Podcast appearances and mentions of Charles Hamilton

From my birthday week! See if you know these tougher questions on things I'm into.  Fact of the Day: Stunt pilot Charles Hamilton was known for often flying drunk and crashed over 60 times. However, he survived every time and instead died of tuberculosis.  Triple Connections: Bad Hair Day, Straight Outta Lynwood, Poodle Hat THE FIRST TRIVIA QUESTION STARTS AT 01:00 SUPPORT THE SHOW MONTHLY, LISTEN AD-FREE FOR JUST $1 A MONTH: www.Patreon.com/TriviaWithBudds INSTANT DOWNLOAD DIGITAL TRIVIA GAMES ON ETSY, GRAB ONE NOW!  GET A CUSTOM EPISODE FOR YOUR LOVED ONES:  Email ryanbudds@gmail.com Theme song by www.soundcloud.com/Frawsty Bed Music:  "Your Call" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ http://TriviaWithBudds.comhttp://Facebook.com/TriviaWithBudds http://Instagram.com/ryanbudds Book a party, corporate event, or fundraiser anytime by emailing ryanbudds@gmail.com or use the contact form here: https://www.triviawithbudds.com/contact SPECIAL THANKS TO ALL MY AMAZING PATREON SUBSCRIBERS INCLUDING:   Linda Elswick Ansley Bennett Mom & Mac Lillian Campbell Lynnette KeelJerry Loven Jamie Greig Rondell Merritt Sue First Nick Vogelpohl Adam Jacoby Adam Suzan Jeremy Yoder Chelsea Walker Carter A. Fourqurean Tiffany Poplin Bill Bavar Courtney Cassal Daniel Hoisington-McArthur Paula Wetterhahn Justin Cone Steven LongSue FirstKC Khoury Keith MartinTonya CharlesBen Katelyn Turner Ryan Ballantine Justly Maya Brandon Lavin Kathy McHale Selectronica Chuck Nealen Courtney French Nikki Long Jenny Santomauro Jon Handel Mark Zarate Keiva BranniganLaura PalmerLauren Glassman John Taylor Dean Bratton Mona B Pate Hogan Kristy Donald Fuller Erin Burgess Chris Arneson Trenton Sullivan Josh Gregovich Jen and NicJessica Allen Michele Lindemann Ben Stitzel Michael Redman Timothy HeavnerHarlie WestJeff Foust Sarah Snow-BrineRichard Lefdal Rebecca Meredith Leslie Gerhardt Myles Bagby Jenna Leatherman Vernon Heagy Albert Thomas Kimberly Brown Tracy Oldaker Sara Zimmerman Madeleine Garvey Jenni Yetter Alexandra Pepin Brendan JohnB Patrick Leahy Dillon Enderby John Mihaljevic James Brown Christy Shipley Pamela Yoshimura Cody Roslund Clayton Polizzi Alexander Calder Mark Haas Ricky Carney Paul McLaughlin Manny Cortez Casey OConnor Willy Powell Robert Casey Rich Hyjack Matthew Frost Joe Jermolowicz Brian Salyer Greg Bristow Megan Donnelly Jim Fields Mo Martinez Luke Mckay Simon Time Feana Nevel Brian WilliamsJordania of ZeilingriskS

Nepo babies are not a new thing in fact, high society has capitalised on this practice throughout all of human civilisation. Of course we want our children to prosper from our fortunes, but when those fortunes are guaranteed, what incentives do the children have to do anything for themselves? There are glaringly obvious downsides to nepotism but not all nepo babies simply coast along on the success and bank balances of their parents. A few make a name for themselves in interesting and even beneficial ways. One of those people was Charles Hamilton, the creator of Painshill Park. 00:00 Intro 00:52 The Grand Tour 02:52 Charles Hamilton 04:06 Buying land 05:14 Landscaping 06:44 Money Problems / Grand Plans 10:03 The Crystal Grotto 11:22 Bankruptcy 12:30 Nepotism 13:24 Closing Thoughts

Corey's Stand By Me Ear: We discuss our upcoming Japan travel plans and we have a sad update on the prospects of obtaining a Corey Feldman fake ear. Lewis Saunderson: A well known meme but we have to take a look at some classic Lewis Saunderson acting clips like man freezing to death in space. Court Room Romps: We go through some lovable court room romps from Cedric Simpson to Young Thug's ongoing trial. We finish up with the banana cleaner sex toy. FUCK YOU WATCH THIS!, THE BEAR!, CHARLES HAMILTON!, BROOKLYN GIRLS!, PATREON!, BEATS HEADPHONES!, JAPAN!, TRAVEL!, EARLY!, LIVE!, COREY FELDMAN!, ASCENSION MILLENNIUM!, PLAYLIST!, FUNKO POP!, SIGNED!, STAND BY ME EAR!, EAR REPLICA!, JORAND PEELE!, LOST BOYS!, COREY'S MANAGER!, STORIES!, LEWIS SAUNDERSON!, REACTION!, SCREAMING!, ACTING!, CRYING!, ASTORNAUT!, FREEZING TO DEATH!, MILITARY WIFE!, DOCTOR!, PARAMEDIC!, CLOUT!, JUDGE!, VIRAL JUDGE!, ZOOM COURT!, JUDGE CEDRIC SIMPSON!, TRESPASSING!, CURSING!, CONTEMPT!, JAIL TIME!, ARRAIGNMENT!, DND!, STACK POINTS!, BUFFALO NICKEL!, SELF CHECKOUT!, SHOPLIFTING!, HOMELESS!, NIGG!, N WORD!, YOUNG THUG TRIAL!, YSL WOODY!, BANANA CLENAER!, SEX TOY!, GENIE RIDE!  You can find the videos from this episode at our Discord RIGHT HERE!

Happy birthday to Corinne. This episode is dedicated to one of her dream jobs - being a living garden gnome - and the awkward parts of growing up. Magical gray nipple hairs and the moment your contractors politely place your perinatal massager, that very much looks like a dildo, on top of your clean laundry. Today, we are discussing some documented Garden Gnomes from history. Mr. Remington, Father Francis and the Craigslist post requesting a personal gnome.  The job of being a living garden gnome is believed to have started in the early 15th century. Francis of Paola wrote about this hermit living in a cave on his fathers estate. And throughout France, there was evidence of dukes and lords having resident hermits. These people, the hermits, would live on wealthy properties and provide entertainment to their landlords.  But there was always a catch. It might, in theory, be Corinne's dream job, but it wasn't all rainbows and butterflies. For example, Charles Hamilton, an 18th century British aristocrat and member of Parliament, wanted an ornamental hermit. He wanted to hire someone for a seven year term contract to live in the sprawling gardens at his Painshill estate, but the hermit was never allowed to speak. He couldn't even talk to the servants who bring him his daily meals. He was required to wear a goat's hair robe, could not cut his hair, nails or beard — EVER. Is the Garden Gnome a Narnia-like-dream-job where you pontificate on worldly philosophies, or a grueling, cruel life of indentured servitude? Have ghost stories of your own? E-mail them to us at twogirlsoneghostpodcast@gmail.com Corinne and Sabrina hand select a couple of paranormal encounters from our inbox to read in each episode (both regular researched episodes and encounters episodes). From demons, to cryptids, to aliens, to creepy kids... the list goes on and on. If you have a story of your own that you'd like us to share on an upcoming episode, we invite you to email them to us!  E-mail them to us at twogirlsoneghostpodcast@gmail.com This episode is sponsored by Pretty Litter, Quince, Hungryroot, and RocketMoney. Nothing beats Pretty Litter's ability to instantly trap odor. Go to PrettyLitter.com/tgog to save 20% on your FIRST order and get a free cat toy. All Quince items are priced fifty to eighty percent less than similar brands. Upgrade your closet with Quince, head to Quince.com/tgog for free shipping on your order and 365-day returns. Hungryroot is the easiest way to eat healthy. They send you fresh, high-quality groceries, simple, delicious recipes, and essential supplements. Right now, Hungryroot is offering Two Girls One Ghost  listeners 40% off your first delivery and free veggies for life when you go to Hungryroot.com/TGOG. Rocket Money is a personal finance app that finds and cancels your unwanted subscriptions, monitors your spending, and helps lower your bills so that you can grow your savings. Stop wasting money on things you don't use. Cancel your unwanted subscriptions by going toRocketMoney.com/TGOG If you enjoy our show, please consider joining our Patreon, rating and reviewing on iTunes & Spotify and following us on social media! Youtube, Instagram, TikTok, Facebook, and Discord. Edited and produced by Jaimi Ryan, original music by Arms Akimbo! Disclaimer: the use of white sage and smudging is a closed practice. If you're looking to cleanse your space, here are some great alternatives!

O jornalista se consagra ao contar grandes histórias, mas não é fácil: é preciso encontrar essas histórias, apurá-las e depois escrevê-las de um jeito interessante. O que acontece quando uma dessas etapas não dá certo? A história do alemão Claas Relotious trata do que é e do que deveria ser o jornalismo. Este é mais um episódio do Escuta Essa, podcast semanal em que Denis e Danilo trocam histórias de cair o queixo e de explodir os miolos. Todas as quartas-feiras, no seu agregador de podcasts favorito, é a vez de um contar um causo para o outro. Não deixe de enviar os episódios do Escuta Essa para aquela pessoa com quem você também gosta de compartilhar histórias e aproveite para mandar seus comentários e perguntas no Spotify, nas redes sociais , ou no e-mail escutaessa@aded.studio. A gente sempre lê mensagens no final de cada episódio! ... NESTE EPISÓDIO -O jornalista Claas Relotious nasceu em Hamburgo em 1985 e se formou na Universidade de Bremen. Escreveu para diversas publicações em língua alemã além da Der Spiegel, como a Cicero e o Frankfurter Allgemeine Sonntagzeitung. Ele ganhou (e depois teve que devolver) os prêmios “oJournalist of the Year” da CNN em 2014, o European Press Prize em 2017, e o Deutscher Reporterpreis em 2013, 2015, 2016 e 2018. -A Der Spiegel concentra neste texto as respostas para as principais questões sobre o caso Claas Relotious. -É possível baixar um arquivo em alemão com todas as matérias de Claas na Der Spiegel e os comentários da redação da revista. -Um texto de 2018 escrito por moradores de Fergus Falls, nos EUA, foi um dos primeiros a denunciar erros de Claas Relotious. -Em 2017, um ano antes da matéria ‘A última testemunha', o The New York Times contou a história de Gayle Gaddis, que tem história bem parecida com a de Gayle Gladdis, da história de Claas. -O encontro de jornalismo que o Denis cita no episódio é o International Journalism Festival de 2019. Uma mesa com Swantje Dake, Jeff Jarvis, Tanit Koch e Jay Rosen discutiu o caso Claas Relaotious e as consequências do jornalismo baseado em histórias. -O El País conta com detalhes como o jornalista Juan Moreno desvendou as farsas do colega. -O livro ‘The Hitler Diaries', de Charles Hamilton, conta a história de como Konrad Kujau produziu os diários de Hitler e enganou a Stern. -O Art Newspaper conta como foi o roubo da Monalisa em 1911 por Vincenzo Peruggia. -Cem anos depois do roubo de Monalisa, o Saturday Evening Post escreveu sobre o artigo de Karl Decker publicado por eles que dizia que um tal Eduardo de Valiferno havia planejado o roubo do quadro. - O fato de que especialistas percebem incoerências em uma reportagem jornalística mas se esquecem da possibilidade de incoerências quando leem reportagens de outras áreas leva o nome de "efeito de amnésia de Gell-Mann". - O episódio do The Daily sobre solidão no Japão, lembrado pelo ouvinte Michael Burt, chama-se "A shrinking society in Japan" e é de 2021. ... AD&D STUDIO A AD&D produz podcasts e vídeos que divertem e respeitam sua inteligência! Acompanhe todos os episódios em aded.studio para não perder nenhuma novidade.

