Podcasts about beaks

Click here to share your thoughts or questions! Discover how coastal birds have evolved remarkable beak shapes and behaviors to thrive on Georgia's shores. Each species reflects a unique evolutionary twist that matches its feeding niche. To learn more about Coastal Georgia shorebirds- Click hereCheck out Georgia Birds to learn about our local species.For Ogeechee Audubon Society (N GA Coast), click here. Or for the Coastal Audubon Society (S GA Coast), click here. For more information about the Colonial Bird trail, click here. 

Hello Interactors, This week, four strange bird encounters landed in my lap — three in real life, one on my screen. First, a crow tore through the bushes in our yard chasing a frantic nuthatch. Moments later, I spotted two more crows feasting on roadkill just outside our house. Then, while walking with my wife, we watched four ducks in hot pursuit of another, flapping furiously down the street — some kind of aerial turf war. And finally, scrolling through my feed, I stumbled on a paper describing a Cooper's Hawk hacking the city's traffic system to hunt smarter. After all that, I tried seeing cities as a bird might. So I wrote as one.HISS, HUM, HUNTI first sense the city as vibration. Before sun rays even breech the branches, a hiss of car tires emerge; street lamps click off; somewhere a garage door rumbles open. Each resonance strikes the hollow chambers of my bones like sonar. It's a sketch of distance, density, and direction. This all makes perfect sense to me even though I am just a kid. A juvenile Cooper's Hawk — Accipiter cooperii — yet the human-made maze below me is as legible to me as the nest I left barely two winters ago. What follows, in human words, is a recount of one day's hunt. I hope to demonstrate what humans regard as intelligence, innovation, and enterprise exists in a single act of predation.DANCING WITH DATA AT DAWNPerched on a gray mast of the Main and Prospect traffic light, I begin to render the scene. My basemap is no pixel grid glowing on some screen across town; it is a topological organ in my scull. Topology matters when a lamppost sits one maneuver away from the porch roof, which is one glide away from the dumpster rim. My so-called ‘bird brain' calculates dynamic flows of probability. One flip of a traffic light, a garbage truck rolls by, and that gust of wind changes direction. My internal map pulses between “larger” when prey likelihood rises and “smaller” when likelihood falls.As I gaze out above the east-west avenue, a slipstream peels off the 7AM wave of commuters. I spot a sparrow in a vortex that spirals from the garbage truck's wake at 07∶13. That acoustic shadow beneath that florist's van is one place I could pass unseen. But is a sparrow worth it?What I am doing — unknown even to myself — is what spatial scientists call real‑time kernel‑density estimation. At any point on a simple 2D path I can plop a small mathematical bump — a kernel. I can then reason about the density mapped below me by stacking up every bump's contribution at a particular spot. That once scatter of points on a map morphs into a smooth curve that shows where meaningful observations truly cluster. I continuously weight a landscape of pigeons, cyclists, and idling SUVs by situational context rather than simple Euclidean distance.Complexity geographer David O'Sullivan calls this kind of adaptive map a narrative model — a story the system tells itself so it can keep acting. My mental basemap obeys what is adjacent to what on this map. After all, a three‑meter hedge is more impenetrable than thirty meters of empty air; therefore straight‑line distances can lie and deceive. When humans try to simplify distances by saying, ‘as the crow flies', they have no idea what they're leaving out.BRAKES BUILD BARRICADESAt 07∶26 a stainless‑steel button is pressed; I hear the relay's metallic click 3.2 seconds before the little white pedestrian blinks alive. I am perched here because I anticipated this poke by pedestrians on their morning commute. Vehicles will now queue as these bi-peds spill into the cross walk. The stacked metal boxes of steel, rubber, and plastic will form a barricade forty meters long…potentially.Brake‑lights align into a pulsing crimson corridor whose half‑life I have calculated and averaged across nineteen previous dawns. Humans call the coming congestion a nuisance, but I call it camouflage. For twenty‑two seconds the asphalt canyon's turbulence drops below an acceptable range. I can now hover as if among cedars.A scientist has been watching from the opposite curb. They will soon begin recording this trick in their field book as so: a hawk anticipates the signal pattern and times its dives to the red‑phase distribution of brake lights.Because most queues are short, but occasionally very long, I have to be careful to time this properly. If I dive for prey based on the overall mean of the lineup, I will arrive while half the cars were still rolling to a stop — dangerous. So instead, I consider just the top-10% longest lines. Scientists marvel that I learned this algorithm in a single winter. I marvel that they need calculators to compute it.ZEBRA STRIPE SLALOM STRIKEI drop. The scent of hot rubber folds swirls with the cedar‑resin on my breast feathers as the warm air fills my plumage. The slowing bumper of a school bus becomes a landing spot — a moving parapet. Fresh into the dive, the thermoplastic zebra stripes flash white‑white‑white like a stroboscopic speedometer. None of this was made for me, yet every dimension matters for my survival. The curb‑to‑planter setback of 0.9 meters sets my glide angle; the bollard spacing — installed last year to calm e‑scooters — creates a slalom that funnels starlings toward an ornamental plum in a front lawn.Urban design handbooks invoke words like livability and placemaking, as if these geometries were some kind of neutral toolkit. But for me, in the instant before impact, this curb‑to‑planter setback, this bollard slalom, adjudicates more than legal fiction — it means life and death.Urban forms may look passive, yet every angle, radius, and dwell time means someone has won and someone has lost — wide curb radii speed cars through a right-turn but lengthen the crossing exposure for a toddler. Urban geometry is power cast in concrete; it never clocks off, and is both political and ecological: a three‑second refuge for a starling is a three‑second targeting solution for me.FORCE AND FEATHERS FACES FEEDBACKImpact. Feathers erupt like dark gray confetti. The starling crumbles under thirty‑four newtons of closing force — about the weight of a brick slammed into its ribcage. While I mantle the prize, a more philosophical bird might wonder: Who authored this death? Was it my neuromuscular burst alone? Or the person whose fingertip initiated a forty‑second cascade of stopped traffic? Or the traffic engineer who — chasing level‑of‑service targets — extended the red phase by six seconds last fiscal year?Philosophy of science warns against naïve linear causation; urban events rarely run in neat A → B lines. Herbert Simon, writing on complex systems, described cities and organisms as “nearly decomposable hierarchies,” where slow, macro‑scale layers — like signal‑cycle regulations, curb geometries, and commuter habits — set the boundary conditions within which rapid micro‑events unfold. My talon snap and a starling's dodge happen inside those higher‑order constraints, even as countless such micro‑acts, in aggregate, keep the larger structure of life humming along.My strike, therefore, is a city‑scale phenomenon folded into tendon and keratin — street grids, signal cycles, and global supply chains compressed into one ballistic gesture. In the metallic tang of blood this mystery unfolds. I taste data: adipose fat tissue infused with fryer grease, feather sheaths dusted in brake dust, hormone ratios ticking through molt stage like seasonal code. Each swallow becomes a lab assessment — an unwitting biopsy of the urban food web — revealing how corn subsidies, restaurant waste, and airborne microplastics percolate up the trophic ladder. To devour a single starling is to audit the metabolic ledger of the Anthropocene, one protein strand at a time.All of which reminds me that agency, mine, yours, the starling, is relational: the prey's demise is over‑determined by a network whose nodes include asphalt viscosity — how a petrochemical blend modulates surface friction, drainage, and midday heat plumes — and municipal bond ratings that decide whether this intersection receives fresh pavement or another crosswalk. Chemistry, finance, and instinct co‑author every kill I make, and every step you take.FIBERS, FOSSILS, AND FIRMWARE REFRESHDusk now drapes the mast in violet. Streetlamps flicker on; LED headlight arrays begin tinting the roadway cyan. Beneath the darkening asphalt, copper once meant for a clicking telegraphs now pipes broadband; beneath that, bricks baked when canals were high‑tech cradle those cables like red‑clay fossils. Media archaeologist Shannon Mattern argues that cities have always computed — tallying grain on cuneiform tablets, ringing bell‑tower hours to synchronize labor, routing mail through pneumatic tubes — only the substrates keep shifting, from clay and bronze to fiber optics and silicon. And trust me, nature was doing math long before humans claimed to invent it.From my perch, epochs overlay transparently: timber palisades, horse drawn carriage tracks, fiber conduits. My hunting tactic is merely firmware patch v.2025 in a 5,000‑year old operating system. Your protocol tomorrow may be Li‑Fi pulses from a smart pole — a future where streetlamps won't just illuminate, they'll whisper streams of data in rapid-fire flashes — or the hiss of an autonomous shuttle that brakes at frequencies human reflexes never reach.And you'll be impressed with yourself. Meanwhile, I listen, map, and adjust — in my world here, survival goes to whoever learns faster, not whoever hits harder. Every fresh tactic buys a heartbeat of advantage, yet it also tightens the ratchet: the prey adapts, signals change, habits shift. Humans follow the same spiral — each smarter signal controller, each app‑driven reroute, plugs one gap while opening two more, slipping us all a step deeper into the city's endless, restless loop.OF DASHBOARDS AND DAGGER-WINGSHumans may obsess over their dashboards and digital twins, yet a hawk that weighs less than a laptop already runs a live cognitive twin of the urban systems you built. Your impressed with monthly model updates while my model is updated at wingbeat resolution. If Homo sapiens hope to build a resilient future they might start where I perch: by listening for weak signals, mapping contingencies as well as coordinates, and recognizing that every curb, click, and feather participates in these nested conversations of forces.The next time you press that crosswalk button and that electromechanical relay inside the signal‑control box snaps the circuit closed, ask not only whether it is safe to cross but what other intelligences have read that clue before you.Meet us in the hush of those red taillights — inhabit that brief, engine‑silent interstitial where the white pedestrian man shines — then test what flickers in your own peripheral “bird brain”. Listen for the thin rustle of variables you once called noise; trace how a single press of that button ripples through nerves, budgets, buildings and beaks. Hold the silence long enough to notice how even I, a vicious dagger‑winged stalker, leave scraps for ground‑feeders and vacate a block after one clean kill so others may eat. If you can rest in that hush without lunging for your phone or some manically measured meaningless metric, you may begin to practice reciprocity — paring appetite to need, letting leftovers seed the next cycle — while stalking your own assumptions with the same taloned precision I bring to feather and flesh. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit interplace.io

(00:00-22:58) Growth spurt szn. Top 10 pays well. Checking out the scene. Mike Tyson at the Stratford. Jim Dandy down at Busch last night. Great starting pitching continues. Arenado with some pretty straight forward comments about his spot in the lineup. Hey Matt Holliday, produce this show. Audio of Oli Marmol talking about Sonny Gray's outing. Reporters telling players that they're on their fantasy team. Summer is the time for sports media beef. Who's gonna stop Big Tank?(23:07-42:37) Pontoons. Jackson's not a nautical guy. Doug nearly sank a pontoon at LOTO. Beaks are still bone dry on this youngry thing. The evolution of Youngry. Lil By The Numbers. Omakase. Hot hungry dads. Lix is more of a K1. Marlborough.(42:47-58:10) Audio of Bob Costas and Will Lietch talking about the Cardinals. Revisionists history. No offense to Michael Helman. Uniform Corner: Detroit Tigers road kit. The Olde English D. Jackson's second apology. Larry's sassy texts. The Wishbone C.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Heath and Brandon are joined by Edmond Hanlon from Minor Character Theater to discuss his YouTube videos about the Ducks, Beaks of Glory. Edmond talks the boys through his process, and they go over all the absurdities of the Ducks movies. Follow Edmond's work at Minor Character Theater on YouTube and TikTok.Follow us on Instagram @thecakeeaterspodEmail us at thecakeeaterspod@gmail.com

