with TikTok, I mean,
what a wonderful thing you've been doing right now, where

(40:43):
if you have yourself attached to the Spotify that when
you find a song that's being played in the soundtrack
of whatever TikTok video you're.

Speaker 3 (40:51):
Watching in your FYP.

Speaker 2 (40:53):
The fact you just hit a plus sign where it
says Spotify. You see this song title a name, and
you can hear it. You're like, I want to I
want to keep that song. Then you hit the plus
button and it automatically says into your say lists of
like songs, and then I can just put it to
whatever place I want to put it.

Speaker 3 (41:14):
Really great.

Speaker 2 (41:17):
So radio needs a vastly reduced commercial load, a smaller
spot load, and shorter stop sets. But nonbody's doing that.
Also talking about the fact that there needs to be
more personalities, radio needs to take more shots on raw talent.
Experience is not always necessary, but we need to increase

(41:38):
our efferences in the industry to find and develop new
personalities who can connect to our audience. I don't know
where you're going to go and do that, and who's
going to go and make the plan to find new talent.
That was according to Hubbard Radio Executive vice president Programming
and Audience Development Greg Strassel.

Speaker 3 (41:53):
He said earlier this.

Speaker 2 (41:55):
Year, but you're talking about corporate radio companies exert the
gonna do that, but they're not.

Speaker 3 (42:02):
They're just not going to.

Speaker 2 (42:06):
But one of the things that I talked about before
is that does that ten music ten year music cycle
still last right now because A's he said, we're basically
in five years of doldrums right now. When it comes
to music, it was before COVID. Whatever changed, it just
kind of changed everything up. Back in June, there appeared

(42:27):
to be some return for hope in the music industry
to a healthy music balance because Top forty radio or
contemporary hit radio started giving a little more diversity with
a different genre, with acts like Post Malonia Mooze combining
hip hop and country, and the rest of the top
ten filled with rock, pop and R and B hip hop.

Speaker 3 (42:47):
Hits that were charting.

Speaker 2 (42:51):
So there was some diversity going on, especially in the
chart last year. When you look at this time last
year and what was on the charts. Remember the chart
ending June twenty second, twenty twenty four. Okay, Lose Control
Teddy Swimson is already on that chart. You had bar
some Tipsy that was already on that chart by then.

Speaker 3 (43:13):
But it was a.

Speaker 2 (43:15):
Difference here because Sabritty Carpenter Short and Sweet album had
not hit yet, but a couple of big hits came
off there on singles with espress one, Please Please Please,
I had some help post Blona Morgan Wall was the
number one song at that time. Million Do Our Baby
Tommy Richmond came out, which is again now we know
as a one hit wonder, not like us Kennrick Glamar.
So you were in the heat of the Kendrick Glamore

(43:38):
Drake battle, Too Sweet by Hosier, who denied by Eminem
Birds of a Feather, Billy Eilish and its early part
of the run and Lose Control, and that's what we
actually had. So there was quite a bit of variety
going on. And it's a pretty good chart right there.
You know, in the top ten of what we had,
we have stagnation. If you look at the media based
chart which I can see here on this website of

(44:00):
what songs are being played right now that are the
biggest songs right now in the country according to the
ten year music according to the guy who's a bullion right
now and has been year survey, the current list this
is I think at the end of June he puts
us out of your top ten songs. It's okay, I'm okay.
Tate McCrae is number ten, Beautiful Things, number nine, Dancing

(44:23):
in the Flames, the Weekends eight, Really Out, Billy Otisburgs
of a Feather is seven, Shaboozi Barr Song is six,
Brudy Carpenter Espresso five Those You're Too Sweet, four Double Smile,
three Taste to Stargazing Miles Smith number one song, what
doesn't It Make Sense? And those are a lot of

(44:44):
songs that I've gotten old Miles Smith. If I'm right,
all these songs right here in this list, yeah, the
top ten, they're all twenty twenty four songs. They're not
from this year, none of them, not one, not a one.
And if I go back farther in the list, Apple,
Charlie XCX apt the Door, I could do it with

(45:06):
a broken heart, lose control, Please we Flee, Subrity Carpenter,
Megan Trainer, Criminals. I never hear that song. I know
it was out there, but I didn't really hear about it.
I am the okay Jelly roll Bed Kim Spy Carpenter
and post Malone. I had some help for your Murga Wall.

Speaker 3 (45:23):
And that's top.