Your boys E. Wright and Ro's Gold come together this episode to discuss Uber/Lyft ban lifted, The Diddler speaks, Crypto summer 2024, Not just a rap beef, Charles Hamilton and Viral Generation vs Boundaries. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tsper/message

Charles Hamilton allegedly had fourteen wives according to the newspapers, but the headline was that Charles used to be called Mary. In the 18th century newspaper stories about 'female husbands' were not uncommon; people assigned female at birth who assumed the legal, social and economic position reserved for men.Today we explore two stories with Jen Manion, author of Female Husbands: A Trans History.Edited by Tom Delargy. Produced by Freddy Chick. Senior Producer is Charlotte Long.Enjoy unlimited access to award-winning original documentaries that are released weekly and AD-FREE podcasts. Get a subscription for £1 per month for 3 months with code AFTERDARK sign up at https://historyhit/subscription/ You can take part in our listener survey here.

Lee returns this week with a surprise "out and about" podcast visiting Painshill Garden in SurreyCreated in the 18th century by Charles Hamilton as a living painting, Painshill invites you to walk around a work of art and discover dramatic follies, calming waters and stunning views.Painshill is regarded as one of the foremost and finest examples of the English Landscape Movement. A style of landscape design that has been described, by architectural historian Nikolaus Pevsner, as “Britain's' greatest contribution to the visual arts”. It's a fantastic day out for all the family that's full of heritage, beauty, adventure and outdoor fun.A romantic landscape full of surprises awaits… https://www.painshill.co.ukEnjoyed this episode? How about sharing the love? Give us a glowing 5-star review, share on your socials, or spread the word to a neighbour! Leave your review, and you might snag a copy of our favourite "How to Get Kids Gardening" book.Transform your school garden journey by joining School Gardening Success today! Experience the outdoors, guided by teacher support, engaging video lessons, and equipped with all the essential tools for a blooming garden. Find out more at https://skinnyjeangardener.co.ukEager to create lasting memories while gardening with your children? Grab the "How to Get Kids Gardening" book for just £10 using discount code PODCAST. Every penny from the book goes back into supporting school gardening initiatives. Get your copy at https://skinnyjeangardener.co.uk/shop/how-to-get-kids-gardening-bookCraving more green inspiration? Check out our sister podcast, The Veg Grower Podcast, for an extra dose of vegetable-growing fun. Tune in and let the gardening adventures continue!Thanks for listening!

Discover the story behind the music with Charles Hamilton, the esteemed band director at Berkeley High School. In this insightful episode, we explore Mr. Hamilton's upbringing and his journey to becoming a passionate music educator. From his early days to his influential role at Berkeley High, we'll uncover the importance of music education and the profound impact it has on students' lives. Join us as we gain valuable insights into the world of music and teaching from a true maestro. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tonescapespodcast/message

Today, we'll highlight how Charles Hamilton manages his multifamily and hotel properties simultaneously. He'll start by telling us about his unplanned entry into real estate, taking over his father's investments and selling them eventually, to diversifying his portfolio across larger assets. Charles also gives us an idea about the things he considers to get involved with the right network and partners, dealing with sponsors, and acquiring and funding hotels and apartment deals. Be sure to delve into this episode for more!Key Points & Relevant TopicsCharles' background in the corporate world and his journey to managing his father's properties with no prior experienceHow Charles ended up choosing and focusing on multifamily and getting involved in a partnership Questions you should be asking deal sponsors before partnering with themThe benefit of attending networking events and how to find them onlineThe main difference between hotels and multifamily apartments Ways to find hotel deals Things to consider when partnering in a hotel deal and operating a hotel business under a specific brandThe process of financing and acquiring loans for hotelsResources & LinksApartment Syndication Due Diligence Checklist for Passive InvestorAbout Charles HamiltonCharles worked for Structural Dynamics Research Corporation (SDRC), a Computer-Aided Design (CAD) company, out of college. During his time at the SDRC, he was in a sales role, lead application engineer, customer service engineer, and project manager. In specific, he was commended by Xerox for helping them develop work processes with the CAD system to help them meet their goal of delivering new and innovative products. He was part of the pilot team and helped win this account with his efforts. At the time of Xerox signing on to use their CAD system, it was the second largest account for SDRC. ​From there, he moved into software development as a project manager for Booz Allen Hamilton, Spaceworks, and Digital Harbor. At Booz AlIen Hamilton, he managed software development projects and also worked on consulting engagements. These roles allowed him to use his ability to develop strategy and implement the tactical aspects of the projects. During his time at Booz Allen Hamilton, he received his MBA. The purpose of getting the MBA was to round out his skill set. ​His real estate experience came after his father's passing. He was left to run a 4-lot mobile home park and a single-family home rental. His goal is to take the experience he has gained and continue to invest in multifamily and hotels. ​The team he's a part of just closed on a 65-unit apartment complex in Charlotte, NC. He's on this deal as a General Partner (GP), a Limited Partner (LP), and also a part of the asset management team.Get in Touch with CharlesWebsite: https://www.hamiltoninvestmentsgrp.com/ Email: charleshamilton@hamiltoninvestmentsgrp.com To Connect With UsPlease visit our website www.bonavestcapital.com and click here to leave a rating and written review!

His career began as an aerospace engineer, Charles Hamilton starting at Structural Dynamics Research Corporation (SDRC), a Computer Aided Design (CAD) company, straight out of college. During his tenure at SDRC, Charles held various positions, including sales, lead application engineer, customer service engineer, and project manager. Notably, his contributions in assisting Xerox with CAD system work processes earned him commendation and played a key role in securing Xerox as the second-largest account for SDRC upon their adoption of the CAD system. Transitioning into software development, Charles served as a project manager at Booz Allen Hamilton, Spaceworks, and Digital Harbor. At Booz Allen Hamilton, he managed projects of diverse scales, engaged in consulting, and pursued an MBA to complement his skill set. His involvement in real estate commenced after his father's passing, where Charles assumed responsibility for overseeing a 4-lot mobile home park and a single-family home rental. Drawing from his accumulated experience, his objective is to further invest in multifamily units and hotels. As a member of a team, Charles recently concluded the acquisition of a 65-unit apartment complex in Charlotte, NC. His roles in this venture include being a General Partner (GP) and a Limited Partner (LP), with the deal finalized on August 10, 2023. Additionally, he actively contributes to the asset management team for this property.

Welcome back to The Green Grind Podcast! In Episode 143, Kory and LeRoy reconnect with Charles Hamilton, the dynamic owner of Hamilton Land Works LLC from the Midlands region of South Carolina. Join the trio as they catch up on Charles's remarkable journey in the Green Industry since his last appearance on Episode 92. Charles shares exciting updates on his business growth, revealing how he's expanded his team by bringing in his wife and hiring his first employee. Discover the ins and outs of the improvements Charles continues to make to Hamilton Land Works LLC day by day. Don't miss out on this engaging conversation as Kory, LeRoy, and Charles dive deep into the triumphs and challenges of building a successful landscaping business. Whether you're a seasoned professional or just starting your journey, there's something for everyone in this episode. As always, be sure to like and follow The Green Grind Podcast on social media to stay up to date on all the latest green grind content! Stay safe and keep grindn' friends! Powered by Jobber and Hustler!  Free Trial and 20% off Jobber for 6 months: go.getjobber.com/ballardinc Save 20% on Templates when you use code: GREENGRIND https://lawncaremedia.com?sca_ref=3811056.efBTvmNaQs Need a website? Use the code GreenGrind to get your first month for $1. Green Frog Web Design guarantees to have your website live in 3 weeks from the projected start date or its FREE for a year. https://www.greenfrogwebdesign.com/koryballard

Wale. Think back 2009 XXL Freshman cover, Wale, B.o.B., Asher Roth, Charles Hamilton, Ace Hood, Curren$y, KiD CuDi, Blu, Cory Gunz, and Mickey Factz. Wale carved his own lane and demanded his respect the entire time. Wale will never get the credit he deserves. He is a top tier emcee and passionate about his craft and football team. Check out this episode about the one and only Wale. Thanks and have a great day.

Laura White is an English singer-songwriter from Manchester, UK. In this exclusive interview, Laura joins Louise to take us down memory lane and bring us up to speed. Laura recalls her days on the hit TV show, The X Factor, what she learned about herself in the process and what it's like to be the only singer to have the exit from the show discussed in Parliament. Politics aside, Laura's list of credits is long, and she shares the stories behind some of her biggest hits, including the Grammy-nominated New York Raining, performed by Charles Hamilton and Rita Ora, One Touch for Steps, Love On Me for Galantis, Street Life for Bugzy Malone and more.We want to thank Paul Kennedy and the team at Ultra Publishing for allowing us to record this episode in their offices. The Songwriters Podcast is produced by Chris Mitchell for Unedited. Hosted on Acast. See acast.com/privacy for more information.