Missin Curfew Episode 388 The Fellas talk through the biggest stories in the second round of the Stanley Cup Playoffs  Carolina Hurricanes are committed to their brand of hockey World Championships have started in Stockholm The PGA Championship is this weekend and the Fellas prepare their bets Shane and Scottie want nose jobs SAUCE HOCKEY MERCH | https://saucehockey.com/collections/missin-curfew YOUTUBE | www.youtube.com/@MissinCurfew SPOTIFY | https://open.spotify.com/show/4uNgHhgCtt97nMbbHm2Ken APPLE | https://podcasts.apple.com/us/podcast/missin-curfew INSTAGRAM | www.instagram.com/missincurfew TWITTER | www.twitter.com/MissinCurfew TIKTOK | www.tiktok.com/@missincurfewpod Learn more about your ad choices. Visit podcastchoices.com/adchoices

Summary: Join Kiersten as she talks about the eyes and beaks of the Screamer.   For my hearing impaired followers, a complete transcript of this podcast follows the show notes on Podbean   Show Notes: Ornithology 3rd Edition by Frank B. Gill “The evolutionary relationship among beak shape, mechanical advantage, and feeding ecology in modern birds,” by Guillermo Naval, Jen A. Bright, Jesus Marugan-Lobon, and Emily J. Rayfield. Evolution 73-3;422-435, Society for the Study of Evolution. doi:10.1111/evo.13655 “Bird Eye Color: A Rainbow of Variation, a Spectrum of Explanations,” by Eamon C. Corbett, Robb T. Brumfield, and Brant C. Faircloth. Https://doi.org/10.1111/ibi.13276. Music written and performed by Katherine Camp   Transcript (Piano music plays) Kiersten - This is Ten Things I Like About…a ten minute, ten episode podcast about unknown or misunderstood wildlife. (Piano music stops) Welcome to Ten Things I Like About… I'm Kiersten, your host, and this is a podcast about misunderstood or unknown creatures in nature. Some we'll find right out side our doors and some are continents away but all are fascinating.  This podcast will focus ten, ten minute episodes on different animals and their amazing characteristics. Please join me on this extraordinary journey, you won't regret it. This is the penultimate episode of Screamer and the ninth thing I like about this animal is their eyes and beaks. One of the things that is often overlooked in bird is their eye color, so today we will delve into the variations that exist by looking through the eye of the Screamer. Bird beaks, or bills either is correct, also vary extensively through out the avian family. Beak shape often indicates what type of food the birds eats, but like everything else about the Screamer, things are not always as they seem. Bird eye color varies more than anyone expected. Not many researchers have attempted studying this characteristic and the few that have taken up this research topic and finding more questions than answers. Colors ranged form dark black or brown to vivd emerald green, sapphire blue, scarlet and crimson, turquoise, and even white. There is even a bird with pink eyes. It is absolutely amazing the various hues that birds' eyes contain.  Irises can be one color or more than one. The eyes of Rock Pigeons, one of the most disliked birds around the world, are bicolored starting with a ring of yellow on the outside and red/orange close to the pupil. The Satin Bowerbird has eyes with a vibrant blue ring on the edge of eye with an equally vibrant ring of purple next to the pupil. The Three-streaked Tcharga has a ring of light spots that look like stars set in a dark background giving them some of the most unique bird eyes around.  Eye color in birds can change as a bird matures, for example Osprey eye color changes from red as juveniles to yellow as adults. Sexual dimorphism is also present in some species of birds meaning the female's eyes are a different color than the male's. Seasonal changes in eye color can also happen, for example Brown Pelican eyes change from brown to blue during breeding season. Southern Screamers and Northern Screamers both have brown eyes as adults, while Horned Screamers can have yellow to orange to red eyes as adults. To clarify, I found no research indicating that these birds eye color changes as they age, but I could only find reference to their adult eye color.  There are three things that contribute to the color of a bird's eye, pigments, blood vessels, and structures. These three color options are still being closely studied but certain pigments are responsible for light colors and different pigments are responsible for darker colors. For example, carotenoids are responsible for the orange color of birds in Family Anatidae which includes certain ducks. An increased amount of blood vessels in the eye creates the red eyes of some species.  Why do bird have such varied eye color? The short answer is we just don't know. It could be related to how they find food, where they nest, diurnal versus nocturnal behaviors, communication, or another reason we have not thought of yet. Much more research needs to be done to answer this question, but for now, we can marvel at the extreme variation of bird eye color.  Now, let's take a look at some bird beaks. Just like eye color bird beaks vary tremendously. They can be wide and flat like a duck, tweezer-like similar to a gnatcatcher, chisel-like as the raven's beak, long and thin like a hummingbirds, and deeply curved like the honeycreeper. These are only a few beak shapes found in the avian world. What a bird eats can impact the shape of its beak. Keeping this idea in mind, let's look at the Screamer's beak. Screamers eat leaves, stems, flowers, and roots of aquatic vegetation, so we might assume that their beaks would look at lot like their closer relatives ducks, geese, and swans who also eat similar items. Duck bills are flat and wide with some serration on the inside to help grasp aquatic grasses, but as we know Screamers have a hooked beak reminiscent of a raptor beak.   Hooked beaks help raptors tear apart their prey to facilitate swallowing. If the Screamer eats plant material why does it have a small hooked beak? It has to be hard work to get enough food using a smaller beak to pick up leaves, flowers, and plant roots. It is so much effort for a food item that is low in calories. Once again there is no easy answer to this question, but new study discovered that what a bird eats isn't the only determination of beak size and shape. Turns out we should be thinking about the birds beak in the same manner that we think of our hands. Beaks are not just for eating, they are for manipulating the environment.  Screamers may have hooked beaks to help them build nests, feed their young, or manipulate their environment in ways that we have yet to discover. Once again Screamers are pushing the boundaries of normal avian behaviors. Thank you for joining me for the ninth episode of Screamers. I hope you learned something new, I know I did and my ninth favorite thing about Screamers is their eyes and beaks. If you're enjoying this podcast please recommend me to friends and family and take a moment to give me a rating on whatever platform your listening. It will help me reach more listeners and give the animals I talk about an even better chance at change.  Join me next week for the final episode of Screamers.        (Piano Music plays)  This has been an episode of Ten Things I like About with Kiersten and Company. Original music written and performed by Katherine Camp, piano extraordinaire.

This month, biologist Pam Perry and phenologist John Latimer discuss Red-headed Woodpeckers, Bald and Golden Eagles, and the curious forms of Red and White-winged Crossbills.

The hotdog was invented in Chicago.

For some birds like hermit hummingbirds, the difference between sexes starts with the beak. Females hermit hummingbirds typically have curved bills while males wield straighter ones. Because the two sexes are better at drinking nectar from flowers that match their respective beak shape, males and females of the same species don't compete with each other for food resources. Adaptations like these can provide benefits for the whole species.More info and transcript at BirdNote.org. Want more BirdNote? Subscribe to our weekly newsletter. Sign up for BirdNote+ to get ad-free listening and other perks. BirdNote is a nonprofit. Your tax-deductible gift makes these shows possible. 

Please welcome author Jolene Gutiérrez to the show! Her latest book, Mamiachi and Me just released on January 7. Congratulations, Jolene! And grab your copy now while it's still hot off the press!♨️

Our pick this week is deals.Mark Gurman's Apple rumors are pretty good. His analysis, less so.An old Apple patent seems familiar.Our thanks to Notion, a perfect place to organize your tasks, track your habits, write beautiful docs, and collaborate with your team. Notion is used by over half of Fortune 500 companies, so you'll be in great company. Try Notion for free when you go to notion.com/therebound.If you want to help out the show and get some great bonus content, consider becoming a Rebound Prime member! Just go to prime.reboundcast.com to check it out!You can now also support the show by buying shirts, iPhone cases, hats and more items featuring our catchphrase, "TECHNOLOGY" and now shirts and hats featuring our stylish logo!

Dear Listener,Thank you for choosing my evil podcast, Lord Serpent's Library, over all the other podcasts ever made. In this episode, you'll find enclosed a heroniffic tale that may ruffle your feathers! Grab your sunscreen, slap on your beret, and pray that your beach is free of… BEAKS.EVIL (Evil Villains Internationally Lauded),Lord SerpentThis podcast was created by William Charles Brock & Lord SerpentDungeon sounds from phlair at freesound.org (https://freesound.org/people/phlair/sounds/388340/)Follow us on Instagram @lordserpentslibrary

Everything Remade episode 224. Thanks so much to Ian for taking the time to chat with me. Intro/Outro track "The Dense Macabre" by Coma Regalia. Featured tracks: 1. How Many Angels Can Dance on the Head of a Pin? - Fatalist 2. Pecked Apart by the Beaks of a Thousand Crows - Untold Want 3. Lost and Found - Tender Object hear more: fatalistviolence.bandcamp.com If you are enjoying what you hear and would like to support the growth of this podcast directly you can do so by way of donation via paypal: middlemanrecords@gmail.com venmo: @ediequinn or join our patreon: patreon.com/humanmachine

Bird beaks, or bills, come in many shapes and sizes. And birds use them for just about everything: to collect food, preen, fight, court (as this pair of Laysan Albatrosses is doing), chop holes in trees, weave nests, and more. In order for a bird to fly, its beak must weigh as little as possible. Beaks are covered with a sheath of a tough material called keratin, which grows continuously because a beak wears down with use.More info and transcript at BirdNote.org. Want more BirdNote? Subscribe to our weekly newsletter. Sign up for BirdNote+ to get ad-free listening and other perks. BirdNote is a nonprofit. Your tax-deductible gift makes these shows possible.  

In this episode of the Jason and Mindy podcast, the hosts discuss various topics including the need for lazy days, the benefits of carrots for the skin, and unusual foods from around the world. They also play a water cooler quiz and share their favorite weekend time wasters. The episode ends with an inspirational quote about being your better self.https://www.lowtreestudios.comhttps://www.youtube.com/@lowtreestudios Jason's Segment - LAZY DAYS:According to a survey, the average person feels they need 60 “lazy days” per year in order to feel properly rested. The poll of 2,000 Americans found that adults seem to take their “do nothing” days very seriously, with about one in 5 planning these days in advance, and 11% even marking them on the calendar a few weeks ahead of time. On a typical lazy day, the average person spends 2 hours lying in bed, an hour eating, 3 hours binge-watching movies and TV, an hour reading, and 2 hours scrolling. Three hours are spent doing literally absolutely nothing, 2 hours are spent napping, and a full hour is generally devoted to “dreading the next day”. FRUITS AND VEGGIE TALES:⇒ New research says that carrots aren't just good for your eyes, they also do wonders for the skin. A new study found that snacking on baby carrots 3 times a week increased the levels of skin carotenoids in young adults. High skin carotenoid levels have a link to increased antioxidant protection and a lower risk for chronic diseases — including cancer and heart disease — and also gives the immune system a boost.INEDIBLES:Some “local delicacies” to sample next time you're in these countries…⇒ Jellied eels: A fav street food in London. Eel is boiled, then gelatin is added to the water, and after hardening, it is served with meat pies, potatoes and beer. (LOTS of beer…)⇒ Duck feet: In China, the webbed duck feet are braised, and eaten as a snack with soy sauce. (LOTS of soy sauce…)⇒ Helmet: You can get this from street vendors in the Philippines. What is it? Barbecued chicken heads. (Beaks removed, if that makes it any better…)⇒ Fried pig blood: Common in rural Hungary, it is made by collecting slaughtered pig's blood, and frying it with scrambled eggs. ⇒ Surströmming: In Sweden, this dish is made by soaking Baltic herring in a brine solution, then packing it in a wooden barrel and leaving it in the sun for 24 hours to induce fermentation. Next, it is placed in a cool room for several months. Then it is canned, where it continues to ferment. The smell is compared to extremely rotten fish, or horribly rotten eggs…or to garbage that's been left out in the sun. And just imagine how it tastes! (And imagine what kind of a mind came up with this idea!)