Speaker 2 (45:23):
Twenty of media Base their current chart. That's wild, like
what's going on here. They're so late in the game
right now as we speak. And one thing that's also
gonna be said as well, is that the most songs

(45:46):
we had that were consensus right there were just biggest
hits sales, biggest hit streaming, biggest hits radio. We're getting
less and less of those songs every year. In twenty twenty,
we had twenty eight songs that would be considered consensus
hits every demographic, every metric. It was number one. Now
it's dropped in nineteen and twenty twenty four, and we'll

(46:08):
continue to drop the upcoming list. Right now for the
Billboard Hot one hundred, here's what we got right now. Okay,
down with a smile is suspect to be predictably number ten.
Luther What Donams, which debuted this week at number two,

(46:30):
will stay in the top ten. Love Me Not Ravenna
will make it into the top ten this coming week.
For the weekending July twenty sixth. Just to give you
a heads up, Shaboozie is still gonna be up there,
just in case what I want from Morgan Wall We'll
still be up there. Then you had the song from
the K Pop Demon Hunter soundtrack, Golden, that is now

(46:54):
was number six last week, will be number three.

Speaker 3 (46:56):
Most likely.

Speaker 2 (46:57):
Justin Bieber has a new album and a new song
Daisies that came out that should be up to number two,
but it would be not enough of Justin Bieber's song
you would imagine, will not be enough to knock ordinary
Alex Warden off the top of the charts. He'll still
be up there. I mean, what does that mean in

(47:18):
the whole spectrum of things. It's incredible that we're at
that point where music is just so stagnant, and what
else can we do? Six weeks at number one, and
that's not counting how many weeks it was, you know,

(47:40):
at number one over in you can't think it was
eleven weeks at number one for ordinary nothing else to
go up against it. One of the areas has been
talking about right now about what would change the music
industry to get it back to where he should be

(48:01):
as the fact that there are not record labels and
I will try to do right by an artist, which
that doesn't normally happen, but still, if there's not money
to be made by the record labels for artists, they're
not making that much money in songwriting or in music
they're putting right now on streaming. So Jeff rob Han
wrote in a Hollywood reporter about that songwriters in order

(48:24):
to earn a living wage, Spotify must step in that
the same old rules that build Spotify's empire are still
starving songwriters. What can Spotify do to fix that? So
they make the point that Spotify didn't solely cause the
songwriter crisis, the spring worldty checks, the broken splits the
mantageamental class of music creators. But it sits right in

(48:47):
the center of it. Now Spotify, they say, did not
rise because of cozy deals. It rose in spite of them,
sharp strategy, relent, this vision, and a little hell from
the majors handing over equity and exchange for early access
paid off for Spotify.

Speaker 3 (49:08):
So think about like this.

Speaker 2 (49:09):
Spotify now as a market value, is worth one hundred
and forty five billion dollars. It's worth more than most
of the company's licenses, music from Universal, which is a
top very top fifty six billion dollars valuated Warner fifteen
point five billion. Now, Spotify's recent decisions have made an

(49:33):
adversary out of the songwriter class, taking on significant criticism
in the business last year for locting to pay out
less of songwriters through a controversial bunding strategy. With audiobooks,
which caused the mechanical licensing collective through the company. Spotify
would win that case earlier this year as a suit
was dismissed, and that so far with the what has

(50:01):
been done with Spotify, publishers have already lost two or
thirty million dollars for what they've been doing right now
where they added audiobooks.

Speaker 3 (50:11):
To their platform.

Speaker 2 (50:16):
Now, Spotify did say earlier this year it has paid
in the last two years royalty is in the amount
of four point five billion dollars to songwriters and publishers.
Right now, Spotify is pushing to boost subscribers by packaging
music with audiobooks, helping its bottom line, but it's dragging

(50:37):
songwriter royalties down with it. So Spotify needs to take
on songwriters lous these terms because everyone else is compromised.
Legacy music companies benefited from the current model and aremired
in conflicts by housing both record labels and publishers' interests
because right now, the music labels are not worried about

(50:57):
new artists. They're worry about how much money they can
make on their catalogs of artists they've already had out there.
That's where the money has been really been these days.
So publishers representing songwriters answer to their bosses, the people
overseeing the record companies. Less a push and pool than
a noose where one side is looking to maximize profits
by minimizing payouts the ancillary non artists players that their

(51:18):
colleagues represents and that leaves about one hundred thousand songwriters
without an unencumbered advocate at the table. So I not
making enough money, not not much at all. So they
talk about how much is it that Spotify could do,
could really pay off of what they make that would