Today  Cyndee Harding & Charles Hamilton discuss key performance indicators, ways to inspire community involvement, and details about hiring contractors and having them complete the work according to your standards.Interested in learning from me? Visit https://www.thetribeoftitans.info/coachingJoin our multifamily investing community for FREE for in-depth courses and live networking with like-minded apartment investors at the Tribe of TitansLink to subscribe to YouTube channel: https://tinyurl.com/SubYouTubeDiaryPodcastApple Podcasts: https://tinyurl.com/AppleDiaryPodcast Spotify: https://tinyurl.com/SpotDiaryPodcast Google Podcasts: https://tinyurl.com/GoogleDiaryPodcast Follow us on:Facebook: https://www.facebook.com/DiaryAptInv/ Twitter: https://twitter.com/Diary_Apt_Inv Instagram: https://www.instagram.com/diary_of_an_apartment_investor This episode originally aired on July 10, 2023----Your host, Brian Briscoe, has been a general partner in 1000+ units worth over $100 million and has been lead sponsor, asset manager, capital raiser, and key principal on these properties. He has developed a multifamily education community called the Tribe of Titans that helps aspiring investors learn the game, network with other like-minded professionals, and get their apartment investing business to the next level. He is founder of Streamline Capital Group, which will continue to acquire multifamily assets well into the future. He retired as a Lieutenant Colonel in the United States Marine Corps in 2021.Connect with him on  LinkedInBrian@Steamlinecapital.com----Cyndee HardingCyndee is a former owner of her own accounting practice, specializing in small business consultation. Cyndee has over 25 years expertise in understanding profit and loss, asset retention and management as well as helping guide clients to improved business practices, performance, and management. Using forensic accounting practices, Cyndee is well equipped to determine the financial stability of organizations as well as having the ability to use profit and loss statements to predict future earnings. Cyndee currently works as Asset Manager on multiple Multifamily properties.Email her at: highcaliberassetmanagement@gmail.com----Charles Hamilton"I started my career as an aerospace engineer. I worked for Structural Dynamics Research Corporation (SDRC), a Computer Aided Design (CAD) company, out of college. During my time at the SDRC, I was in a sales role, lead application engineer, customer service engineer, and project manager. I was part of the pilot team and helped win this account by my efforts. At the time of Xerox signing on to use our CAD system, it was the second largest account for SDRC. From there, I moved into software development as a project manager for Booz Allen Hamilton, Spaceworks, and Digital Harbor. During my time at Booz Allen Hamilton, I received my MBA.  My goal is to take the experience I have gained and invest in multifamily."Learn more about him at: https://rb.gy/krr8lOr Email him at: charleshamilton@hamiltoninvestmentsgrp.com

This week we talk the Nuggets lookin at a NBA finals sweep possibly, Ja Morant suspension predictions after the finals, Shannon Sharpe leaving Skip Bayless as co-host, what's his next move and who will be Skip's new co-host after Sharpe leaves. The new Spiderman animated films being phenomenal, hearing great things about the new Little Mermaid film, The Rock confirms he's in the Fast & Furious franchise, new spin off movie co-starring his friends Kevin Hart and Ryan Reynolds up next. Drakes painted nails got the internet talking bad about the Canadian, lots of boxing talk and what's next in the sport, Gunna dropped a new track, people forgetting key moments as to why Charles Hamilton fell off, Trey Songz sicko news and MUCH MORE, only on the Sunday Dinner Podcast! Grab a plate --- Support this podcast: https://podcasters.spotify.com/pod/show/brandon-riddley/support

No two artists better symbolize success and downfall than Kid Cudi and Charles Hamilton. Massive talents, major deals, mental issues. But their paths after getting on could not be more different. As the culture became less about artist discovery and celebration, blogs, in order to get engagement, became dependent on chasing page views at any expense.

This edition features a story on a African American History Month celebration at Kandahar Airfield, Afghanistan. Hosted by Petty Officer Santos Huante, Produced by Spc. Adam Dineen. Soundbites from Col. Charles Hamilton, Mr. Leonard Haines.

San Bernardino rapper Jay Kasai returns to the show for the first time since 2019. We talk to him about his new single with Charles Hamilton and his upcoming project. We also talk about For the Fans 7 and all the other local events, Coachella 2023 livestream, Dreamville Fest and more! Instagram: @JayKasai Youtube.com/@jaykasaitv @therodriguezshow @mvndoh @iamcesarrod @rodriguezpodcasts Book Mandoh: Mandoh@rodriguezshow.com https://linktr.ee/therodriguezshow

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Welcome back to The Green Grind Podcast! This week Kory and LeRoy sit down with the owner of Hamilton Land Works LLC out of the Midlands region of South Carolina, Charles Hamilton. Tune in as Charles shares his Green Industry journey and breaks down how he was able to leave his 9-5 and start his own company! Charles also gives some great insight on his personal experience with "Lawn Starter" to develop leads and customers in his area. This is a great episode your not going to want to miss! As always be sure to like and follow The Green Grind Podcast socials to stay up to date on all the latest green grind content! Stay safe and Keep Grind'n Friends! Powered by Jobber!  Free Trial and 20% off Jobber for 6 months:https://bit.ly/TheGreenGrind