Grab your popcorn and settle into your coziest spot because Troy and Roger are about to dive into a wild ride of avian chaos with their latest episode! This week, they're dissecting the 1987 Hitchcock homage gone awry, Beaks! Tune in as they peck apart the film's dizzying array of location shifts, the lackluster performance of the female lead, and the finale that will leave you flapping in frustration. Whether you love a good bird-themed disaster or just enjoy a juicy critique, this episode promises to ruffle your feathers! Find out more at http://www.darknightofthepodcast.com

On this episode, Michelle and Katherine are in a rush! (But the episode is no shorter for it.) Foundational moments are remembered, pedagogy is cried over (in a good way!), plans are hatched for both summer squirrel experiments and discussion panels. (Listen for the CFP!) “Interspecies Breeding is Responsible for Some Squirrels' Black Coloring,” by Meilan Solly, Smithsonian, https://www.smithsonianmag.com/smart-news/interspecies-breeding-responsible-some-squirrels-black-coloring-180972921/ “Labor Relations,” by Mostafa Heddaya in Art in America https://www.artnews.com/art-in-america/features/labor-relations-63232/ “An Essay in Aesthetics,” by Roger Fry, http://art1010student.blog.brooklyn.edu/files/2018/01/Fry_An_Essay_in_Aesthetics.pdf

Birds of a feather are featured together in an upcoming Research Day! A new month means a new update–its gonna be May! …and more on this episode of GOCast! Chapters: 00:00:00 - Intro 00:16:24 - News 00:42:03 - Gear Up 00:45:55 - Pokélore 00:53:25 - PokéPoll 01:13:47 - Emails/Voicemails News Links: May Content Update⁠ - https://twitter.com/PokemonGoApp/status/1784991060319498312/photo/2 ⁠Flock Together Research Day⁠ - https://pokemongolive.com/en/post/flock-together-research-day-2024/ ⁠The Master Ball returns in Masterwork Research⁠ - https://pokemongolive.com/en/post/catching-wonders-2024/ ⁠Spearow - ⁠⁠Fearow - ⁠⁠Stats⁠ Visit our website - ⁠⁠www.gocastpodcast.com⁠ Support us - ⁠⁠www.patreon.com/gocastpodcast⁠ ⁠⁠⁠Email us - ⁠⁠mail@gocastpodcast.com⁠ ⁠⁠⁠Email PvP Corner - pvpcorner@gocastpodcast.com Follow us on X - ⁠⁠@gocastpodcast⁠⁠ Leave us a voicemail - (262) 586-7717‬ P.O. Box address: GOCAST PODCAST PO Box 367 301 E Congress Pkwy Crystal Lake, IL 60039 --- Send in a voice message: https://podcasters.spotify.com/pod/show/gocastpodcast/message

Maria chats with Bear Brook Feather Friend Rescue and Sanctuary founder Pete Lillo about his sanctuary in Newton NJ. Pete takes care of about 60 ducks and geese, all on his own!!Most of us know about animal sanctuaries like horses or pigs, but this one is all about our feathered friends. Listen and Learn.You can follow Bear Brook Feather Friend Rescue and Sanctuary on social media! 

"Not Even D2" is joined by the first player in Empire 8 history to win POTY four consecutive years, Daniel Cook. Cook has had a great college career at St. John Fisher- averaging almost 20 points and 10 rebounds in his career. Hear about his transition from Hobart to Fisher, the Battle of the Beaks rivalry, and which Player of the Year award means the most to him. This episode is available wherever you listen to podcasts. Subscribe to the podcasts YouTube channel @ "Not Even D2". Enjoy the episode!

The boys are back to recap a wild weekend in sports.  Tom is slightly under the weather as a trip up to Western New York for the Battle of the Beaks as well as a night out in Buffalo have taken its toll.  Nonetheless we power through to recap NBA All Star weekend as well as a quick College Hoops round up as we march towards the tournament.  Top 5 season returns as we rank our Top 5 Dunk Contest participants of all time!

Most baby birds are adorable little floofs — but not all of them. The tongue and palate of estrildid finch chicks are strangely spotted and ringed. They display these markings while they beg for food. Most species' chicks have mouth markings in colors ranging from black or white to bright yellow, orange, red or blue. The function of these markings has long puzzled scientists.More info and transcript at BirdNote.org. Want more BirdNote? Subscribe to our weekly newsletter. Sign up for BirdNote+ to get ad-free listening and other perks. BirdNote is a nonprofit. Your tax-deductible gift makes these shows possible.

A fine woodworker has a chest full of tools, each designed for a specific task. Birds also have highly refined tools-their bills. The size and shape of a bird's bill match perfectly the food they seek and the way in which they obtain their meals. Different species of shorebirds that forage shoulder to shoulder in tidal estuaries (like this Marbled Godwit and Willet) have bills of different lengths. As a result they don't compete for the same food. More info and transcript at BirdNote.org. Want more BirdNote? Subscribe to our weekly newsletter. Sign up for BirdNote+ to get ad-free listening and other perks. BirdNote is a nonprofit. Your tax-deductible gift makes these shows possible.

This episode—which is Number 86—is all about bird beaks.This will be an overview of beak anatomy, function, evolution, and diversity.The head of every bird on Earth is adorned with a beak. A bill. And to the delight of us all, those beaks come in a wild variety of shapes and colors. Just picture the mugs of toucans, vultures, ducks, parrots, flamingos, and pelicans.The diversity of beak shapes like these is one of the fascinating things about birds. Birds use their beaks for all sorts of tasks. These appendages are vital tools, used for getting food, for grooming, for communication, and more. Links of Interest The Mark My Bird Project  ~~ Leave me a review using Podchaser ~~Link to this episode on the Science of Birds website Support the show

The Glorious Free Republic of Yorkshire is the mightiest new nation state that emerged a few decades ago from the troubled era that was early 21st century Britain. In this episode we return to Londonium and get a guided tour from Carston Vale and have an exclusive chat with Reese Michael Bates, the owner of the food van called The Travelling Tuna. All the (government approved) info and entertainment you could possibly want, packed into one show. (This episode features Eji Osigwe, Francesca Reid and Robert Frimston)

The Seahawks defense has been elite for a month and it carried the team to its fourth win on Sunday, besting a scrappy Cardinals team 20-10. Jacson dives into the unit's resurgence, another dominant performance from Devon Witherspoon, the emergence of Jaxon Smith-Njigba and Jake Bobo, and what Seattle needs to do to compete with the NFC's best.Grab your official Cigar Thoughts stogies right here: https://anthonyscigars.com/product-line/Cigar-thoughts-ctCigarThoughtsNFL.com

This Episode has EVERYTHING!It's got:Sausages and dryers!October Friday the 13th, baby!Trumped solar eclipses!Dave is a hot dog aficionado!Paul enjoys mouth feel!Alcoholics!Lips and Assholes, Beaks and Feet!Karen!Ass cancer!Diarrhea plane, part deux!Crime scene sex doll fun!Dave's sex doll fun!Avenue Q!Stupid baby names!  SO STUPID!Ice chomping = sexual frustration!Twig! Log! Branch! Bark!It's "Marceau", you peasant!Methamphetamine Rules!Blanche's letter FINALLY arrived! Horror movie trivia!Zombie jamboree in 1993!George A. Romero lives in the Necropolis now!Paul's dry mouth!WHICH "DAWN OF THE DEAD", DAMNIT??!!(It WAS for 2004's "Dawn of the Dead")!Stephen King!"They Live" ridiculous fight scene!"Chucky" is awesome!Dave dislike's "The Babadook"!"Alien 3" wasn't fun!"Midsommar" was uncomfortable!"Maximum Overdrive"!This, too, shall pass!Episode Links (In Order):Ronnie Vino - It's Friday Night!Crime scene technician and the sex doll!Tragedeigh Subreddit!Stupid baby name list!My baby is named Methamphetamine Rules!Horror Trivia!"They Live" ridiculous fight scene!Music Credit!Opening music graciously supplied by: Shane Ivers Closing music graciously supplied by: https://audionautix.com/  Visit Our Patreon! Email Us Here: Disturbinglypragmatic@gmail.comWhere To Find Us!: Disturbingly Pragmatic Link Tree!

One of the most popular movie series of all time—The Godfather series—has a telling dialogue in the second movie when the local mafia kingpin wants to “wet his beak”—that is, to take a generous cut from the activity taking place. But modern organizations of all types face a similar problem: lots of folks who “wet their beaks” with a monetary cut…but with little to no value being added to the supply chain. Join Kevin as we dive into the stewardship necessity of “drying some beaks” in your workplace enterprise's supply chain! // Download this episode's Application & Action questions and PDF transcript at whitestone.org.

Hosstory is back and so is I Love This Business! Now go on, listen! www.linktr.ee/coolparents www.patreon.com/coolparents --- Send in a voice message: https://podcasters.spotify.com/pod/show/cool-parents/message Support this podcast: https://podcasters.spotify.com/pod/show/cool-parents/support

Picking your stage name, adopting a puppy, sharing a bed, & toxic group chats Use code OOPSBEANS to get 20% off your order when you go to shop.fuelamericacoffee.com Nathan Macintosh: https://www.instagram.com/nathanmacintosh/?hl=en Alex Pavone: https://www.instagram.com/mralexpavone/?hl=en NEW TURKYE TEES ON OUR WEBSITE: https://oopsthepodcast.com/ INSTAGRAM: https://www.instagram.com/oopsthepodcast TWITTER: https://twitter.com/OopsThePodcast TIK TOK: https://www.tiktok.com/@oopsthepodcast COME SEE GIULIO: WEBSITE: https://www.giuliogallarotti.com/ INSTAGRAM: https://www.instagram.com/notjulio/ TIK TOK: https://www.tiktok.com/@notjuliog TWITTER: https://twitter.com/Notjulio PRODUCED BY RYAN LYNCH: INSTAGRAM: https://www.instagram.com/ryanisreall... TWITTER: https://twitter.com/ryanispolite TIK TOK: https://www.tiktok.com/@ryanisreallyp...

