11 chapters across the catalog
Record executives like Jerry Greenberg used media buying power to force Top 40 stations to play Motown records by threatening to pull advertising. Dr. Westbrook also discusses how CBS eventually began infusing money into black communities through grants and executives like Baron Taylor. This is compared to modern $100 million grants from Spotify to black podcasters like Charlamagne Tha God.
The hosts discuss how the "algo" has replaced the radio DJ as the primary tool for music discovery and control. They argue that modern playlists on platforms like Spotify are subject to a new form of payola, where artists must pay for placement. This consolidation of power makes it difficult for independent talent to rise without corporate backing.
Political Fundraising, The Black Caucus and Spotify Ownership
Dr. Westbrook recounts producing the first major fundraiser for the Black Caucus in Washington D.C., featuring Isaac Hayes. This established a pattern of record labels using artists to support political candidates, such as Jimmy Carter or later Hillary Clinton. The hosts note that major labels now own significant stakes in Spotify, creating a closed loop of financial and political influence.
The core of Crowder's "Big Con" accusation is that the Daily Wire enforces Big Tech's censorship rules via contract penalties. This is compared to Spotify's acquisition of Bill Simmons and Joe Rogan, where platform exclusivity and ad metrics dictate content boundaries. The discussion posits that any media entity relying on advertising or Big Tech distribution is inherently subject to government-aligned "levers" of control.
The hosts discuss the future of decentralized media distribution, claiming that podcasting is the last truly free mechanism for content. They mention new hosting companies that allow musicians to bypass traditional licensing bodies like ASCAP and BMI using "value for value" models. This technological shift is presented as the solution to the ownership problems faced by artists like Kanye West and Taylor Swift.
Despite the corporate backlash, major streaming services like Spotify and Apple Music have not removed Kanye West's music. The hosts suggest that Spotify is wary of appearing hypocritical after the Joe Rogan controversy. They analyze the "talking points" used by media outlets to frame the discussion around West's influence and the potential for industry-wide action.
The hosts address the viral compilation of Joe Rogan using the N-word over a 12-year period. Mo characterizes this as a "clear hit" by media interests who failed to take Rogan down over COVID-19 misinformation. He argues that Black people are being used as "attack dogs" for corporate interests to de-platform Rogan.
The discussion covers India Arie's decision to pull her music from Spotify. Mo and Adam argue that the protest is less about Rogan's language and more about a "worker strike" for better streaming royalties. They point out that record companies, who often own the artists' masters and have stakes in Spotify, are the ones truly profiting while artists remain underpaid.
The Ring doorbell network, licensed to police departments nationwide, provides a continuous view of American streets, driven by consumer fear of package theft. The hosts also discuss how apps like Spotify mine user data and drain battery life through intensive background processing. They argue that this constant data mining is used not just for advertising, but to "shape" society by controlling what people watch, hear, and believe through algorithms.
The discussion shifts to how the modern music business is controlled by technology platforms like Spotify, Apple Music, and TikTok. The hosts argue that these platforms force hits and encourage users to participate in trends like "WAP" for engagement. They suggest that figures like Ben Shapiro and Candace Owens are intentionally used to fuel division in the culture war for the sake of platform engagement.
Adam Curry reads more listener notes, including one from Connor Lawrence seeking "Mo Karma" for a job search in New Hampshire. Another listener, Jesus Varga, discusses playing the show for his son and fiancee, Eva. The hosts joke about the "distorted" loud music often associated with the Mexican American community and thank them for their support of the show's Spotify playlist.