Cooper Turley, better known as Coopahtroopa, is betting big on ushering a new generation of music. In September, he announced a first-of-its-kind investment fund focused squarely on web3 music projects and artists themselves. Coop Records raised $10 million and Coopah will be the sole general partner. He's hesitant to call it just an investment fund though. That's because Coop Records is also a record label and incubator. Coopah will invest directly into web3-native music artists in a “seed round” — turning emerging artists into venture-backed startups.Structuring an artist's company is what Coopah sees as web3's biggest opportunity: resetting ownership dynamics. NFTs are another vertical of the Coop Records fund, in addition to the seed-stage investing in both companies and artists.  Coopah joined me on the show to give us an in-depth look at how Coop Records is eying its investment opportunities. Here's everything we covered:[0:00] How Coop Records started[2:06] Focusing on emerging artists, not established ones [3:35] Coop Records' investment thesis[7:24] Investing in artists during “seed round”[9:50] Structuring artists as a holdings company[11:40] What does an exit look like for artists investors?[15:00] Artists as CEOs[20:11] What makes a music NFT historical [22:28] NFTs as a replacement for masters and publishing[27:18] Accredited investors vs. fan investors[29:30] Artist success stories with community building on web3[31:40] Focusing on story when marketing NFTs[34:25] Optimizing for engagement not reach on social [39:24] How tokenization changes the artist-fan relationship [47:00] Predicting the year that music NFTs go mainstream [48:25] Coop's big question for web3Listen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Cooper Turley, @Cooopahtroopa Download The Culture Report here: https://trapital.ck.page/a23b7a6a4a Sponsors: MoonPay is the leader in web3 infrastructure. They have partnered with Timbaland, Snoop Dogg, and many more. To learn more, visit moonpay.com/trapital Enjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapital Trapital is home for the business of hip-hop. Gain the latest insights from hip-hop's biggest players by reading Trapital's free weekly memo.TRANSCRIPTION[00:00:00] Cooper Turley: And I think that gets to this artist development piece more broadly is that you're trying to start the process much earlier, much earlier than I think a lot of the major record labels are starting now. Because I think they often wanna see artists having some proven. Track record before they're willing to sign them.[00:00:24] Dan Runcie: Hey, welcome to the podcast. I'm your host and the founder of Dan Ruey. This podcast is your place to gain insights from the executives in music, media, entertainment, and more who are taking hip hop culture to the next level. [00:00:49] Dan Runcie: Today's guest is Cooper Turley, aka Coopa Troopa. He is the founder of Coop Records, which is a new venture fund, a 10 million fund that is focused on investing in the future of music, specifically in web three. He is someone that has made a name for himself as a thought leader in the space. He was involved with the Dow Friends with benefits and he's now started this fund to make economics better for artists and ultimately help them take more advantage of the opportunities that are around them. So we talked about a lot of it. We talked about how he views the space right now, why he started this fund, and what the fund's investing in. There are three main areas that we go into. We talk about investing in music startup. Investing in artist seed rounds and investing in NFTs themselves as an investible assets that him as a general partner and little Bited partners would wanna see returns from. So we talk about what the economics of that look like. I think that. Cooper stands out in a lot of ways because he has a much more nuanced understanding of how Web Three fits in with the broader ecosystem of what's happening right now in music, what some of the trade offs are with the financials, the relationship with fans, what services it offers versus the traditional record labels and more really insightful conversation, and I hope you enjoy it. Here's our chat.[00:02:07] Dan Runcie: All right. Today we're joined by Coopa Troopa who just launched Coup Records, which is his fund that is investing in the future of music and Web three specifically. And first off, congrats. I saw the announcement, it's really dope. So walk me through the process from thinking about you wanna start this fund to where you are now, today with it.[00:02:28] Cooper Turley: Absolutely. Well, first of all, thank you for having me. I'm really excited to be here. I've been in music for the last 10 years in crypto for the last five, and so I've seen everything from ICOs to Defi, to Dows, and not most recently NFTs. You know, throughout that time I've been active across public markets as a trader, behind the scenes, as an angel investor, as a community builder, and as an operator. And when I started to think about how to connect all the pieces together, I've always been a fan of music. I felt like there was never really a clear vehicle to help elevate and amplify the space. And so I found coop records to be the best way to really just zoom in on this niche that I'm so excited about and figure out how to really help the founders, artists, and builders that are supporting this space everyday.[00:03:05] Dan Runcie: Makes sense. What were the conversations like getting buy-in from LPs?[00:03:10] Cooper Turley: Basically helping to explain what music NFTs are, why this is a vertical that you'd wanna invest in at this time and day? You know, historically I think that music has gotten a bit of a bad rep, cuz it's very antiquated in a lot of ways. You know, there's a lot of systems that are very complicated and hopefully we can unpack some of those on this episode. But, I think we through presents a new opportunity for artists to monetize in creative ways. You know, as someone who's been a curator my whole life, it's very easy for me to understand the value of investing in songs, artists, et cetera. But for someone who's not music savvy and not passionate about this sector, you know, the majority of those conversations are why would anyone wanna collect a song? Why would someone wanna invest in an artist? And trying to help people understand why there's an opportunity here that I think is. Influential and paramount for the next chapter of music. But once people get over that line, you know, I've kind of been able to build a brand for myself that I think speaks very clearly to why I'm so excited about music. And so for investors that are looking to get exposure to the space, coop records is a great way to get that exposure without them having to get as deep in the trenches as I am.[00:04:07] Dan Runcie: Right. And I gotta imagine that that probably took a few conversations just given things that I'm hearing too, from folks. People, they understand the promise and the opportunity of what NFTs and what web three offer, but there's. Hesitation, there's still perception about what's going on and some of the headlines that people see. How did you communicate or address some of those concerns while still sharing the value add for what you have? [00:04:32] Cooper Turley: Yeah, I really focus on emerging artists. You know, I think that this is where the vast majority of value will accrue over the next couple years with Web three. And so when you think about investing in music, most people's mind goes to like, how do we get Drake to drop NFTs? I actually don't really focus on that at all. Instead, I think about how do we develop the next act that becomes Drake using Web three tools? And so for investors that are kind of hesitant about getting involved in the space, I point out early examples like X copier people, you know, crypto artists who really made a brand and a name for themselves on the back of selling their nfts. And obviously in the case of people, he had a major brand before, but it wasn't until the existence of NFTs and sort of these community based assets that they started to see monetization aspects with their fans and with their collectors. And so trying to highlight that there's an opportunity here to develop and support emerging artists new to Web three through music, I think it really made a clear case that. This isn't about trying to get your biggest celebrity to drop NFTs. I think that will happen at some point in time. But this is about investing in the infrastructure and the artists that are going to make this space very valuable over the next couple years.[00:05:31] Dan Runcie: And one of the things I like too about how your fund is structured or reminds me a bit of Matt Pinkus and how his music fund is structured. It's not just focused solely on startups that are trying to build the next tech platforms. You're also looking more broadly. The NFT space itself and what that opportunity looks like and it'd be great to break each of those down. So let's start first with the music tech companies, cuz I know that's 85% of your fund looking at preceded seed stage companies. What's your thesis for the type of company that is a coop records company that you're looking for? [00:06:04] Cooper Turley:  I'm a really big fan of composability. So in Defi there's this concept of money Legos or protocols and platforms that could plug into one another. I believe the same thesis will play out with music, where we're gonna have music legos, where there's different marketplaces, service providers, tooling, infrastructure that can help sort of amplify what an artist can do with Web three. And so when I think about investing in a music tech company, I think about culturally, is this company aware and active within the pocket that I'm spending a lot of my time in? And then beyond being aware of sort of the artists, the songs, the type of platforms that are doing well in this space, do they have the open mindedness to wanna work in collaboration with those other platforms? So in accurate, we can kind of create this toolkit in this stack where if I am an artist who's new to web three, it's not about choosing Spotify versus Apple, it's actually about trying to develop a presence across many platforms. And hopefully those platforms. The life of the artist easier by making everything connect together with one another.[00:06:56] Dan Runcie: And I feel like this speaks to one of the broader themes that I know you've talked about before, is. It can't be this approach of web three versus web two. These things need to be collaborative. No more zero sum games. How can you think more broadly about the opportunity there? How do you view that more broadly, not just with the fun, but also likely how you're seeing the space with any artist that you're working with too?[00:07:21] Cooper Turley: I'm really laser focused on web three platforms because I think there's a lot more room for change within those platforms. You know, I have nothing against legacy platforms like Spotify have done fantastic work for artists and I think there will be at a time and day when they're able to enable music, NFTs to be purchased, collected, listened to within their platform. But the reality is these companies are so sophisticated that trying to move the needle is very complicated. And so for someone like. I'm running this fund as a solo gp. It's a relatively small fund, and so when I think about where I can have impact and leverage, it's typically working with very early stage founders. You know, I can get in the trenches and help to develop the product. Think about how we're onboarding artists, think about new marketing strategies. And so for me, I think right now it's about cementing the cultural relevance and value of this emerging wave of Web three music. And once that's been clear and established, we can take those same values, ideas, songs, artists, and help to bring those into the traditional industry in a more clear way. Because right now I think that a lot of the bigger players, let's call it major labels, et cetera, they recognize that there's value to be captured in Web three, but I don't think that they have the same level. Boots on the ground cultural awareness that maybe someone like, um, myself or some of my colleagues have. And so I think the challenge here is a, making it very clear what that culture is so you can start to translate it to larger players. And then once that they agree there is something of value there, you know, being able to act as a connector where you can say, Hey, maybe instead of going and doing a 500,000 or a million dollar drop for the biggest act on your roster, let's go ahead and find an emerging artist who's curious about the space and develop them with the course. Five or $10,000 drops and instead really build that community and that collector base in a very organic way.[00:08:56] Dan Runcie:  And I think that gets to this artist development piece more broadly is that you're trying to start the process much earlier, much earlier than I think a lot of the major record labels are starting now. Because I think they often wanna see artists having some proven. Track record before they're willing to sign them. And in some ways your approach isn't too much different. Maybe it's just a bit of a different stage because one of the other areas that you're investing in is artist seed rounds. And can you describe. What stage an artist would have to be in order to be at the seed round, and what types of things you're looking for there from an artist?[00:09:33] Cooper Turley: I think it's very similar to what I look for in companies. You know, has this artist been able to prove a little bit of traction? You know, have they demonstrated that they're culturally aware of where this industry is headed? You know, different things that I feel like are interesting to kind of describe. Cause it's not very concrete. Like you can't point to like a specific amount of sales or a specific amount of volume and say, okay, this artist is ready to be invested in. But it's really just a development process of like, is this person making web three a focal point in their career? I believe that that's something really important for me personally, cuz that's where I had the most leverage. But once they've demonstrated that they've been able to release on some of the bigger web through platforms, you know, once they've been able to collaborate and onboard other artists to the space, you know, you start to see that these people have like a little bit. Leverage was sort of their career. And at that point in time, instead of signing a traditional record deal, co records can really be the one to say like, Hey, let's go ahead and set up a company for you. Let's think about how we wanna do a cap table. Let's bring on some partners to give you the capital that you need to go and hire a team around you. So instead of selling your next three albums to a major label, you can instead fund this through accredited investors. And then over time think about the ways you wanna bring other partners into the fold, but not need to be so reliant on the capital to do that in the first place.[00:10:38] Dan Runcie: And with the artists specifically, cuz I know that you've started the fund. Maybe for the people listening, is there a particular artist that you have made a seed investment in just so people can get a good idea for, okay, this is someone that we invested in, this is where they're at in their career, and this is what the opportunity is [00:10:56] Cooper Turley: Not publicly. I think by the time this comes out, we'll be right around there. You know, I can say that privately, behind the scenes we're working. The first round, you know, we've had some very serious progress on it. Investors are excited about it. We're going through the whole corporate structure, but for me, this is a very different lane because it's not as simple as just investing in the safe note of a precede company. You know, there's a lot more complexity around IP ownership, around revenue sharing around. Kind of how this artist thinks about their company and what kind of rights they're giving back to people. And so it's a slower process, but it's one that's currently in motion. I expect that we'll probably have the first one announced within the next one to two months, but I can definitely say there's one in motion that I'm really excited about. And I think, you know, by the end of this calendar year, we should have that one announced. [00:11:37] Dan Runcie: I think part of this too is also the structure of things. You mentioned this earlier, and I think for a lot of artists it's probably. Not necessarily a new way to think about it, because I think in general, artists do think of themselves as having multiple revenue streams, but in order for this to work, in order for you to be able to make an investment, there needs to be some type of, whether it's a holding company or some type of structure in place so that you can make an investment that would touch all of these things. Can you talk a little bit about what that looks like on the artist side? [00:12:05] Cooper Turley: Yeah, it's a fantastic question. I wanna start by saying, This is early days and so this is the first stab at it. I think that this model will evolve and change over time. The way we're thinking about it is there's one Hold Co, that represents the artist ownership across their various income streams, uh, that hold co owns subsidiary entities, one of them being a music entity, which owns the masters in publishing for that artist. One being a live entity, which owns touring and merchandising, and then one being a Web three entity, which owns NFTs and. And so all of that wraps up into the larger hold cow. But the reasons those subsidiaries exist is because we wanna limit liability to each of those different vertical. If there's an issue across web three, we don't want that to end up touching the masters. If an artist wants to go and sign a record deal, they shouldn't have to figure out what to do with their touring or what their NFTs to be able to enter into agreement with a different party. And so we've kind of split up the different verticals into buckets that make sense relative to the type of partners and the type of work that it is. But all of that rounds back up into this holding company and when it comes time to invest in the artist, quote unquote, that artist is selling anywhere from five to 10% of that hold cow to accredited investors so that they can have exposure and pass through to those underlying revenue streams. But there's not this sort of majority ownership, creative control, et cetera. It's really, here's capital and exchange for you to go do what you do best. In exchange for that, we have exposure to these underlying entities, which represent the artist brand in its entirety.[00:13:27] Dan Runcie: And for an investor like you, I think most people listening have a good idea of what an exit looks like for a startup, but what does an exit look like for you as an investor, for an artist, if you're going in at that seed round?[00:13:39] Cooper Turley: I think there's a couple ways it can pan out. You know, one I think would be IP acquisition. Let's say that there's a buyout of someone's masters or publishing, et cetera. You know, there's kind of larger capital inflections that can happen later down an artist's career. I'm more excited about this idea of taking artists public cuz it's something that hasn't really been done before, but I think will happen eventually. Where right now, if you're a fan, you can't really invest or bet on an artist. I think we're starting to see us at a very granular level with music NFTs, and it's something I would love to cover as the last bucket next, but to me, I think an exit here is helping an artist really take this company that we structure for themselves and explore what it means to go public. And so rather than only accredited investors being able to buy into that five or 10%, how do you invite fans to participate in that convers. I think that there's a lot of, uh, legal nuance there that needs to be figured out. And so I don't have that answer today, but I would say that more broadly, the two ways that this could happen is a, investors are seeing a return from the IP becoming more valuable, and they're being capital injected into the whole co. Or B, more optimistically the artist, quote unquote, going public by either, you know, listing on a traditional market or what I think is more likely is creating some form of a token, which represents exposure to this entity that's been set up to represent the artist brand in the first.[00:14:49] Dan Runcie: Got it. And then from a structure perspective, do you ever hear any type of pushback or comments from artists who feel like, oh, you're getting a slice of all these revenue deals. This feels similar to a 360 deal. Do you hear any of that at all?