Mrparka's Weekly Reviews and Update Week 329 (09.02.2023) (Last House on the Left 2009, Frankenstein '80, Black Circle) www.youtube.com/mrparka https://www.instagram.com/mrparka/ https://twitter.com/mrparka00 http://www.screamingtoilet.com/dvd--blu-ray https://www.facebook.com/mrparka https://www.facebook.com/screamingpotty/ https://letterboxd.com/mrparka/ https://www.patreon.com/mrparka https://open.spotify.com/show/2oJbmHxOPfYIl92x5g6ogK https://anchor.fm/mrparka https://www.stitcher.com/show/shut-up-brandon-podcast https://podcasts.apple.com/us/podcast/mrparkas-weekly-reviews-and-update-the-secret-top-10/id1615278571 Time Stamps 0:00 “The Last House on the Left 2009” 4K Review – 0:19 “Frankenstein ‘80” Review – 14:47 “Black Circle” Review –17:23 “The Alien Factor” Review – 20:56 1981 “Looker” Review – 23:43 1981 “Blow Out” 4K Review – 30:40 1981 “The Munsters' Revenge” Review –34:37 1981 “Shocking!” Review – 37:13 Patreon Pick “The Entity” Review – 39:55 Questions and Answers/ Patreon Drawing – 43:55/ 47:24 Update – 48:14 Update Blu-Ray 1. Death in Brunswick 2. Terminal Degeneration: The Films of Jon Moritsugu 3. Vengeance is Mine 4. The Cardona Collection Vol. 2 (Beaks, Under Siege, La Casa que arde de noche, S.O.S. Conspiracion Bikini 5. Killer Condom 4K 6. Amazon Jail 1 and 2 7. Bloodfeast! The Adventures of Sgt. Lunch 8. Guest House Paradiso 9. 22 Shots of Moodz and Horror – https://www.22shotsofmoodzandhorror.com/ Podcast Under the Stairs – https://tputscast.com/podcast Video Version – https://youtu.be/WviQPMTyrko Links Arrow Video – https://www.arrowfilms.com/ “The Last House on the Left” 4K – https://mvdshop.com/products/the-last-house-on-the-left-limited-edition-4k-ultra-hd Cauldron Films – https://www.cauldron-films.com/ “Frankenstein ‘80” Blu-Ray – https://mvdshop.com/products/frankenstein-80-blu-ray Synapse Films – https://www.synapsefilms.com/ “Black Circle” Blu-Ray – https://mvdshop.com/products/black-circle-blu-ray “The Alien Factor” Blu-Ray – https://www.amazon.com/ALIEN-FACTOR-Special-Blu-Ray/dp/B01MSHV51E “Looker” Blu-Ray – https://www.amazon.com/Looker-Blu-ray-Albert-Finney/dp/B07GTGL6PZ/ “Blow Out” 4K – https://www.criterion.com/films/27561-blow-out “The Munsters' Revenge” DVD – https://www.amazon.com/Munsters-Two-Movie-Franchise-Collection-Munster/dp/B000GIXIN2 “Shocking!” YouTube – https://youtu.be/o6mPxTNNkVs?si=ZjDIt-OgmIuEuMYH “The Entity” Blu-Ray – https://shoutfactory.com/products/the-entity-collector-s-edition Film Notes The Last House on the Left – 2009 – Dennis Iliadis Frankenstein '80 – Mario Mancini Black Circle – 2018 – Adrián García Bogliano The Alien Factor – 1978 – Don Dohler Looker – 1981 – Michael Crichton Blow Out – 1981 – Brian De Palma The Munsters' Revenge – 1981 – Don Weis Shocking! – 1981 – Yao Feng-Pan The Entity – 1982 – Sidney J. Furie --- Support this podcast: https://podcasters.spotify.com/pod/show/mrparka/support

Mrparka's Weekly Reviews and Update Week 329 (09.02.2023) (Last House on the Left 2009, Frankenstein '80, Black Circle) www.youtube.com/mrparka https://www.instagram.com/mrparka/ https://twitter.com/mrparka00 http://www.screamingtoilet.com/dvd--blu-ray https://www.facebook.com/mrparka https://www.facebook.com/screamingpotty/ https://letterboxd.com/mrparka/ https://www.patreon.com/mrparka https://open.spotify.com/show/2oJbmHxOPfYIl92x5g6ogK https://anchor.fm/mrparka https://www.stitcher.com/show/shut-up-brandon-podcast https://podcasts.apple.com/us/podcast/mrparkas-weekly-reviews-and-update-the-secret-top-10/id1615278571 Time Stamps 0:00 “The Last House on the Left 2009” 4K Review – 0:19 “Frankenstein ‘80” Review – 14:47 “Black Circle” Review –17:23 “The Alien Factor” Review – 20:56 1981 “Looker” Review – 23:43 1981 “Blow Out” 4K Review – 30:40 1981 “The Munsters' Revenge” Review –34:37 1981 “Shocking!” Review – 37:13 Patreon Pick “The Entity” Review – 39:55 Questions and Answers/ Patreon Drawing – 43:55/ 47:24 Update – 48:14 Update Blu-Ray 1. Death in Brunswick 2. Terminal Degeneration: The Films of Jon Moritsugu 3. Vengeance is Mine 4. The Cardona Collection Vol. 2 (Beaks, Under Siege, La Casa que arde de noche, S.O.S. Conspiracion Bikini 5. Killer Condom 4K 6. Amazon Jail 1 and 2 7. Bloodfeast! The Adventures of Sgt. Lunch 8. Guest House Paradiso 9. 22 Shots of Moodz and Horror – https://www.22shotsofmoodzandhorror.com/ Podcast Under the Stairs – https://tputscast.com/podcast Video Version – https://youtu.be/WviQPMTyrko Links Arrow Video – https://www.arrowfilms.com/ “The Last House on the Left” 4K – https://mvdshop.com/products/the-last-house-on-the-left-limited-edition-4k-ultra-hd Cauldron Films – https://www.cauldron-films.com/ “Frankenstein ‘80” Blu-Ray – https://mvdshop.com/products/frankenstein-80-blu-ray Synapse Films – https://www.synapsefilms.com/ “Black Circle” Blu-Ray – https://mvdshop.com/products/black-circle-blu-ray “The Alien Factor” Blu-Ray – https://www.amazon.com/ALIEN-FACTOR-Special-Blu-Ray/dp/B01MSHV51E “Looker” Blu-Ray – https://www.amazon.com/Looker-Blu-ray-Albert-Finney/dp/B07GTGL6PZ/ “Blow Out” 4K – https://www.criterion.com/films/27561-blow-out “The Munsters' Revenge” DVD – https://www.amazon.com/Munsters-Two-Movie-Franchise-Collection-Munster/dp/B000GIXIN2 “Shocking!” YouTube – https://youtu.be/o6mPxTNNkVs?si=ZjDIt-OgmIuEuMYH “The Entity” Blu-Ray – https://shoutfactory.com/products/the-entity-collector-s-edition Film Notes The Last House on the Left – 2009 – Dennis Iliadis Frankenstein '80 – Mario Mancini Black Circle – 2018 – Adrián García Bogliano The Alien Factor – 1978 – Don Dohler Looker – 1981 – Michael Crichton Blow Out – 1981 – Brian De Palma The Munsters' Revenge – 1981 – Don Weis Shocking! – 1981 – Yao Feng-Pan The Entity – 1982 – Sidney J. Furie --- Support this podcast: https://podcasters.spotify.com/pod/show/mrparka/support

In this episode we look into the Celtic roots of English words like gob and beak. The Proto-Celtic word *gobbos means muzzle, snout or beak. It comes from PIE *ǵebʰ- (jaw, mouth) [source]. Descendents in the modern Celtic languages include: gob [ɡɔbˠ] = beak, bill, tip, point or projection in Irish. gob [ɡob] = beak, […]

This epic battle featured 6 beaks from around the world; Loggerhead Shrike, Wrybill, African Openbill,  Atlantic Puffin, Laysan Albatross and White-tipped Sicklebill...but wait! If you haven't listened to the first two episodes of the "Battle of the Beaks", you absolutely must listen to those before learning who the winner is in this minisode. Huge thank you to each of our wonderful guests, and big thank you to everyone who voted! Kris Cu grew up in the bustling city of Manila, Philippines and often watched the Pied Fantails forage around the neighbour's garden. Upon moving to Canada, he completed a Biological Sciences degree from Simon Fraser University and has embarked on numerous science communication roles. Currently, he supports the Birds Canada team through photography, videography, social media, outreach and connecting minority communities to birds and the natural world.Andrea Gress (she/her) secretly thinks Piping Plovers are better than all the other birds...studied Renewable Resource Management at the University of Saskatchewan. She pivoted towards birds, after an internship in South Africa. Upon returning, she worked with Piping Plovers in Saskatchewan and now coordinates the Ontario Piping Plover Program for Birds Canada.

Chronicle News Dump 145: All I Need Is a Miracle Mile June 6, 2023: On the 145th episode of The Chronicle News Dump hosts Aaron VanTuyl, Editor-in-Chief Eric Schwartz and Assistant Editor Isabel Vander Stoep discuss Yard Birds' new owners and the commenters' opinions, the Lewis County Mall's upcoming development (maybe), Roger Morningstar's resignation, Beaks of the Week and some other stuff.

Parrots can make wonderful companions but we need to make sure we're meeting their needs and giving them the opportunity to express their natural behaviors. Animal Trainer and Behavior Consultant Cassie Malina joins Steve Dale to discuss her lengthy career working with birds and her top tips for keeping parrots engaged, fulfilled, and Fear Free.

This is the second episode in the ultimate Battle of the Beaks!! We're featuring six of the worlds most unique and specially adapted bird beaks over two episodes. Only one will be crowned the winner! VOTE HERE for your favorite beak.  If you think we missed a reeeally cool beak, let us know! Leave a review, or comment on our socials. Find us on Instagram, Facebook and Twitter.Learn more about bird conservation programs in Africa.  BirdLife South Africa and Nature Kenya are great starting points.  Hookpod! A new and innovative tool to help Albatross and the fishing industry get along. Listen to a previous episode featuring Sarah and the Laysan Albatross for so much more!  See photos of these epic beaks: African Openbill, Laysan Albatross, White-tipped Sicklebill.  Andrés' said it best! Bird Friendly coffee will help the White-tipped Sicklebill and many other birds. Order from Birds and Beans today! 10% of your purchase supports this podcast when you use our link.  John Kinghorn represents the mighty African Openbill. John is a qualified terrestrial and National bird guide through the Field Guides Association of Southern Africa (FGASA). He has formed part of three historic bird race teams (2017-2019) to have participated in the globally acclaimed Champions of the Flyway bird race for conservation, raising a combined amount of over R250,000 over two years for the respective BirdLife International partners involved.  Dr. Sarah Gutowsky is bringing Laysan Albatross facts. Sarah is a Research Adjunct and Instructor in Biology at Dalhousie University and a Postdoctoral Research Fellow at Acadia University.  All of her research projects have found a way to tackle conservation issues threatening birds all over the planet, on land or at sea.  Her current research focus is on studying the drivers of regional trends in Common eiders on the east coast, supported through the Mitacs Accelerate Program in partnership with Ducks Unlimited Canada and Environment and Climate Change Canada.Andrés Jiménez thinks White-tipped Sicklebills are the clear winners. He is a close friend of the podcast! You'll recognize his voice from earlier episodes. He is a Costa Rican wildlife biologist with a keen interest in snakes, frogs, birds and how human relationships are interconnected with the living world. He studied Tropical Biology in Costa Rica and has a Masters in Environmental Problem Solving from York University.  Follow him at @andresjimo Andrea Gress (she/her) secretly thinks Piping Plovers are better than all the other birds...studied Renewable Resource Management at the University of Saskatchewan. She pivoted towards birds, after an internship in South Africa. Upon returning, she worked with Piping Plovers in Saskatchewan and now coordinates the Ontario Piping Plover Program for Birds Canada.

New fossil evidence suggests previous assumptions about beak evolution weren't quite right.