(51:39):
make the difference. Well, Josh Ravan says that if Spotify
we're just using three percent of his twenty twenty four
net profit, which was about three thirty nine million dollars
the booze payouts for qualifying songwriters, it wouldn't be life
changing for most, but it would cover health insurance, which
neither record companies or publishers provide. But what about is

(52:00):
if Spotify would grant one percent ownership in the company
the songwriters, one percent is just the entire landscape. A
one percent equity stake, which is one point four five
billion dollars, could be placed into a revocable thirty year
trust design and governed by a writer led organization and
partnership with labels, performance rights organizations which is like BMI

(52:20):
or ASCAP and publishers. So it would be an industry
rooted cooperative body which shared oversight and align interests, and
the trust we repaid gradually through revenue generated by writers themselves,
supported by propotional contributions from labels, publications, pros and all
broadcast platforms or all entities who's probit from the useless songs.

(52:43):
If you manage it, it could yield five percent annually,
generate seventy two point five million dollars a year that
could finally fund the kind of infrastructure writers have always deserved,
and a third of that, fifty thousand others of writers
could actually get basic health coverage, careers services, a four
to one K, access to a songwriter focused credit union.

(53:04):
And it could also support emergency relief and inovation grants
and profit sharing. And after thirty years, full ownership of
the stake would transfer to the songwriter community outright, not
a payout a future, but built by people who power
the product.

Speaker 3 (53:17):
Oh that's interesting.

Speaker 2 (53:19):
You're asking for a lot of favors and a lot
of asks of all the music community, the pros, the
songwriters to all buy in on this. It's a pipe dream,
but it is in negative to the fact of how
much money that the streamers could put out there to
help support the industry. But it's not dependent on the

(53:43):
music industry or the streaming industry to support the songwriters. Josh,
that should be radio, and as we've said many times before,
radio should be paying more and royalties.

Speaker 3 (53:57):
I made that clear.

Speaker 2 (53:58):
I don't care what the NAB thinks. I'm not going
through their conventions. They don't buy me to go and
go over there. I don't get anything from that.

Speaker 3 (54:04):
But I think.

Speaker 2 (54:05):
It's an absolutely valid point to me that if you
want something to be taken care of, then why not
get something happening to where radio stations are actually paying out.

(54:26):
I mean, I think that's a reasonable ask if you
ask me, I wouldn't see why they can't do that.
All right, I have a couple other quick stories to
just drop in here before you go to wrap things up.

Speaker 3 (54:39):
One of the stories people.

Speaker 2 (54:40):
Following along with right now for several months is the
fate of MPR and PBS and their public funding. Well
the US Senate have approved a recision package including one
point one billion dollars for the next two years of
money that would be alloted to the Corporation for Public
Broadcasting to fund public media, and now the government will

(55:00):
no longer fund public media according to what they're saying here.
The CEO of NPR said that public media directly harms
their communities and constituents if it's defunded, and that public
radio has a role in delivering emergency alerts. This precision request,

(55:21):
which will submitted by the White House in June. Under
the law of Congress bills to act before the forty
five day deadline, the targeted funds must be spent as
originally appropriated. But now the House is expected to consider
the senates revised bill before midnight on Friday, and by
next week the House could vote and go forward with

(55:41):
the decisions to where the federal funding of MPR and
PBS will be gone for the next two years. A
major change and lappens to those outlets in that media
in general. The start I wanted to bring up before
we wrap things up, Oh, two other things actually, because okay,
first of all, a major change the late night CBS

(56:06):
is canceling the Late Show with Stephen Colbert. So this
is not Stephen Colbert being fired or being let go.
This is the fact that CBS, under the Tutelagit paramount,
which is undergoing a merger with Skydance Media, as a
financial decision the show. As of next year May six,

(56:29):
the Late Show will be going off the air. There
will be no replacement. We don't know what's going to
go in that time stop. We also know that the
show after the Late Show with Taylor Tomlinson also got
canceled this year, which was the previous James Cordon Show.
But either which way, CBS is getting out of late
night for cost counting measures. It just costs too much

(56:52):
money to do late night shows, which is true. Jimmy
fallon on those four nights a week right now, seth
Ron's losses in house banned right for his show, So
late night it's not going to be so much of
an importance anymore.

Speaker 1 (57:11):
Now.