[00:15:04] Cooper Turley:  Yeah, I mean, it is a 360 deal, and I think that that's really important to like zoom in on, because 360 deals have gotten a really negative rep because of the percentage ownership that they typically encompass. So traditionally with 360 deals, it's anywhere from 50 to 80. When we talk about a 360 deal in this context, it's five or 10%. And if you start to look at the way that companies take on dilution and precede and seed stage rounds, it's kind of the same concept. You know, like that company is basically taking all of their revenue into this central entity and they're selling off dilution to investors. And so I think for artists, this is particularly scary because there's been such a history of people taking advantage of 360. But I don't think the structure with 360 deals incorrect. I just think the ownership targets that those deals are typically set at is what's really predatory. And so if we can zoom out a bit and instead say, Hey, five or 10% can give you a couple hundred grand, maybe a million dollars to go invest in a team around you, there's ways for that capital to be really value added where the dilution is actually necessary and valuable because it helps you advance your artist career in a way that you simply couldn't do without it.[00:16:04] Dan Runcie: I agree with that. I think that that's, Testament of some of the challenges with the broader major record label system as well, right? It's not that people shouldn't be willing to trade some level of ownership in exchange to get a boost from the company. It's how much ownership, it's what the terms that the actual economics look like, not the economic agreement itself.[00:16:28] Cooper Turley: Yeah, it's correct. And I think that it's something that is really important to help educate artists on. And this is the area that I'm actually most fascinated by is like artists really thinking about rights ownership, thinking about dilution, thinking about cap table management. And just with that in mind, I wanna highlight, it's a very specific type of artist that is willing to enter into this quote unquote, artists seed round. Because I think that most artists are not thinking about their brand as a ceo, but I think there are very selective artists who think about their entity as a business and for those specific artists being able to demonst. There's value in having employees. There's value in giving them long term options and equity, and having these ownership incentives be a little bit more aligned. I think traditionally music has existed in this weird ballpark where we've basically only ever sold masters in publishing. We haven't really experimented with equity or any of these other ownership vehicles that startups have been taking for the last couple generations, so I'm excited to explore it. You know, I by no means have all the answers, but I think. My time investing in precede and seed stage companies has given me a little bit of context on how things work behind the scenes, and I'm hoping that with a little time and effort, we can sort of mold those same practices and help apply them to artists more broadly.[00:17:34] Dan Runcie: That makes sense. And I have to imagine too, with artists as well, there's some artists that love the mentality of being the business person themself that can be the CEO and wear multiple hats. There's other artists who I. As much as they want the business to work for them, they just wanna focus on the art. So there's specific things that you're looking for to determine, okay, is this artist gonna be wanting to be the ceo? Or maybe making sure that they are partnered with someone that may wanna be in that role instead[00:18:05] Cooper Turley: Yeah, I mean, you just touched on it perfectly. I think that there's situations where artists have partners that are acting as their ceo, you know, and in many typical startups you have a ceo, a cto, a ceo, et cetera. Um, the artist isn't the only person that's responsible for their success. They're obviously the largest player in that. But it's less about, is this artist capable of being a ceo? It's more about is this artist capable of building a team around them that can. In tandem as a unit and as an organization. And if that artist is uncapable of operating as the CEO, because they're phenomenal at making music, it's very likely that there may be a manager, an agent, a business partner, et cetera, that could step into that role. And I think the biggest thing that I'm excited about is to realign incentives around the service providers around an artist. So whether that be a manager, an agent, a business manager, a lawyer, et cetera. Typically, all these actors are just operating on commission, you know, and they have five or 10 clients because there's no guarantee that they'll be with that artist in 10 years time. You know, these contracts aren't really a center aligned for those key players. But if we can instead start to create an instrument where a managers may be able to take a salary and then have equity that's vested over four years, I think there will be more situations where artists would be willing to enter into a full-time quote unquote agreement with their manager, because that a manager is now incentive aligned to actually spend all their time developing one. Instead of needing to commission off of five or 10 different artists just to be able to make a living.[00:19:24] Dan Runcie: It's a huge point because there's so many managers I've talked to that just talk about how thankless that job is, and that's purely just from how they're treated, not even getting to the economic aspect. You start thinking about the economics about how managers are treated and yeah, maybe you'll get 10 to 15 to 20%, but if that artist levels up and then they wanna level up their manager too, they can just be like, Hey, sorry, I wanna move on. And you, the person that brought them from zero to 40. Now you have nothing. Right?[00:19:54] Cooper Turley: Yeah. I mean, it happens time and time again from smaller artists to the biggest acts in the world. I mean, I don't have to name names here, but I think we all know examples of this happening time and time. And it's really just a game of incentive alignment. You know? And when I think about the term web three, to me that means ownership. And so for all of these different deals that I'm doing, it's about how do you create ownership incentives so that everyone who's contributing value to this entity is able to capture that in some way, shape, or form. And so I think it's a very difficult conversation to tell a manager, Hey, instead of taking a 15 or a 20% commission, you're gonna get a base salary and then have a couple equity percentage points that best over multiple years. But when you start to zoom out a bit, you start to see like, hey, maybe 1% of equity can actually be more valuable than 20% commission. Because if you're operating a multi-million or multi-billion dollar business, you know that's a life-changing amount of money. And so I don't expect this is something that's gonna happen in the short term. I think it's gonna take a very new class of partners, managers, agents, et cetera, that are willing to enter into these type of. Situations and these type of organizations. But I'm very excited to work with the emerging class of talent that's willing to try something out a little bit differently because I think that new class of talent is looking for an opportunity here. And I think that we've seen time and time again that the systems that exist today work, but I think that there's a lot of room for improvement and I'm excited to use some of the artists that we're working with help push the needle on what that could like. [00:21:11] Dan Runcie: Yeah, and I think the other point that you mentioned too, was aligned as well, just in terms of artists being able to have that team around them. We've seen so many examples where whether it's Jay-Z, having someone like a Dame Dash next to him, or you have Jay Cole and e Bama, they've been working together for years. Kate, uh, Kendrick Lamar, and the whole Top Dog team. These artists are doing it themselves, and oftentimes the ones that try to get stuck, so no different then. Yeah, a startup, if you're trying to raise money, they're gonna push back. If you have the technical co-founder being the same one that's trying to go raise money, right? Like you need to have some expansion there. So I think so much of that makes sense. I do wanna talk about the other piece that you mentioned though, the NFT piece of it, because the way that you're investing in these, I think could be eyeopening to some of the folks listening because you're looking. And I heard you referred to historic NFT opportunities and NFTs as collectables. Can you talk a little bit about what you're looking for if you're investing in NFTs through this fund and how that may separate from what a lot of people may assume when they think about an nft. [00:22:18] Cooper Turley: Yeah, so there's a really amazing market of songs that are being released as collectibles right now. You know, there's platforms like Sound xyz, where every day an artist is releasing a song with 25 editions as NFTs. And I've been really active across these markets for the course of the last two years. Personally, you know, biggest collector on Sound today, one of the biggest collectors on catalog. And I'm really excited about being able to collect these early songs from artists that are building in Web three. You know, the analog I'd make here. Music, rookie cards. You know, we have rookie cards for basketball players, for baseball players, et cetera. We don't really have rookie cards for artists, and I think in a lot of ways these early music NFTs are sort of the equivalent of an artist rookie card. And so personally, I've been doing this for the last couple years. I recently just put out a post called the Music NFT Collector Thesis. This is how we're thinking about collecting from the fund. But to really break it down, we're thinking about how do we sort of acquire early NFTs that represent historical relevance of this. Web three and Music NFTs have been around for maybe a year at this point. I think that there's a huge opportunity for fans to start getting involved by collecting the songs that they love and for the fund. I almost look at music NFTs as the new form of like masters and publishing. You know, it's not quite one to one, but there's almost this new market being formed of Tradeable assets that you can buy for something like 50 bucks when it drops, and then hopefully have the ability to resell at a later. And I think for the fund, you know, us being able to participate in these markets and say, Hey, we are aware of what's happening on the ground floor with the next generation of developing artists, we're actively collecting these songs that we can show that were there from them, beyond needing to set up a company and needing to do some crazy type of investment situation. And I'm really excited about the opportunity just to have. Ownership over some of these really early collectibles, cuz I think they're very historic in the development of these artists' careers and I believe they're extremely valuable and will continue to demonstrate. So in the years to come. [00:24:03] Dan Runcie: You brought up an interesting point just about how you feel like NFTs could replace what we are naturally thinking about masters in publishing. I guess in terms of how artists are monetizing and what their ownership looks like. Can you talk a little bit more about that and specifically how that could look or what that could look like? Years down the road.[00:24:23] Cooper Turley: I mean, I'll start by saying that, um, masters in publishing are extremely valuable. You know, I think that this is a system that has worked for generations. There's a huge trend around catalog acquisition. I think that will continue to exist for many, many years to come. I think for someone like myself, me trying to get in the catalog acquisition game is not a smart move. You know, there's a lot of players with a lot more experience. There's a lot of people with a lot more money. The one unique advantage that I do have though, is developing thesises within this small pocket of web three artists, and the best way to get exposure to them is to simply buy their nf. You know the way that this looks is if there's the first song an artist ever released their artist rookie card, and there's 25 additions of that being sold for 50 bucks. If you zoom out and one of these artists becomes the Weekend, Drake Post Malone, Jack Harla, whatever it might be, there's a very high likelihood that those early additions are gonna be worth a lot more than $50. And so instead of trying to invest in the masters in publishing rights, those songs can also go on Spotify. They can stream extremely well. You can have relationships with major label. But I believe those early collectibles have a market of their own. These markets are not tied to any sort of royalty rights because it's just collectibles. You know, there's 25 additions of this digital vinyl. I can buy it for $50 and then sell it for whatever price I want in the future. And I think this is a market that not many people are paying attention to right now. But I think when it comes to new and creative revenue streams for artists, I think that collectibles are gonna be a very, very big market in the years to come. I think it's the most clear way that fans can start to get involved with sort of, Collectible nature of getting involved with an artist and as a fun, I think we're really excited to be participating here to say, Hey, we're really excited about this. I think there's some really amazing plays out there right now, and we're gonna continue to support artists on the ground floor to help develop this thesis. [00:25:59] Dan Runcie: Why do you think that a lot of people aren't paying attention? Or what do you think some of the, if there's friction or if there is just in a bit of a natural adoption curve, like what do you think's going.[00:26:12] Cooper Turley: It's just new. I mean, this entire market has only been around for a little bit more than a year at this point. You know, in total, I think we have less than a thousand artists that have ever minted a music NFT before. There's probably less than 10,000 people ever collected one before, and so. Relatively speaking, it's just a very new and small market. And I think for a lot of players that have bigger fish to fry, it's probably not worth their time to invest buying records for $50 because they have multimillion dollar record deals in place. You know, and so for someone like myself, um, a lot of what I do is help educate artists that there's a lot of value to be captured in web through right now based on how early it is. You know, I think that there's a lot of unlearning that can be done with the way artists are releasing music in Web three. And so traditionally, when you're putting out a song on Spotify, most artists I know here in. They'll take eight weeks in advance to think about what distributor am I gonna put this out through? Am I gonna sign this to a label? What's my advance? What's my marketing rollout? What's my TikTok campaign? How am I getting pre saves? How am I making the music video? And what I've been preaching is like, Hey, if you have a song, you should put that out tomorrow. You know, like there's people out there that would probably wanna collect that record. And if you can 5 25 people to come and collect music in FT for 0.05 E, they're basically $75. That's the equivalent of half a million streams. And so I think trying to teach people that you don't need to have this giant rollout process to make this headline moment with music. We've gotten really conditioned to trying to shoot for the new Music Friday playlist. You know, all of these emerging editorial playlists. One of the beautiful things about the SoundCloud era was people were just uploading music in real time and if you had your finger on the trigger, you could go and just repost something and be part of a wider movement. And I think what's happening with music and FTS now is artists are gonna start to see that you don't need to have a six week rollout to put out a collection of 25 songs. If you make that song on Wednesday and put it out on Thursday, you can immediately get funding from your biggest fans and use that funding to go and market the rest of your career and instead be able to obviscate the need for a lot of those major capital advances that typically get artists caught up in a weird position in the first place.[00:29:05] Dan Runcie: Yeah, that makes sense. I feel like if the funding's in place and you can replace early on, because I think for a lot of artists, the economics don't really work out either. Unless A, you own the underlying masters in publishing to begin, so you're just bringing on a. You know, revenue per stream or just general from what you're getting from streaming or on the other side, you're just massive, like Drake or someone like that. And your billions of streams per year brings in plenty of money. But for a lot of other artists, it ends up being either A, a loss leader if you're focusing solely on streaming or a, or you're leaving money on the table some type of way. So I feel like that approach is something that makes sense for a bunch of. On the investing side though, I have a few questions on this, but the first one, on the investing side though, how do you feel like the appetite will be for, let's say an artist does have early investors, the likelihood for those investors to be folks who are accredited, folks that just wanna be able to get a return, versus people who are actual fans of that artist. Any thoughts on what that mix may look like for the average artist that's going through the web? Growth cycle and the rep do growth curve?[00:30:19] Cooper Turley: Yeah. I mean, I can speak on this from the artist seed round that we're doing right now. Every investor in that round has been an active collector of this artist for many, many months. Prior to that, they all have personal relationships with the artist. You know, they may be an accredited investor, but they're not just bringing capital. They've been active and supportive of this artist's career way before the seed round even started. And so I think if we zoom out, there will definitely be situations. Investors just want to put in a couple hundred grand and not really worry about getting involved on the ground floor. But given how early it is right now, most of the investors who are interested in participating in these capital markets are ones who want exposure to both NFTs and to the artist equity. And so I think that over time, collectors to me are a little bit closer to like early investors. Think about them like almost angels or sort of like seed round investors. Over time, collectors will start to mirror more fan behavior. But I think for right now, a lot of the collectors I know, they're just excited to get exposure to an artist's career and to go and support them more so than they are to really go to their show or to buy their merchandise, et cetera. And I think that's where a lot of the pushback comes for web through music is like, oh, these people aren't actually fans. They're just, you know, buying NFTs. But if you zoom into what that means, it's almost a different form of fandom where they're providing capital to be able to have exposure to an artist's career. And their expectations are a lot less on the fan side. I need you to collaborate with this artist. I want you to put out this type of music. It's more so like, Hey, we just wanna support you and your career however we can. Because the more that you're able to identify your vision and create a brand around it, the more valuable our NFTs are going to become. And so it's a very mutual relationship I think hasn't really existed in music in the past.[00:31:50] Dan Runcie: You're really getting at this aspect of community and how artists can foster that, how they can build around them. We've seen the power of that in the SoundCloud era, so we've seen a lot of these things happening and what streaming in general has enabled to happen. What are some of the success stories that stand out to you when you're thinking about artists to be like, oh yeah, they've nailed community, or they're nailing community, like that's how you do it.