Six beaks enter the ring, only one will be crowned the ultimate BEST BEAK! In this special two part episode, we explore some of the weirdest, and most fascinating bird beaks, with experts from around the world.  Voting will open after the second episode is released, and YOU will decide which beak is the best!Learn more about the good work that Wildlife Preservation Canada is doing for Loggerhead Shrike and many other species. Get involved with Puffin Patrol in Newfoundland through CPAWS, and learn more about the incredible Puffling Patrol efforts in Iceland.See photos of these epic beaks: Loggerhead Shrike, Wrybill, Atlantic Puffin. Bird-friendly coffee is an easy way to help birds every morning! Birds and Beans donates 10% of your purchase to this podcast and bird conservation in Canada when you use this link. Hazel Wheeler (they/them) has worked with Loggerhead Shrikes for a decade, and is their biggest fan.  Hazel is the Conservation Programs Director at Wildlife Preservation Canada. They have been bitten by shrikes more times than they care to remember, but they have never bitten back.Russell Cannings represents the underappreciated Wrybill. Russ grew up in the birdy Okanagan Valley, British Columbia where his nature-loving family left him no choice but to become obsessed with the great outdoors. A university exchange to New Zealand in 2008 would prove formative for his birding (and future nuptials!) and he now calls it home. He has swapped biology fieldwork for teaching history but he still gets out as much as possible in his local "patch".Katja Kochvar thinks you need to love Atlantic Puffins as much as she does. Katja fell in love with biological field research in the deciduous forests of her home state, Pennsylvania. Now, she is studying Atlantic puffin visual communication as a Master's Student at Memorial University of Newfoundland. In the Fall, she will be starting a PhD at Princeton University in the pursuit of more exciting research on avian colouration! Stay tuned for updates on her research at @gotcha__katja Andrea Gress (she/her) secretly thinks Piping Plovers are better than all the other birds...studied Renewable Resource Management at the University of Saskatchewan. She pivoted towards birds, after an internship in South Africa. Upon returning, she worked with Piping Plovers in Saskatchewan and now coordinates the Ontario Piping Plover Conservation Program for Birds Canada. Follow her work at @ontarioplovers

This week, we talk about WWE Royal Rumble, The Last of Us, Alice In Borderland, Bryan's tooth, Twilight Zone, car washes, Christley Knows Best, Justin Roiland dropped from shows, our QofheW, curse word, and more!   Salty Merch: https://www.teepublic.com/user/saltylanguagepods Our Patreon: Patreon.com/saltylanguage   Links: 1. Justin Roiland dropped from multiple shows https://screencrush.com/justin-roiland-dropped-from-two-hulu-shows/ 2. Too many car washes? https://www.wtol.com/article/news/local/toledoans-question-the-need-for-more-car-washes/512-9d3e4e9e-9656-4024-a512-e44e0d97b169 QoftheW: Jelly isn't available, what goes best with peanut butter? Curse word: Bejabbers   Subscribe / rate / review us on Apple Podcasts!   Visit us at: saltylanguage.com Apple Podcasts: https://podcasts.apple.com/us/podcast/salty-language/id454587072?mt=2 Spotify: https://open.spotify.com/show/3GnINOQglJq1jedh36ZjGC iHeart Radio: http://www.iheart.com/show/263-Salty-Language/ Google Play Music: https://play.google.com/music/listen#/ps/Ixozhhniffkdkgfp33brnqolvte Tony's YouTube channel: https://www.youtube.com/@allthebeers Bryan's YouTube channel: https://www.youtube.com/@IFinallyPlayed https://www.tiktok.com/@saltylanguage facebook.com/saltylanguage @salty_language / saltylanguage@gmail.com http://salty.libsyn.com/webpage  / http://www.youtube.com/user/SaltyLanguagePod Instagram: SaltyLanguage Reddit: r/saltylanguage Stitcher: https://www.stitcher.com/podcast/salty-language tangentboundnetwork.com Share with your friends!

As the full week of daily pods begins, Bo, Zach and Marissa give their initial thoughts on the Eagles-Niners matchup from both sides of the ball ... Learn more about your ad choices. Visit megaphone.fm/adchoices