Speaker 2 (57:12):
According to a statement from TV's executives, they say that
this is pretty a financial decision against a challenging backdrop
in late night. It is not related in any way
that the show's performance, content or other matters happen to
get paramount, and I believe that if they could afford
to go and keep doing the show, I think they
would absolutely do it. For Stepha Colbert, that means he's
gotten over ten years they go and run that show

(57:32):
after David Letterman.

Speaker 3 (57:33):
Good for him. He's had quite a career.

Speaker 2 (57:36):
In television and doing political work with the Clobert Report
on Comedy Central, and that's what really led him to
get into this spot where he was at.

Speaker 3 (57:44):
Who knows what could go on with him.

Speaker 2 (57:46):
You know my guess Stephen Colbert, you know he could
be tapped into like going into the cable news realm
if he wanted to go that route. I wouldn't be
surprised if he did, because there'll be money out there
for him if he wanted to take. But again, does
he need the work. There are over two hundred staffers

(58:06):
that actually work on the program. That's amazing to have
that many people tells you how much it is. But
now there's a lot of things that are going on
in here as well about Scotty as Media and the
merger that's closing in now that one of the other
shows that might also might not last long enough might

(58:27):
be John Stewart in The Daily Show, which right now
John Stewart hosts one broadcast as The Daily Show each week.
But they're scrutiny from they take it as at skytte
ass Media, which is slated to acquire Paramount Global, the
pairm the parent of both CBS and Company Central. Right then,
we've had the afternoondnight show with Taylor Thomlinson that also
got left go after two years. According to this, they

(58:49):
said that she decided to leave after the focus on
her stand up But CBS I thought saw a third
season of the show. But people are seeing that late
night programming is in decline. We just don't have the
there's not the appeal of it anymore. People are not
I mean when people are about to go to go
to bed, they're not putting on their TV go and

(59:09):
watch TV to go to sleep. They're not thinking about
that when they can go right to their phone and watch.

Speaker 3 (59:13):
That's the way it is.

Speaker 2 (59:17):
Young people the very first consumers jumping first in new
streaming behaviors that are the less time to watching shows
at a specific day in time. So while the hosts
like Jimmy Fallon, Jimmy Kimmel and Colbert generate headlines and
digital memes, and has sizable live audiences on the networks
cove It, which is roughly what combined I think four
million viewers total with all those shows, but less so

(59:42):
in the ranks of the hosts have their own than
in the recent years and episodes of the shows. Actually,
it's four nights a week for all these shows. I
didn't realize that Follon actually is the last one that
give up doing Friday nights, but now they do, so
what's gonna be lost in late night Saturday Live Because

(01:00:06):
for them, they would only get some big averageurs to
go on come on board. When they did the fiftieth season,
they got All State, Team Mobile and other big spinning
advertisers to go ahead and promote on those and that
show's doing well and obviously is getting headlines every week
for what they're doing over there. A one day a
week commitment to appointment works. But then also at the
same time, Saturday Nightlight does really good when they're getting

(01:00:27):
their word out there, and clips keep going out there
and getting shared online pretty fregudly. So and finally, there
was a story I did bring up because I talk
about it ends with us the Blake Lively Justin Baldoni mess. So,
Blake Lively is hit and this is about a spearcamic

(01:00:47):
pain claim that she did because the judges domssic case
this missed the case against Justin Baldoni's social media guru,
Jed wass.

Speaker 1 (01:00:56):
So.

Speaker 2 (01:00:56):
Back in December, Blake Lively said that there was a
Texas based social media grew that ran an untraceable spirit
campaign against her to support Justin Baldoni. And on Wednesday,
a judge granted the motion that has missed himself as
a defendant in the case Jed Walls. The ruling was
made without prejudice. So it continues to be said that

(01:01:21):
Blake Lively are going to say with what the judge
is saying is that the Lively did not prove her
case that New York is the proper venue for Walls
to be sued. But I don't think she's gonna do
much farther with all that. Anyway, We'll see what goes
not good not good for Blake Lively continues to kind
of fall in the realm of I don't know, like

(01:01:42):
Amber heard. I feel like like we're not gonna hear
much of her, and the same thing goes to Ryan Reynolds.
I better hope that he likes that mint Mobile money.
Not like we're gonna see another dead Pool. I think
that's my guess.

Speaker 3 (01:01:53):
Anyway.

Speaker 2 (01:01:55):
King of Podcasts is where you find all my content.
Kingofpodcasts dot com of course, a King of Podcasts on YouTube,
x TikTok and LinkedIn. Come back next week for another
The Rest of It Wrestling. Come back another Broadcasters podcast.
Remember the content is King, and the control of your
content is in your hands.

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