[00:32:13] Cooper Turley: Yeah. I would say a couple artists to check out. Daniel Allen, I think has done a fantastic job of this in the web three space. Latasha who started something called Zora Topia has done a fantastic job at this Early nft. Artists like Matt Cha os. Grady bloody white. I mean, the list goes on and on, but basically you see. The small pocket of artists that are really making web through a centerpiece for their career, and they're leveraging that into creating more community conversation. Where typically all these artists have a collector chat where once you've bought a music nft, you can get into a private chat with that artist. It's typically 20 people, 25 people, and that artist is in there every day saying like, Hey, what do you guys think about this demo? Hey, I'm thinking about dropping a song next week. Which one do you like more? What do you think I should do for the supply? Do you think we should do an airdrop? And that conversation is a lot more interactive. And I think in a lot of ways artists have typically maintained separation from their fans to kind of uphold this like form of mystery and this like storytelling aspect. But what I'm seeing now is that collectors are getting really close to the artists that they know and love, and those artists are realizing that for a very specific demographic of their audience, they can be very value added, asked the right questions. And so instead of just doing a meet and greet or doing like, you know, 50 people standing in line to say hi, back to back for an hour and a half, it's like, hey, if we wanna have a valuable conversation about the future of my career, These other people that I can turn to, cause I know they have exposure to my brand and they actually typically have experience That's very valuable and it's something that I think is gonna happen more and more with the next generation of collectors to come.[00:33:37] Dan Runcie: Yeah, I think that's a good way to just think about the framing of it, right? Meet and greets can be great, but it's so transactional. It is really isn't an opportunity. And it kind of has a bit of this like hierarchical thing. Like, oh, I paid $500 extra at this concert to like take a picture with you. Versus no, like if you've really been with this person, then how can you help shape that in the same way that someone that was really early on can? So I feel like there's so many principles there and there's so much that aligns with, especially on the financial side. I'd love to hear your thoughts on the marketing side of it, because I know that's a piece that a lot of artists have had questions about, but I also think that we've seen from. Project specifically with Web three projects like outside of music where whether it is the creator themselves who's been able to market or get the word out effectively, or they've been able to just find ways to build their distribution themselves. What are some of the ways that you've seen artists who've been successful on the Web three Path have been able to replicate, or at least make up for some of the marketing that they would get from a major record label, but otherwise they're recreating on their own.[00:34:47] Cooper Turley: I think it starts from the story, you know, like first of all, what is the music that you're releasing and what is the story behind that? But more importantly, like what is the narrative with how you're using the technology? And so almost fusing together like the creative side with the tech side, you know, whether this be something as simple as like creating your own artist website where people are mentioning s from, or it's something like, hey, we're using on chain splits to reward and compensate. 15 different contributors, five of which didn't touch the music, but were helpful in the development or the project management or the visual assets, et cetera. You know, I think there's new creative channels to help bring more people into the table, but I would say generally Twitter is kind of the main resource for all web three artists. You know, the ones that I see doing really well are typically putting out tweet storms, talking a lot about the drops that they're doing, why they're doing it, and how they're doing it. I see a lot of artists doing these sort of collector chats and more private investor relationships. If they have a bigger release coming out, it's not only about posting the tweetstorm, it's also about going and finding time to talk to some of your bigger collectors one on one and being like, Hey, what do you think about this? How can I get you involved? What are some feedback you would have on this drop? Are you excited or not excited? And I think typically with music, traditionally, how it's released, Artist makes a song, they have their internal team, and then they put it out to the world. And when it's out to the world, everyone forms an opinion on it. With Web three music, a lot of the time, there's a lot more happening behind the scenes before the release actually comes out, so that when it is time for one of these releases to happen, you start to see these things sell out because there was a lot of work put into the record before it came out, and that's not untraditional from typical music, but I think the difference there. Active conversations with your collectors is very new. You know, typically it's like people around a table at a major label that are talking about like, how are we gonna market on TikTok? But this is different because it's going and having very direct conversations with the people that are supporting you the most. And in aggregate that sort of. Neural net of all these different people talking about your drop in tandem. It creates this sort of network effect where when it does come out, there's almost a rippling effect that helps to make the drop become more successful. And I think that's something that I'm seeing being replicated time and time again.[00:36:44]  Dan Runcie: And I know that, as you mentioned, Twitter has been a great space for artists to be able to share things. There's so much. There's so many people in the one three community that are active there, and I think have added to a lot of the discussion and narrative around it. But as someone who's active on Twitter myself, I know how small sometimes those circles can feel. What other platforms or what other areas are you seeing some of these conversations happen, and how long do you think until we're starting to see it not just becoming necessarily a Twitter thing, but it is expanding to more platforms and it's becoming a bit more of. Early majority, at least being able to catch on.[00:37:22] Cooper Turley: I think it'll be Twitter for the foreseeable future. You know, I think that's just where the vast majority of Web three people live. And I think it's actually the one social platform where you can talk about Web three and not get ridiculed for it. You know, I think across nft, TikTok, et cetera, it's very taboo to talk about NFTs, and I don't think that those users are really as tapped into sort of like the valuable aspects of Web three. And so I think for the immediate future, let's call it the next one to two. Twitter, I think is gonna be the source for all of that. And to your point, some of these communities do feel very small, but I think that's actually one of the biggest differences with Web three. You know, I think with traditional marketing platforms, we optimize for impressions, we optimize for plays, for eyeballs, et cetera. On Twitter, if you have 50 people that are consistently showing up to each of your drop, you're doing an amazing job. You know, I think that this is the biggest thing that shows why Web three is valuable is you don't need to have a million monthly listeners to make a couple thousand bucks. If you have 25 people that are willing to come and support you, you can make the same amount of money and have a deeper relationships with those individuals. And so I always say to artists, Even if you're only getting three, five reactions on your tweets every single time, that's very impressive because the benchmark to move the needle and Web three is a lot lower because every individual person is much more active and the quality of those conversations is much higher than what you could expect from a TikTok, Instagram, et cetera.[00:38:36] Dan Runcie: And I think in general, like with those platforms, you're more likely to reach people who are just casually following or passively engaging versus whether if you're already in that audience that's Twitter, you're likely reaching a more active fan base to begin with. And it gets to this whole concept of where can you not just reach followers, but reach people who are actual fans of their music? And a lot of the platforms that have grown tremendously large in the past few. Are much more overindexed on followers and less overindexed or or under indexed rather on true fans.[00:39:08] Cooper Turley: Yeah. And so there's still a lot to be done there. You know, I do believe there's a world in which artists that are using Web three and music NFTs become viral acts that have fans in the traditional sense. I try not to like focus on that too much because there's a lot of work that needs to be done to get there. I think that will happen, but I don't think it's healthy to think. What that looks like today, because frankly, we're just far away from it, you know? And I think for me, helping an artist get a thousand collectors is much more important to me than how do they get 10 million streams on Spotify? You know, if the ladder happens, that's great. But I think the former's actually a lot harder to do because it's a much smaller design space. But, you know, I think there's something really exciting there. And a lot of the work that I do as a collector is really just educating fans on like, why would I wanna collect music? Like, why would I wanna participate on the other side of these? I think from the surface, a lot of bands got really bad experiences with NFTs because artists were just selling random drops that didn't really have any merit to them. They didn't actually care about the output. They were just kind of doing something to be cool at the time. But now what I'm starting to see is that these emerging artists, they really care about their NFTs. They care about them just as much, if not more, than their release strategy on Spotify. And for those demographic of artists. If you are a fan that's looking to sort of develop a brand for yourself around. I believe that this web through music space is a great opportunity to do so. And what we're now seeing is a very small group of music collectors who are building their entire Twitter brand around collecting drops on sound, or writing newsletters or writing mirror posts, et cetera. And I think those are the type of people that I want to try and amplify in Spotlight because it's a very much two-sided marketplace here. And in order for these artists to be successful, you also need to have collectors that are willing to be active in these markets and see success from the music they're collecting as well. [00:40:42] Dan Runcie: This is one thing that I keep in mind. More broad trends about like what's happening in music, but I also keep it in mind with artists and creators who are trying to expand beyond the folks that they're naturally reaching. Because if you're only going to try to focus on the people that you naturally reach on a regular basis, it, it can work. And I do think that it's kind of like shifting a bit of the psychology, because I think so much of us have been conditioned to just focus. Who is the next person you're gonna reach? What is your customer acquisition cost? It's not just artists, it's the whole industry that's thinking about it this way, but you can build a sustainable business if you are just focused on the pub shot reach. I know it's a bit of that thousand true fans mentality applied to web three, but I think that there's plenty of nuances there. And sometimes it could be less than that. Sometimes it could be more than that. But I think there's some really unique things. One thing. Interested to hear your thoughts on though is just with artists specifically and fans and just the nature of that relationship and whether or not the tokenization of their relationship changes anything. Right. Because I feel like with fans, there's a lot of this conception that because they don't feel like there's nothing that's like financially tying them to them, maybe that brings up, you know, a different relationship than they would if they do feel actually, you know, financially tied to the. Is there any downsides or is there anything that you think of in terms of how that broader tokenization of the relationship changes any of that dynamic or expectations?[00:42:21] Cooper Turley: I definitely think there's downsides, and I think there's a lot of pressure that comes with it. You know, I think for artists that are selling nfts, you need to think about new mechanisms. Like, what is my floor price? What is my volume? Is this asset trading above what I sold it for in the first place? That's a lot of pressure, you know, and that takes a lot of time to get right. I think that over time people are gonna recognize. Collector is getting mad about floor prices. The same as a fan being mad about the type of song that you're releasing, where that's just kind of the name of the game. You know, everyone's entitled to their opinion, but it's not like there needs to be a huge reliance on that. I think the one thing the artists need to focus on is actually being consistent with what they're putting out in releasing. If you're giving it your best effort and you're doing things to add value back to early collections, to be able to engage with your community and doing things that show that you're being intentional, that to me matters a lot more than like, what is the price of the tokens themselves, because I think over. We need to recognize that not all fans are the same, and it's not like all music is only gonna exist as NFTs. What's gonna happen is that all these songs are gonna be available on Spotify. If I'm a passive fan, I can go and just listen to that song. There's no expectation for me to ever have a financial relationship with that artist. But the new unlock here is if I wanna go deeper on that relationship. This is something that I've wanted to do for a long time, and I believe many others do. I can now collect something that represents a limited version of that song. And for other people that are excited about that artist's career. Not only can we share on our Instagram story, we can now go into a private collector's chat and say, Hey, I was able to pick up this sold out drop. I was able to pick up one of their early rookie cards, and I think what we start to see is that the fan base gets a little bit more. It's delineated across different verticals where there's some vans who are just showing up to a concert, you know, all the time. I go into GA at a show and I'm like, how do I get these people to buy music and FT use? And the reality is most of them probably never will because they just wanna go and have a good time. They wanna party and forget about their nine to five job. And that's perfectly fine. But I think for the small subset of people who are really passionate about music, those active listeners being able to answer into these more deeper relationships, it's really gonna empower curation in a very new way. And I think the analog I would make here, Sites like Height Machine really drove the success of SoundCloud in a very massive way. You know, there was a demographic of curators who were saying, Hey, we love this type of music. There was all these different blogs, like This song is sick, you know, all these EDM blogs, pigeons and planes, et cetera. They were adding cultural zeitgeist to these songs. And I think the financialization of these assets is not only gonna incentivize people to wanna curate and write about these different article. It's actually gonna give them the means to sustain themselves on the back of doing so. Or if I'm a curator who's really successful at identifying talent, I don't need to go work for a major label as an a and r because I can simply spin up a newsletter on sub stack, go and look at the drop calendar on sound, xyz, and then the event that I'm able to really identify. Successful drops, I can actually start to make a living on the back of my taste. I think that's something that hasn't really existed before and something that I'm personally really excited to see happen more and more in the industry at large.[00:45:08] Dan Runcie: That last piece is huge because it makes me think back to the blog era, especially at hip hop with just. How popular it was when, whether it was sites like Two Dope Boys or Now, right. And their influence on being able to have a mix tape that they're putting out. They're putting their stamp for approval. They're the media channel that's sharing the tape, that's being released from Dap Piff and being like, Hey, here is this new kid Cutty record that you need to listen to a kid named Cutty. You know, this is the mix tape. Check it out. Or the cool kids, or Charles Hamilton or whoever, one of these artists, The difference though, is that even though the artists in the blog era and the people who ran these websites in the blog era were so influential, and I think at a time they even had more influence than the major record labels did. They didn't capture the upside. They created the culture. They created the influence, but they didn't capture the upside. This allows that to happen in a way. The next version of Two Dope Boys could essentially be the one to, like you said, they could start up a newsletter, they could be able to release this and be like, Hey, I'm the one that is putting this investment in and then this is gonna stay there from here on out. That's something that's really special. And to be honest, I don't feel like there's enough discussion around that. So I'm glad you brought that point up.[00:46:26]  Cooper Turley: Absolutely. And I think the one, the one thing I wanna zoom in on there, That doesn't require the artists to sell any of their masters. You know, them putting out 25 editions of a collectible song that a curator can go and buy and then help spread the word about within their pockets. There's no conversation around like, what percentage master publishing does this curator now have? Do I need to bring them into my creative decision, et cetera. It's a new market that now exists on the back of taste and curation, and I think in a lot of ways, music NFTs get pushed back cause they say, oh, you don't actually own the rights. Why do these things have value in the first place? I'm a big believer that community has a lot of value to it. You know, I don't think that art needs utility or needs IP ownership or Masters or publishing to be valuable. I think these curators are able to tell very compelling stories about the impact that music has and being able to add a new market into the equation through music and fts, it really unlocks a new mechanism for artist fandom that I think is very simple to understand. I don't think the average fan will be able. Rationalize what a master or a publishing right looks like. But I think they can understand what a rookie card or what a limited edition of songs looks like. And so I'm very excited to watch these markets mature. And I think that ties back into why the fund is collecting music, NFTs, cuz we believe that. More people are going to be able to understand what it means to own a collectible than they are going to know what it means to own masters or publishing. And so you sort of have these two different sides of the equation. I think they can both work in T and in unison with one another to make the aggregate music market more valuable as a whole.[00:47:51] Dan Runcie: And I think your fun will be a, a test to see how well that works. So, It'll, it'll be, it'll be fascinating. I feel like the structures make sense. You have each day, each piece of it there. I'll be very interested to see what the returns end up being like for each of those categories. Right. Of course, you know, most of the fund is looking at your precede and seed stage music and web three startups, so I assume that it's naturally gonna be what the expectations would be for any young startup. But I'm very interested to see what those expected multiples or the exits will be for the NFTs and then, The artists seed round investments themselves. [00:48:26] Cooper Turley: Absolutely. I will say that the vast majority of the fund is going into web three companies, but time and time again, people get really excited about this idea of investing in artists. Again, do not have the answers whatsoever, but. I'm noticing people are really excited about that ballpark. So I'm excited to at least start that trend with this first fund here and in the future. I'm hoping that we can create playbooks for many artists who don't even use nft, use their web three to also start to enter in these agreements as well. But you know, I'm really excited about it. You know, like I said, I've been in music for 10 years, crypto for the last five. I feel like this fund is a great way for me to really fuse those two passions together. And it's a very small market right now, but if you made it this far in the episode, I hope that this is something of interest to you and I would love to keep the conversation going if you have more.[00:49:06] Dan Runcie: Definitely. Before we wrap things up and let you go, one of the quotes you had mentioned, you referenced this earlier, the conversation too, that we're not at the point in Music Web three, where Drake is gonna come thro