I had a great chat about the future of streaming and more with Ari Herstand, who isan independent artist who also runs Ari's Take, an education business to teach others artists about the industry. He just released the third edition of his book, How To Make It In the New Music Business.Ari joined me to discuss how artists are navigating new music releases. It's increasingly getting out of the artist's hands in favor of the uncontrollable algorithms powering the likes of Spotify and TikTok. Ari says it's like, “playing the lottery.” While algorithms are taking the human element out of music discovery, that human touch has found itself into new artist monetization tools like NFTs. It has inverted what Ari calls an artist's “pyramid of investment” for an artist growing their fanbase.Ari and I covered a lot of ground on this episode. Here's what you can expect to hear from us:[3:10] Waterfall release method infiltrating Spotify[8:15] Music discovery power shifting away from human, toward algorithms [11:40] DSP's purposely pulling power away from playlist editors[19:21] TikTok isn't for every artist[21:26] Evolving team structure of an indie artist [27:55] Role of music NFTs[31:44] How Sammy Arriaga sold $250k of NFTs to non-fans[40:02] The Pyramid of investment [49:10] Ari the musician vs. Ari the educator [50:05] Updated version of How To Make It In New Music Business bookListen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuest: Ari Herstand, @ariherstandLearn more about Ari's book, How to Make It in the New Music Business here: https://book.aristake.comLearn more about Ari's Take here: https://aristake.com/This week's sponsor is Laylo. Join artists like Kodak Black, Sam Smith, and others who notify their fans instantly when they drop merch, tickets, and more. Create your own drop page for free in seconds at laylo.comEnjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapitalTrapital is home for the business of music, media and culture. Learn more by reading Trapital's free memo.TRANSCRIPTION[00:00:00] ARI HERSTANDI'm not a good recording engineer and I'm not a producer. So that's another team member that I'm going to hire when I make a record. Like I'm not Finneas. I'm not going to make a record in my bedroom. Like I can't do that. And that's not what I want to do. Like honestly, that doesn't inspire me. What inspires me is to make music with other people.[00:00:26] DAN RUNCIE INTROHey, welcome to the Trapital Podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from executives in music, media, entertainment, and more who are taking hip-hop culture to the next level.[00:01:36] DAN RUNCIEToday's episode is a playbook for all the indie artists out there. I had a great conversation with Ari Herstand, who is a musician himself, and he's also the founder of Ari's Take, which is his education business that focuses on how artists can make it today, especially indie artists. How indie artists can make it today in the new music business. And that's actually the title of the third edition of this upcoming book. Ari and I talked a lot about some of the new and updated insights that he has in this edition of the book, specifically around streaming, and how artists are starting to favor and prefer focusing on algorithms and how that can get them more listeners and where playlists currently sit with artists prioritizing them. And we also talk about NFTs, TikTok, and Ari's concept in the book called the Pyramid of Investment. This is a great conversation for anyone that wants to better understand the music industry, especially for the growing segment of independent artists that are carving their lanes out for themselves. Here's the episode. Hope you enjoy it.[00:01:48] DAN RUNCIEAll right, today we are joined by Ari Herstand, who is the author of his new book that's coming out, how to make it in the new music business. He's an artist himself, and I was lucky enough to be a guest on his podcast a couple months back. So Ari, it's great to have you on. And congrats on the book coming up.[00:02:06] ARI HERSTANDYeah, thanks, Dan. Thank you. Thank you. Very exciting. The third edition and get ramped up for that. But it's great to be here with you today. Thanks for having me.[00:02:17] DAN RUNCIEYeah, definitely. And I know for you, one of the big topics of the book is just how artists continue to evolve with how they're releasing music, how they're paying attention to what's going on with streaming right now. I feel like you have a good vantage point for this because you're doing so much of this yourself with your own releases. What are some of the big changes? Because I know that everything post-pandemic has been a little different, and now we're heading into this new phase right now with the new year. What's the big thing for you that you're seeing with the evolution?[00:09:07] ARI HERSTANDRight. So every artist needs to ask themselves what their intentions are with their release. And so, you know, the beautiful thing about the new music business and the scary and daunting thing about the new music business is there really isn't a right or a wrong way to do anything. There is the right and wrong way for you. And that could be the wrong way for me. So everyone, you know, it's based on your intentions and what your goals are for the release. If we just go, you know, more in the mainstream realm or let's just say your intention is to be successful on Spotify. Because that's a metric that most artists these days are kind of using to gauge the success of their release. And they want to have the best chance of, you know, grabbing that Spotify, being being blessed by the Spotify God, I guess. So to do that, there is a very specific release strategy that has been studied and now tested and now used by everyone from Lizzo and Krungman to Maggie Rogers to Robert Glassberg. And that's the waterfall release method. And Indie artists, you know, that are just releasing their first few singles are using this as well. I mean, this is the waterfall release method. And I'll break this down a little bit on what this means. This has started to get used a few years ago, but it really picked up last year in 2022. And now 2023 is I think going to be the year of the waterfall. But basically what it is is that, you know, you release singles leading up to the album. That has been happening for years now. However, here's what gets a little bit more where where it gets a nuance on how those singles are released. It's you don't just release a single song anymore as a single. You release your first single one song. That's just the one song released one second now your second single is that the new song is track number one. And the previous single that you released is track number two. So it's technically your second single, but it's kind of like a two song album. If you really go that way, if you're tuning it up, if you're an artist is to the artist asking this all the time. Well, how do I do this in my district? back end or whatever, like doing it's a two song album. And the way that the streams maintain for the previous single and that you don't lose your playlist inclusion, all that stuff is you use the same highest or C number. And so it's if you use the same highest or C number that used when you released that track, a month prior, it will be identical stream counts. And then a month later, you release your third single, but that's now a three track album. You know track number one is the new single track number two is the single you release a month ago and track number three is the is the single you release two months ago. And as long again, use the same highest or C numbers, it'll be included in the same playlist. They will be identical tracks, wherever they're included on people's algorithm, personal playlists, all that stuff. You can do this. People are doing five or six singles that way. And then the album and this release method, you know, this could take eight months, essentially, if you want to do one single every four to six weeks, and then the album. How you can kind of look at it, is you're building the album. And so it doesn't have to go on order, you can pick whatever order you want based on your singles. And then the final album is the album order, no correlation doesn't have to be the single order, you can pick whatever order you want each time. The track art can be different each time. I've seen it, people do different single art for each release. I've seen people just use the album cover for every release. So you know, at the end, you might have like six singles released that each have a few different songs on them. And then the full album, some people pull those previous singles down. So if they want to get a clean discography going up there, you just have a final album at the end of the day. And the previous singles with like the two song album, a three-song album, the four-song album before they pull those down. But you're not going to lose any playlists, you're not going to lose any stream counts because you're using same iris to scene numbers each time. So that is a release method, and the reason people are doing it this way is for the Spotify algorithm because Spotify likes to have regular releases. And if you send somebody say, hey, here's my new song and you send them the link, they're going to listen to that song. Now, if there's nothing, no other songs following that song to listen to, after your song finishes, Spotify is going to recommend them something to listen to or they're going to jump off and listen to something else. Now, if you give them the songs to listen to that after your previous releases, they'll stick around and keep listening to it. So the reason people are doing this is for the Spotify algorithm, but also to keep their fans engaged. So like say, here's your single number four and they listen to it and like, oh, cool. What now? I'm going to go back to listening to my favorite artist. Unless you have singles three, two, and one also there. And like, oh, I'll just keep listening to the other songs on this essential playlist. You think of it, whatever you want, a four-song album, a four-song single, a playlist of your new singles. However, you want to think of it, the user is just thinking, oh, I'm clicking on this link or new music Friday, or I'm in my release radar. I see this new single come out by this new artist I like. And then Spotify is going to start to recommend those songs through the algorithm. And the best thing about continuing to release the and the waterfall method is like those previous singles stay included in release radar. So this is like what has been figured out by labels and managers and artists over the last few years. And based on what Spotify wants to see and basically what they're being rewarded for with the algorithm from Spotify. And you know, I think a few years ago, everybody was chasing the playlist editors and like, oh my gosh, if I can just get included in the rap caviar, then like I'm set forever. Whatever the playlist inclusion, the editorial playlists are not as powerful right now as the algorithmic playlists are. That is a big change. Is like three, four years ago, people were like, oh, it's all about the official editorial. Now you want to trigger that algorithm because that is now personalizing every single user's playlist based on what Spotify thinks that user likes to hear. And you want to get your songs included in that. And people are just letting Spotify feed them now based on the algorithm versus seeking out playlist[00:09:27] DAN RUNCIEAnd why do you think that that shift happened from the playlist prioritization to the algorithm? Was it something internal with Spotify or is it just a natural decline in the power of playlist?{00:11:40] ARI HERSTANDYeah, I mean, the main thing is is let's think about what Spotify's intentions and goals are. Their goals are to keep users on their platform as long as possible. And they've discovered that if you feed users songs that they want to hear and have a higher success rate of them continuing to listen and stay on Spotify, then they're going to follow that. Then Spotify is going to do more of that. So they've been AB in this for years. They're like, OK, do people stick on our platform on Spotify longer by listening to our editorial playlists that human beings employed by Spotify are creating? Or do they stick on our platform longer by the algorithmic playlists that are internal robots are curating for them, the algorithm is curating for them. And what they found is that people are sticking around longer with the algorithmic playlists. So they're now doing more of that and realizing that this is what it is engaging users to stay on Spotify longer, because that's what users prefer. The algorithm has gotten a lot better at learning people's tastes, music tastes, than any singular playlist editor. And the other thing is, when we're talking about indie artists, is that why indie artists need to refocus their efforts into more of the algorithmic lane versus the editor lane, is that playlist editors, I mean, it's like playing the lottery to try to get an official Spotify editorial playlist. For one, with 100,000 songs being uploaded every day, you have a very, very hard chance of getting selected being one of those songs that is going to get included on. The very select few Spotify editorial playlist spots. But the algorithm, there's billions, literally billions of playlists that theoretically that they can put you on, or the algorithm will insert you into various people's radios or discover weekly or whatever. You have a much better chance of getting there. And then if users respond, well, do your song there. I mean, you pop up on someone's discover weekly, and they click save. I like this song. I want to hear more of it, and they don't skip it. That sends signals back to the Spotify algorithm, like, oh, this song is performing well. Let's try it in more algorithmic labels. Let's try it in more radio. Let's try it in more of these. And then theoretically, you'll just get included more and more, and then it'll just kind of snowball onto itself.[00:12:46] DAN RUNCIEYeah, I think the algorithm getting better, that what you mentioned, is likely one of the big drivers of this, because if I think back to the days of, let's say, like the mid 2010s, the algorithm still felt a bit similar to those old Pandora algorithms where after the seventh song, you start hearing the same thing over and over. And if you're comparing that to, let's say, what Tuma Basa was doing at Rap Caviar at the time that, of course, yeah, I think Tuma is going to be the better curator of what you have. But if you're shifting things to now, where these algorithms just get better and better and better, then, and I think as well, over time, a lot of the playlist also had that alert. There was a bit of the, oh, this is the new radio. This is this, but then, yeah, when the playlist is better and better, even as a Spotify user over time, you can see that, okay, they do have a better sense for where things are. So naturally, it did shift the behavior. And I think you kind of saw this more broadly with, you know, outside of music as well, with movies or TV shows and other things. I think the algorithms do get better over time.[00:16:02] ARI HERSTANDOh, absolutely. Yes, we're seeing that, you know, absolutely across the board with Netflix and Hulu and Prime and all that stuff. But, I mean, you bring up a good point about, you know, the human and the human playlist editors and what, you know, the power has shifted away from these playlist editors in part because Spotify is pulling the power from that. Because, you know, they're not giving the playlist editors free reign. It's kind of like if we can compare it to, you know, radio stations back on the day that the DJs had the power and they could play whatever they wanted. And that was like, you know, when the 70s and the 80s and maybe even a little bit into the 90s, you know, the DJs could play whatever they wanted. And they were all powerful because that's how people discovered music. Then Clear Channel took over and bought up all the radio stations and was like, oh, guess what? These are the only songs that you're allowed to play now. Here's the list. And then every week Clear Channel would update that list and send the list to all the DJs and say, you can choose, but you have to play these songs. So then the DJs became less powerful because that power was removed away from them by the overlords, which was the owners of the station, which was Clear Channel. The same thing has started to happen on Spotify. The editors used to be the all powerful DJs. They used to be all powerful playlist editors. Now they're overlords, they're owners, Spotify has come to them and be like, well, guess what? Your playlist is not keeping people on this, on Spotify and on the playlist long enough anymore. So you're only allowed to do three new songs a week. And in those three songs don't really perform well, then you're either gonna lose your job or you're not going to have the liberty to choose the song anymore. And of those three songs, they actually have to be from this list, which is the song that have already been pre-tested on the algorithmic side. So it's kind of like we see the same thing as it's like, instead of clear channel dictating the list based on their private marketing rooms and studies with surveys of listeners like they used to do when they would test songs with radio with market groups, now Spotify's testing songs with the algorithm and then they send those songs to the editors and be like, okay, these songs are proven. So when Tua was selecting the song for Rap Caviar, he was at the start of it. But as it got later on and on and what's happening with today's topics with Rap Caviar and all of them, he's just not one person anymore that's shooting. I mean, when Troy Carter was at Spotify and kind of in charge of all this, he said this and this was mind you four or five years ago, this was happening to them. It's like with those big, big playlists, he's like, it's no one person that is deciding this. These songs are tested and then we decide that it was going to go into those big playlists. But now that's happening on every playlist top to bottom.[00:16:25] DAN RUNCIERight. And circling back to what you had said at the beginning that this, of course, is shifting artists to that focus on how they're releasing music, the waterfall strategy, but tweaking that specifically for what they're doing with singles leading up to the album. But I also have to assume that to a certain extent, some of this does become table stakes in that everyone, as you mentioned, is doing it that knows what they're doing right, whether it's you or it's Lizzo or others. So once that's kind of the lay of the land, are there additional things that, you know, artists that you're at least suggesting that artists should or shouldn't be doing or at that point does become more and more dependent on things that are independent of the release, whether it's the artists fandom, the quality of the music and so on.[00:19:21] ARI HERSTANDAbsolutely. And this goes back to the intentions. And so, you know, it's no secret that in 2020, 2021, if even a bit last year in 2022, the Tiktok was, you know, a massive driver of streams. And so it's like, for some artists, that was where they found success. But, you know, and this is where we get into what are your intentions and who is your fan base? If you're making kind of straight ahead rock and roll, that's going to appeal to like 35 year old plus or you're making like throwback traditional R&B, that's similarly going to appeal to a 35 - 40 year old audience and up. Your marketing methods should not be Tiktok. So like if somebody's like, oh, you got to do a Tiktok, well, like, no, you don't have to do it. You know, you have to understand who your audience is, if your audience is on Tiktok, then maybe. And if your music that you make could be tiktokified, it's like, you know, it's like it's funny, you know, and all that and with Lizzo's song About Damn Time. You know, the thing that went viral on Tiktok was like the seven seconds of the first line of the second verse. It's like the most random shit that catches on Tiktok that you just like don't even know and oftentimes it's just like, you just never know what's going to catch or not. And it's like, so yes, Tiktok that can be a strategy. Absolutely. And it's like buying lottery tickets. So like the more you post, the more, you know, tickets that you're buying the higher profitability you have of something catching and then people using that bit, of course, there's deeper strategies that you can implore if you really want to study this. If you're like Tiktok is the method and the way that I want to go, totally like you can, you can work influencer marketing. That means, you know, get hundreds of influencers with varying audience sizes, micro influencers, macro, whatever kind of budget you have, pay them a little bit of money to use your song or your snippet of your song, your 15 seconds of your song in their video. Have everybody do it in the same week. And hopefully that gives you a chance that inspires more people to use that same 15 seconds in their videos. Sometimes it works. Sometimes it doesn't. It's kind of like back in the day, you know, when labels would work a radio campaign and spend $300,000 on promoting a single at radio. Sometimes it worked. Sometimes you lost $300,000. And that's what we're seeing right now with influencer marketing campaigns because Tiktok is so fickle and random that you don't know if it's going to work. And if you spend $100,000 on an influencer market, so that is one way.[00:19:38] DAN RUNCIEYeah, I think the Lizzo point is key with that because I know that she spent and her team spent a lot of time focused on trying to make that whole album special pop on Tiktok. So to your point, the fact that they probably thought it would have been the bad bitch of clock live but then ends up being a completely different line that ends up going completely viral because don't know how exactly it's gonna go but the fact that the team put in work means that something was able to pop there.[00:21:26] ARI HERSTANDThe beauty of TikTok is that you can test and test and test and test and test for free, especially like indie artists are doing this all the time. So like yes, Lizzo has millions of dollars behind her and a full team of people that can do this. I'm seeing this with indie artists doing this all the time where they're just testing on their own, you know, they'll post a few videos a day or a week or whatever with different snippets of their line, of their songs rather, and seeing which ones respond best. And then like, oh, okay, it's this part of the song. Like, you know, if they were Lizzo, they were like, oh, it's the first line of the second verse responded better than the other previous 15 snippets that I posted over the last three weeks. So let me do 10 more videos of just that first line of the second verse and see if it was a fluke or if this is actually about a pattern that I'm on to something and they're like, oh, that is what's connecting. And like, oh my gosh, 20 people just posted videos using that the first line of the second verse and they're like, all right, let's keep doing that. And then you kind of, you know, this is how you discover what work is just trial and error, whether you have a label of, you know, 20 social media experts doing this and a million dollars behind it to like, throw gasoline on the fire by hiring influencers to do this. Or if you yourself and your best friend in your bedroom figuring this out, it's the same strategy.[00:21:46] DAN RUNCIEYeah, that makes sense. And especially with the fact that Indie artists can tweak it, it is free to essentially tweak on TikTok. But I'm curious to hear your opinion on just how the Indie artists specifically can have the ideal team structure. Cause like we said, on one end, you have Lizzo's million dollars behind you on the other end, you have, yeah, it's you and maybe your friend can help you do this. But somewhere in the middle is that successful Indie artists that doesn't have the, you know, major record label resources, but it's still tweaking things. So even if we think a bit more broader than social media, what does that team look like? Like maybe even for yourself, like what does that team structure look like to make sure you have all the pieces in place to run a successful Indie business?[00:27:12] ARI HERSTANDTotally. I mean, it's a great question. And I talk about this in the book. I've updated the new team. I call it the new team. Because there's been the traditional team that's been around for decades. And that's what everybody understands. Like your art manager, your personal manager, your record label, your booking agent, your publicist, your attorney, you know, a publisher like this. That's the traditional team that, you know, you'll read about in the other music business both written by lawyers that were written 30 years ago. Most in the industry on that level, they haven't really updated that team. But when it really comes down to what we're looking about in the new music business with Indie artists, especially before you get those big players on your team, you still have to run your own business yourself. And sometimes we've seen a lot of NDRs that don't ever want a record label. And that's totally fine. So, you don't need that scene, remember necessarily. But what you do need is to be putting out regular content that's representative of who you are as an artist. And so what does that require? Well, it requires video content. Okay, you need someone on your team that can make really good video content. If that's you, cool. But sometimes it's not the artist. And so having someone on the team that's good at video, videographer, whatever, an editor, that is a key number of the new team that is extremely necessary. Say with a photographer, you know, it's really important to kind of have regular, new high quality photos or any kind of photos, whether it's your, you know, candid photos when you're around, when you're on tour, photos from the stage, from behind you with the audience there showing what you're about, promo photos, press photos. So like a photographer. It doesn't need to be a full time member on the team, but I think doing regular photoshoots and having people that are regularly pumping out photos. Again, it doesn't need to be as formal as like a record label or a team member like that. It's like, oh, you're my best friend. You have a new iPhone and you're really good at taking photos. Let's like take a lot of photos all the time and continue to post them. And that counts too, you know, and same with like a designer, like a graphic designer, you know, there's so many used cases where graphic design is gonna be necessary, whether it's designing your album cover or it's merch items or it's show posters or, you know, any other cases where you need something design. Again, it doesn't need to be a full time member of the team. It could be someone you enlist over Upwork that you hire to do that or it could be a friend of yours. That wants to help out. And then there's this role that I call the digital specialist. And, you know, managers and labels of column, it's like, are they calling digital? They're a digital person and it's like, oh, you know, we're going to send it over to digital. Basically, what that is, is like they specialize in social media advertising. This is something that is is really crucial when it comes to the release strategy that we're talking about previously. Virtually every single record label, it be label up to the majors down to individual artists that are releasing music on their own on that have a little bit of a budget are now running social media ads. It takes a lot of time to learn all this and it's a specialty for sure whether you're running ads on, you know, via the meta ads manager with Instagram and Facebook or Tiktok ads manager, YouTube, Google ads, all that stuff. That's what a digital specialist can do and then they kind of monitor everything and then they gather all the assets and then they help kind of guide the strategy. And so all this being said is like these are team members that are important to every indie artists career right now. They don't need to be individual people that handle these roles. I've seen indie artists that do all these roles themselves and they're their own team right now and that's cool. If they can figure that out for me personally like I know that I'm not a good recording engineer and I'm not a producer. So that's another team member that I'm going to hire when I make a record like I'm not Finneas. I'm not going to make a record in my bedroom. Like I can't do that. That's not what I want to do. Like honestly that doesn't inspire me. What inspires me is to make music with other people. So like I'm the type of artist that I'll get into a studio with eight other musicians and we'll track something live, you know, and like that's what I like doing them inspires me. But I need a producer. I need an engineer. I need a mixing engineer. I need a mastering engineer. These are all team members that I might enlist for that one recording. You know, but other people like Finneas was Billie Eilish's first team member. And he was her recording engineer and producer and like she had that built-in team where they could be pumping out music to Soundcloud regularly early on. Whereas like a lot of artists don't have that but some do. It's like again, what are your intentions? What inspires you? What kind of music do you want to make? But there are certain roles that can be filled by either your brother in down the hall, in the bedroom or by someone halfway around the world and Upwork. But these are the roles that can be filled and the jobs that need to get done.[00:27:55] DAN RUNCIEThat makes sense. I know another thing for these teams is someone that is always keeping their eye on the new big thing or the new small thing to be able to test out just being able to figure out what's there. And the past couple of years, Web 3 and NFT specifically have guy and even more traction and I think maybe in the most recent year got a little bit less traction to just a more overall transaction level. But as we're heading into 2023 now, how do you look at NFTs as part of your strategy and how do you look at Web 3 more broadly for what artists are doing and any examples that you may have of like yes, this person that is an indie artist that wasn't just a mature artist like did it and they've done it really well.[00:31:44] ARI HERSTANDAbsolutely. I don't see Web 3 slowing down anytime soon. I still see that this is as a digital society is heading. It's evolving for sure. Bitcoin isn't kind of what is all encompassing anymore like it was five - six years ago. It's not even just the mouth crypto currencies and it's not even just about NFTs like NFTs. The reason that it's lost a lot of its initial luster and sheen is because when it first kind of caught on, you know, early 2021 or so. It was like that was the sexy new thing that nobody quite understood but once you got it you're like well, this is crazy at the digital collectible.Cool I collected playing cards when I was growing up, I get it, sweet, that's what this is the digital collectible one of one okay cool I understand it so that was like. And people are trying to find used cases like you know we initially heard about Kings of Leon was like one of the first that did like an NFT album and they tied you know physical experiences to their NFTs like you get front row tickets that you were one of the NFT holders for life and you could redeem the NFT for proper tickets. So that was like the first way by say now we're seeing is more used cases and people that are creating them independently so like I had on the podcast on my podcast the name is Business Podcast. Sammy Arriaga, he's a Latin country artist and he's a really great, really cool crossover artist. He is a country musician but it's kind of with Latin infused country music it's really cool. He had a deal with Sony, he was signed to Sony as an artist and any of the publishing deal for a while they you got dropped up. It wasn't up to the major label success standards that they were hoping for. I got dropped. Then he actually had a little bit of success on TikTok in like 2020 and then he pivoted to NFT's in 2022 actually, I believe. And just cut to the headline, he made over $250,000 on his NFT of his album or actually of his song. Just one song to be honest. And how he did it, what was really interesting, it wasn't because of his fan base because the vast majority of music fans right now still have not come around to NFTs. They're not really in the metaverse. They're not in the crypto web 3 community yet. But the web 3 community is still very, very strong. It is thriving and kicking. If you can tap into that, then you can actually have a lot of success there right now, currently today. Now in five years, I do believe that most music fans, there will be used cases and every artist will have something to do with NFTs and Web 3 and micro and bastine which I'll get to in a second. But what Sammy did was he went to that Web 3 community and where do they primarily? Just at the time and still really is on Twitter and specifically Twitter spaces. What he did is he went into these Twitter spaces rooms. These are like the audio, Twitter spaces, the audio, new version of clubhouse and any space that was talking about NFTs and Web 3, he'd pop in, he'd listen for a little bit and then he'd raise his hand and I asked to come up and speak. They'd invite him to speak and he's like, hey, guys, you've been talking about NFTs for the last hour. I play you a song that I wrote, actually about an NFTs and it's called Metagirl and it's a META Metaverse Metagirl and they're like, oh, okay. So essentially, then he played the song. He's like, you can actually get that song right now as an NFT, the links in my, you know, pin the link right here and they were like pin the link in the Twitter space and that's how we did it. And he made $250,000 just from doing essentially by busking on Twitter spaces.[00:32:18] DAN RUNCIEHow many Twitter spaces did he do to make that happen? [00:35:05] ARI HERSTANDIt was a lot, you know, because some of the 100 people, some of the 1000 people, but you did it for a while and like, that's a way, you know, that's not a scalable method necessarily that I'm encouraging people to like go busking on Twitter spaces and make an NFT. But he was able to do that and by finding that community, now, you know, Baratay is another indie artist. She was one of the first to kind of start experimenting on NFT platforms and selling NFTs. What she also did early on that we're now starting to see more widely adopted was she not only would release NFTs tied to her songs, but she would tie royalties to the NFTs, meaning you don't just buy an NFT as a digital collectible that you're hoping to resell and make a little money on. You're actually buying a percentage of ownership of the song or like a royalties as I should say of the song. So like she had one time, you know, auctioned off, I guess, you know, and it was through a blockchain platform. I believe she used royal at the time, which is NAS's platform. She like gave away 40% or sold 40% of one of her songs to people. So you could buy whatever percentage you wanted and it was valued at a certain level. And then you can buy that. Now, those platforms are starting to pop up like I'm on the advisory board of label coin and they're a new platform that, you know, started by a booking agent, Mark Miller, who I've known for years. And he approached me and he's like, Hey, here's what we're doing. And it's essentially it is the same concept. Using blockchain technology, but essentially being able to sell a percentage of royalties for your song. So you could theoretically like say, I'm going to sell 50% of the royalties of my song. And it's like, I'm going to sell it to a thousand people. So you could buy like, you know, a half a percent or a quarter of a percent or a small percentage. It's like buying stocks, essentially. It's like, you know, like the Robin Hood from music. So we're starting to see that and the blockchain technology that the whole infrastructure is built on because it's just more streamlined that way. And so like, we're moving to in the future when these platforms likely, book, coin and royal and the others like really start to break into mainstream is the fans are going to think, Oh, I have to learn cryptocurrency and I have to get a wallet and, you know, buy some of Ether, you know, from the Ethereum and buy some ether and like. You know, that is the heavy lift that why it prevented so many people from getting the NFTs. Like I want to learn how to do this and pay gas fees and blah, but like all the shit that it takes hours and hours and hours and hours just for one person to buy like one NFTs. It's like we're getting a little away from that and it's gonna be like a fan is like, oh, I'm gonna get 10% of royalties of Ari's new song and it's done in 10 seconds. And like they don't even know[00:36:33] DAN RUNCIEYeah, it needs to be as easy as like buying something called the Amazon, right? Like it needs to be instant. And I think that I agree there. I think that was probably one of the biggest gaps for a while. There was all these things. And some of it I think is natural with any new technology. There is an adoption curve. It's always gonna track the enthusiast which at least in this recent era congregated mostly on Web 3 corners of Twitter and we're discussing things. So I think it's really smart, you know, for artists to, you know, jump in on Twitter spaces the way that they did. It was really interesting to hear that in a lot of ways yeah, they weren't even reaching, they're like die hard fans. They were just reaching people that were interested. But that said, I think so much of this rings true with something else that's a concept in your book, the purement of investment. And I think I look at this a lot of ways, almost like a inverted sales fund if you will, address in terms of building awareness, the decision intended and actually getting people to act on it and knowing that you can obviously generate revenue at each level of those streams. But NFTs, especially if they're used the way that they could is something that does sit at the tip of that pyramid. It's not gonna be everyone, but it is something to monetize the die hard fans that you have. But even there you could adjust where it sits based on what you price it, how many drops you have and so many other things.[00:40:02] ARI HERSTANDAbsolutely, yes, the pyramid of investment on this concept that I have in the book, I'll just kind of break it down a little bit so people understand. It's like, you think about it, you know, this is financial investment. I also have a pyramid of engagement, which I'll get into a second, but what just investment at the bottom of that pyramid, we have the people that don't really spend any money on you directly, they might stream your song, they might stream your music, you might make a little bit of money from what their actions that they're taking like the stream of your music, but they're not like spending money on you directly. So that's the bottom of the pyramid and that's where the vast majority of the music of fans, audience, listenership lives just across the industry. But as we go up the pyramid, you know, then there's like, those that might attend your live stream and like tip you over that or they might just like tip you here and there and you know, in the digital realm, sure, it's a live stream, it's on Twitch, or whatever, or like, you know, they can tip you in real life or something, they're going to your shows and they'll tip you. So it's like the tippers essentially, then you go up a little bit higher, that people are actually buying tickets to your shows. Now they are actually directing money directly to you and they're coming to your concerts, they're your ticket buyers, your concert goers, then you look a level higher, they're the merch buyers. They're the ones that buy merch at those shows or buy merch online, but you know, your store or from your Spotify profile or whenever they're buying merch directly from you, they're like, I'm a real fan, I want to buy merch. Then we go higher and then we're into that category of fan clubs, crowdfunding campaigns, you know, investment, NFT, three point, you know, with that whole realm of like, I'm like such a big fan that if they're on Patreon, I'm going to be their patron. If they're running a Kickstarter, I'm going to back their Kickstarter. If they're selling a percentage of their royalties of the new song, I want to buy that. And then at the very tippy tippy top of that, it's kind of a little bit of out too, but it's like those that are buying the VIP packages. So it's kind of like a combination of it all. It's like that, am I going to, you know, go to the show and I spend the $250, you know, do a 10 sound check and get the merch package and do that whole thing. So it's like that's all at the top. And so you think about this as the pyramid of investment, you're going to have fans at every level of that and you want to make sure that you cater to all of them and that you don't exclude some. So it's like, you know, I think people can kind of have understood this concept when, like, I first got this like six, seven years ago when Patreon kind started to hit after Kickstarter. And I saw some of my friends that were running Patreon campaigns and Kickstarter campaigns, I know simultaneously. And to me, that seemed counterintuitive. I was like, wait a minute, your fans are only going to do one or the other. It's like, they're going to either back your crowd and bring you an album or they're going to be your patrons, right? No, I was wrong. What it was, was really like Kickstarter was below on that pyramid. There were more people that are willing to drop a hundred bucks this one time, this one year to back your Kickstarter, but then there's fewer people a little bit higher up on that pyramid that are going to pay you $10 a month on Patreon or Substack or whatever it's going to be, Band Camp, any subscriber service that are a level higher that will be your subscribers and then it just kind of keeps going up from there.[00:40:28] DAN RUNCIEYeah, I think that makes sense. And the thing that I've often thought about the model too is that of course the revenue that you get per fan does increase as you go further up that period. But if you were to multiply that by the number of fans in each of those tiers, do you think that the tiers do start to equal out roughly or what does that look like for you?[00:41:39] ARI HERSTANDThat's a really great question. I don't really need data to back that up, but that's a really great experiment and something that should be studied, I think like an artist that kind of, yeah, I'm going to work on putting those numbers together. That's a great idea. It's kind of like along the lines of the Thousand True Fans Concept, where this concept is, you know, they say that if you can get a thousand people to pay you $100 a year every year for the rest of your life, rest of your career, now you have a career and that's all you really need is a thousand people to pay you $100. However, if you break that down a little bit differently on the government of investment, you don't need the thousand people to pay you $100. You could get a hundred people to pay you $400, you could get 200 people to pay you $200. You could get, you know, 400 people to pay $50, you could get 700 people to pay you $20 a year, you know, and you could really break that down a little bit differently. And so it's like, how are you going to get to that $100,000 a year mark if that's your goal or a million dollars a year, if that's your goal. And it all these fans are going to fall somewhere. All this money is going to fall somewhere on that pyramid of investment.[00:43:12] DAN RUNCIEYeah. I think about it this way too, maybe from like an example perspective. Let's look at someone at the top. Look at someone like Beyonce. I could see her. I would need to do the math. But let's just say ballpark speaking, she gets $30 million a year revenue from her music, right? Purely from streaming. I could also see her getting $30 million a year from, let's say she does a few concerts that year or a few special one offs. She could also get $30 million a year from doing two private shows of performing at a wedding or something like that or performing at an Uber private event. So each of those things can equal that amount. But yeah, I think that way to break down the thousand true fans, I think is important too. Because I think when that theory came out, Kevin Kelly's, I think it's back in 2018, but it made a bunch of sense. But I think for most people putting things out, yeah, even that requires a bit of segmentation there. So it's fascinating. And I'm sure so much of this is fascinating for you as well. Because I feel like you kind of have two examples of this with the businesses that you're running. You have Ari Herstand, the artist and you have your own, pure, mid of investment. You also have your visit of this podcast, the courses and the book as well. And for you, I'm sure I know you have a team that helps with each of these things, but do you look at it any differently between the two, you know, yourself as an educator that is sharing this information combined with yourself as the musician?[00:49:10] ARI HERSTANDYeah, I mean, absolutely. Like, I think, you know, why people have responded to the artist take business and my book and the artist take account of me and the music, the podcast and all the stuff that like, I do on the music business education front is because I am a musician. I have that musician's empathy. I've, you know, lived it and living it and it's like, I understand how hard everything is. It's like, you know, I'm not just saying it to say it like NN because I read it somewhere. Like, I'm living it. I'm interviewing people that are living it. You know, I put on two different hats like I look at myself almost now as like part journalists and like kind of, you know, in the lane that you're in where by interviewing more people, we learn more and that's great. Like, I know my perspective and everyone's perspective can be limited to their own experiences. So I try to widen my experiences by widening my information base by talking to more people. So the whole point of the podcast honestly was just to talk to more people, smarter people than me that are doing bigger things and more successfully than I was doing. So I could learn from them and then share that information. Like I've always interviewed people from like artist take and writing for other publications and I then made the podcast basically public. With my own music career, you know, the intentions have shifted. But when I started Ari's take as a blog 10 years ago, I made 100% of my money from my music. I was like a full-time artist, touring artist releasing music, all that stuff like touring most of my year, going on plenty of national tours. The intentions have shifted when I realized where I can be most useful and necessary. So like I don't tour anymore. You know, I'll do one-offs here in there. Like when I'm with my new funk project, Rasmentisdrake, it's like I do in a kind of an immersive funk experience. And I want to keep that in one place like we did in L.A. in like last summer, we did, you know, a 16-show run in L.A.. That's like my creative outlet. Like I do in the intentions of that, I want to top the Spotify charts and like go on tour. So like why I keep going back to like what are the intentions for every artist is like they're different. So my intention for that was like I wanted to sell out all those 16 shows and like that was my own function for the off thing. Or I wanted to at least, you know, get people a good experience and have a good time doing these things. Like I released a solo album last year under my own name. And the intention of that was honestly not I want to go on tour or I want to, you know, and get millions of streams. It was just like I went through a break out and I needed to write these songs and release them for my own mental health and just like honestly just for my own well-being and like get these songs out there. And people connected with them. And that was wonderful. And like I heard from tons of people that really resonated with the songs. Like that was something that you know gave me some perspective to is like, my focus right now is not making a living just for my soul of singer songwriter project like it used to be. That being said, there's a place for everything. And so, you know, I covered this concept of like the multi-hyphenate. Everyone's a multi-hyphenate. Everyone from Beyonce down to me and any other indie artist that is working at a day job or whatever, everyone's a multi-hyphenate. Like, your job title can start with musician and then it can be, you know, what else? Like, some people are musician, lift drivers. Some people are, you know, musician, entrepreneur, CEOs like, you know, Dre as Beaks, headphones is like, oh, he's an entrepreneur and a business person. And so it's like, I don't think the artists need to feel like shameful or insecure about their other hyphenates, their other job titles. You know, at the end of the day, you want to do what inspires you. And so for me, you know, my idea of success is making a living, supporting the kind of lifestyle that I'd like to live doing what I love and offering value and meanings to people. And so I've kind of structured my own life in a way where I go to where I feel like I'm needed and then where I can bring value to people. And that I've found, you know, most useful in kind of the artist take blame and the music business lane of everything I'm doing. But at the same time, like, I'm an artist. Like, I'm never not going to be an artist. Like, that's just like who I am. That's like what my soul is. And so it's like, I can't ever stop doing that. Like if I don't want to force myself to ring out as much money from that, there's no shame in that. Like that's, you know, sure, you know, I always say it was all the time to be, it was like, if you're happy making music from home and putting it online and you're making like 50 grand a year by doing that. And that's like what you figured out how to do. You've got some same theory, you're on some ads, you got some streaming, whatever. And like you're doing that and you're happy. Wonderful. Could you make a hundred, 200, 300,000 dollars more if you like one on tour or up your merch operation or like, you know, started a Patreon or launch an NFT or something like that? Maybe. But do you have to? But no, of course not. Like do what makes you happy. Like if that's going to make you unhappy because you're chasing more money and like why? Like you don't need to do that. Like do what makes you happy. And that's the big thing. And so it's like, you know, I'm constantly figuring that out for myself and I encourage other artists that figure it out for themselves.[00:49:30] DAN RUNCIEYeah. And I think that's a good way to put it, right? There's so much action now. You know, there's so many opportunities in everywhere. It isn't multi-high fit. It is really up to you how many hyphens you have behind that name and how heavily you want to push all of them. And I think the other one for you is author. And of course you have this book coming out in a couple of weeks. So yeah, before we let you go, let me just do one more close to let people know the updates with the book and when to expect.[00:50:05] ARI HERSTANDYeah. So It is out January 17th, 2023. You can get it wherever you find books with its Amazon or Barnes and Noble or your local bookstore. And I don't know when this is airing or gonna go live, but if you're in L.A. on January 17th, join me at Barnes and Noble up at Grove and we're doing a book signing and a live podcast recording there. But yeah, I've added a hundred new pages to it. I've updated stuff in every section. I've rewritten chapters, but scratch, of course. A lot of stuff we talked about today is in the book like NFTs and Web 3 and TikTok and live streaming. A lot of stuff that didn't exist three years ago. So I've completely rewritten the majority of the book. So you know, if you have the first or second edition of the book, I encourage you to check out this third edition. It's very, very different and updated.[00:50:46] DAN RUNCIEGood stuff, man. Excited for you. Thanks for coming on. This is great. {00:50:50] ARI HERSTANDThank you. {00:50:54] DAN RUNCIE OUTROIf you enjoyed this podcast, go ahead and share it with a friend. Copy the link, text it to a friend, post it in your group chat, post it in your Slack groups, wherever you and your people talk, spread the word. That's how Trapital continues to grow and continues to reach the right people. And while you're at it, if you use Apple Podcast, go ahead, rate the podcast, give it a high rating and give a review. Tell people why you like the podcast. That helps more people discover the show. Thank you in advance. Talk to you next week.