If you're interested in learning about the original architect of Howard University Law School's curriculum and the NAACP's strategy to fight education segregation in the courts, then my Charles Hamilton Houston Black History Facts profile is for you.   Show notes and sources are available at http://noirehistoir.com/blog/charles-hamilton-houston.

Dr. Greg Carr and Karen discuss the legacy of #SerenaWilliams in the context of individual vs. collective works...Dr. Carr ties it to a "Labor of Love" and carries that theme through the discussion of the water crisis in Jackson, Mississippi. There's also a tribute to Charles Hamilton Houston, born on this day in 1895. #InClasswithCarr #LaborDay JOIN Knubia through Knarrative: https://www.knarrative.com/See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Hey everyone in this podcast I breakdown the amazing career of and creative output of Charles Hamilton. Charles is a very incredible artist and I urge you to listen to his music. He has countless mixtapes, EP's and has released his official album “Hamilton, Charles” in 2016 after being dropped from Interscope Records in 2011. In my opinion Charles is one of the best musicians ever. Make sure to follow Charles on social media: https://instagram.com/charleshamiltonmusic?igshid=13f176tkk6wqg. Buy his album: Hamilton, Charles by Charles Hamilton https://music.apple.com/us/album/hamilton-charles/1443162478. Are You A Hip Hop Artist Looking For Exposure? Contact me using chasetalkshiphoppodcast@gmail.com with any questions regarding my content or if you are an artist looking to be interviewed, have your song played etc... All my inquiries will be taken through the email above. Follow Chase On Social Media: Link Tree:https://linktr.ee/chasehillhiphop New Album “H3art: Into the Soil”: https://open.spotify.com/artist/26XiLiQCYzsgZhHQtXuFcS?nd=1 Chase Hill Official Website: https://www.chasehill.net Thank You All For Listening P.S. please take time to leave a review and subscribe⬆️⬆️⬆️ on all my channels and social media. Future rewards will be given to people who support the most