It's that time of the season when the boys get a-bristlin'! Seriously, folks. Teeth over here are gettin' sharp as all dang hell and the wolf hairs are poppin' out like glochids on a cactus. This is why it feels mighty fine to drop the thirteenth installment of Do Be A Monster. This one's bound to get your tentacles glip glopping all over the frigging place. First, let's just get this out of the way: have we ever said a monster can't be cute? Of course not! We would never say that. Just ask the Jackalope. Surely you've heard of the revered Jackalope and perhaps have even seen one once while riding a dunebuggy through the deserts of Wyoming. Then we've got the Snallygaster. This eighteenth century dragon-bird-freakazoid from Maryland will definitely get you itchin' to see more beaks with teeth. So sit back, relax, throw on a cyclops mask, and hit play; it's time to do some monster huntin' with the boys who make the noise.

A bird's bill is an incredible multi-tool — good for preening feathers, building a nest, self-defense, scratching, displaying, building a nest, and egg-turning. And a bill must be the right size and shape for the bird's diet, whether that's probing for worms, cracking open seeds, or tear apart prey.More info and transcript at BirdNote.org. Want more BirdNote? Subscribe to our weekly newsletter. Sign up for BirdNote+ to get ad-free listening and other perks. BirdNote is a nonprofit. Your tax-deductible gift makes these shows possible.

Hersh, we are so glad you are tuning in to Pod'N Me still... You being a long time listener of the show, will not be disconcerted (big word for perturbed) at what goes on today. We started by having our very own Rev. Josh Smith to tell about a painful (big word for harrowing) tale (*or tail) of a recent hunting excursion in the state of Georgia. Deacon Dustin recounted a story of a piece of our past where we explored the idea of what R.I.P. looks like for each of us. We also had some very good comments in the feedback section where Songleader Brad spake of sun-dry pets. Ending our part of the discussion today by talking about muted beaks and selfie etiquette... Thanks for listening!Connect with us at https://www.podnme.org/Email devin@podnme.orgFollow us on Instagram @podn_mePersonalities on Pod'N MePastor: Devin BirdsongDeacon: Dustin WakleySongleader: Brad CottrellHershall: Jud IngramNews Anchor, Dink Burbank: Josh Smith

Cheap Shot, the wisdom of the kookaburra, & Joni Mitchell never lies.See omnystudio.com/listener for privacy information.

Bird beaks, or bills, come in many shapes and sizes. And birds use them for just about everything: to collect food, preen, fight, court, chop holes in trees, weave nests, and more. In order for a bird to fly, its beak must weigh as little as possible. Beaks are covered with a sheath of a tough material called keratin, which grows continuously because a beak wears down with use. Learn more at BirdNote.org.

☎️Errol Spence Jr., Beaks Ugas Orbital