Raven shares the accomplishments of this Lawyer and educator, known as “The Man Who Killed Jim Crow” because of his involvement in nearly every supreme court civil rights case from 1930-1950, and for exposing the “separate but equal” doctrine for the lie it was.   Learn More! CHARLES HAMILTON HOUSTON https://naacp.org/find-resources/history-explained/civil-rights-leaders/charles-hamilton-houston Charles Hamilton Houston American lawyer and educator https://www.britannica.com/biography/Charles-Hamilton-Houston Charles Hamilton Houston Biography http://law.howard.edu/brownat50/BrownBios/BioCharlesHHouston.html   Email us! intersectionalinsights@gmail.com. Follow us!  Instagram https://www.instagram.com/isquaredpodcast/ Twitter @I_squaredpod https://twitter.com/I_SquaredPod Facebook page http://www.fb.me/ISquaredPod

The Batman: Robert Pattinson's Batman has now been unleashed! How long is it and who should have been the Penguin!? These are the questions.Mike's Match: Mike is back with tales of this year's LVL UP EXPO as well as wrestling and top rope antics!The Boy Blue Arrested: We are given a gift as we get an instant classic video of The Boy Blue filming himself getting arrested and having to walk to the police station.THINK YOU'RE WEAK!, TERRY SILVER!, COBRA KAI!, UN SHOW DE COMICO!, COMICX!, GENDER LANGUAGE!, THE BATMAN!, MASCULINE FORM!, 5 SCREECHING BATS!, SCREAMING MUMMY!, COLIN FARRELL!, UGLIER JAMES GANDOLFINI!, THE PENGUIN!, KEVIN JAMES!, DUMPY REPRESENTATION!, DIVERSITY!, TOM HOLLAND!, JEFF BEZOS!, BILLIONAIRE!, JONAH HILL!, DANNY MCBRIDE!, LONG!, PANTY RAID!, HYPE TRAIN!, TWITCH!, FAN EVENT!, I AM VENGEANCE!, THE ENERGY!, BATMAN VS SUPERMAN!, THIRD ITERATION!, SNYDERVERSE!, DCEU!, SHARED UNIVERSE!, JOKER!, MICHAEL KEATON!, PEACEMAKER!, SUPERMAN!, WONDER WOMAN!, JAMES GUNN!, TOO LONG!, SO GROUNDED!, SEVEN!, MICHELLE PFEIFFER!, DOG!, BATMAN RETURNS!, I AM SAM!, DANGEROUS MINDS!, BATMAN BEGINS!, 2/3S OF THE WAY THROUGH!, JARED LETO JOKER!, GUINEA PIGS!, LVL UP EXPO!, MASK MANDATE!, WRESTLING!, TOP ROPE SPLASH!, ENEMY OF MY ENEMY!, HEALTH INSURANCE!, CHARLES HAMILTON!, NUTHOUSE!, JAKE!, BLACKMAIL!, BIOPIC!, RELEASE THE DOSS!, TOM HOLLAND!, CHRIS EVANS!, CHRIS HEMSWORTH!, SETH ROGEN!, THE NOT SO CONTENT COWBOY!, THE BOY BLUE!, RECORDING!, ARRESTED!, FUCKED UP!, HIGH!, HUNGOVER!, UPPER DECK!, DOLORES!, SMOKING WEED!, ANGRY!, PAYING THE BILLS!, DRUNK!, BED BUGS!, BED BUG JACKET!, ROLLING NEXT TO HIM!, LONDON!, 7 HOUR STREAM!, J WRITES FOR SHAGGY!, A HANG!, GREY HAIR!, EX WIFE!, JUMP SCARE!, SUPER CHATS!, LITTLE MOMENTS!, THE MATRIX RESURRECTIONS!You can find the videos from this episode at our Discord RIGHT HERE!

Kevin Scampoli asks Charles Hamilton about Bret Hart and grit. https://charleshamilton.app SFWT CH playlist: https://www.youtube.com/playlist?list=PLe87JSNekxpoMprCV8liM1aXNEvmM1WBx

Kevin Scampoli asks Charles Hamilton about Bret Hart and grit. https://charleshamilton.app SFWT CH playlist: https://www.youtube.com/playlist?list=PLe87JSNekxpoMprCV8liM1aXNEvmM1WBx

Discussion on health and fitness with Charles Hamilton, Owner of ChamFIT Studios. We discuss some of the issues for minorities getting in the gym and ultimately in shape. Join the conversation by leaving a message on Anchor. --- Support this podcast: https://podcasters.spotify.com/pod/show/kings-chat/support

This podcast is all things MENTAL HEALTH!Would it benefit you to hear from Mental Health Professionals and Influencers? Would it add value to your life to also hear authentic stories from people talking about their mental health, the issues they face, and how they actively combat them? If so, this is the perfect podcast for you!After Host Vincent A. Lanci suffered a Traumatic Brain Injury (TBI), and into recovery, he learned that he needed to prioritize my mental health. And his goal for this podcast is to help you do so, too!For the thirty eighth episode and thirteenth episode of Season 2, Vincent A. Lanci brings on Charles Hamilton and Courtney Macroberts "C & C". They give honest testimonials on their personal experiences relating to mental health. Both also work in the mental health field and give amazing insight on their experiences. Charles grew up in Dartmouth, Nova Scotia, Canada. He graduated from Auburn Drive High School in 2009. He worked 6 years doing mental health security and currently works in a group home for the mentally ill.Courtney grew up on the Eastern Shore of Nova Scotia. Graduated from Auburn Drive High School in 2008. She went back to school become a registered holistic nutritionist.Take a Deep Breath! It's time to make your day a better one.Host Name: Vincent A. Lanci (PodcastsByLanci@Gmail.com)YouTube: www.youtube.com/channel/UCy0dil34Q5ILEuHgLVmfhXQWebsite: www.vincentlanci.com/podcastsInstagram: www.instagram.com/amentalhealthbreak/Facebook: www.facebook.com/amentalhealthbreak/Twitter: twitter.com/PodcastsByLanciLinkedIn: https://www.linkedin.com/showcase/a-mental-health-break-with-vincent-a-lanciGuest Name: Charles Hamilton and Courtney Macroberts "C & C"Email: CharlesAndCourtney@outlook.comInstagram: https://www.instagram.com/charlesandcourtney/Facebook: https://www.facebook.com/charlesandcourtney/Digital Editing Name: Vincent A. Lanci (PodcastsByLanci@Gmail.com)Adventure by MusicbyAden | https://soundcloud.com/musicbyadenMusic promoted by https://www.free-stock-music.comCreative Commons Attribution-ShareAlike 3.0 Unportedhttps://creativecommons.org/licenses/by-sa/3.0Article Source: Psycom.net

Wes Goldberg is joined by Charles T. Hamilton to discuss his fondest memories of the 2014-15 Warriors season before being joined by Warriors play-by-play voice Bob Fitzgerald to discuss Steph Curry's leap to becoming the NBA's MVP. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Host Josh Lloyd speaks to Tony East of Locked On Pacers, Charles Hamilton of Locked On Warriors, and Jackson Gatlin of Locked On Rockets about why they fell in love with their teams, some great memories and favourite players as well.Support Us By Supporting Our Sponsors! TheragunTry Theragun risk-free for 30 days or your money back by going to Theragun.com/lockedon For a limited time, listeners get a FREE charging stand with purchase – a seventy-nine dollar value.PostmatesDownload the Postmates app and use code LOCKEDON. For a limited time, Postmates is giving our listeners ONE HUNDRED DOLLARS of free restaurant delivery credit for your first SEVEN days.EchelonVisit echelonfit.com/lonfl or echelonfit.com/lonba to learn about their limited time, free Apple iPad, and complete details of this exclusive offer.BlinkistThe Blinkist app gives you the key ideas from more than 3,000 bestselling nonfiction books in just 15 minutes. Go to Blinkist.com/nba try it FREE for 7 days AND save 25% off your new subscription.WithingsGo to Withings.com/mlb to get 25% off Body+ Body Composition Scale. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Host Josh Lloyd speaks with Mike Richman of Locked On Blazers about the recent Trevor Ariza trade and the return of Jusuf Nurkic, to Charles Hamilton of Locked On Warriors about Steph Cury's return date and trading D'Angelo Russell, and to David Locke of Locked On Jazz about the NBA's hottest offense Learn more about your ad choices. Visit podcastchoices.com/adchoices

Host Josh Lloyd speaks to Charles Hamilton of Locked On Warriors about the injuries in Golden State and a new era being ushered in, to Mike Richman of Locked On Blazers about Zach Collins' injury and to Sean Woodley of Locked On Raptors about Pascal Siakam's ascendance. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Host Josh Lloyd speaks to John Karalis of Locked On Celtics, Charles Hamilton of Locked On Warriors, and Jeff Garcia for some different perspectives on Team USA's opening game win in the FIBA World Cup, chat about DeMarcus Cousins's arrest warrant and whether we will see him in the NBA again and talk about the NBA 2K League. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Josh is joined by Charles Hamilton of Locked On Warriors to talk about the fantasy basketball prospects of the 2019 edition of the Golden State Warriors, including Steph Curry's candidacy as the number one player, D'Angelo Russell's upcoming career-best year, Kevon Looney's ascension, and where to find value and who to avoid in your fantasy basketball drafts. The Locked On Fantasy Basketball Podcast is brought to you by Basketball Monster.Intro Music by KVKA Instagram Learn more about your ad choices. Visit podcastchoices.com/adchoices

Host Josh Lloyd is back in the saddle talking to Jake Madison of Locked On Pelicans about Zion Williamson's shoe deal and what his popularity means for the Pelicans, to Troy Haliburton of Locked On Wizards about John Wall's latest comments regarding his and Bradley Beal's contracts, and to Charles Hamilton of Locked On Warriors about Draymond Green signing a new contract. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In Episode 531 of Locked on Raptors, Sean Woodley chats with Charles Hamilton of Locked on Warriors in another Locked On Network crossover to tee up Game 5 of the NBA Finals. The Raptors might be champions in like 25 hours... Holy hell.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Host Josh Lloyd speaks with Sean Woodley of Locked On Raptors and Charles Hamilton of Locked On Warriors in our NBA Finals Game 2 Recap and to Colton Molesky of Locked On Timberwolves about a new GM and permanent head coach in Minnesota Learn more about your ad choices. Visit podcastchoices.com/adchoices

It is the Locked on podcast Network NBA Finals preview with the local experts on the biggest stories.  Sean Woodley of Locked on Raptors and Charles Hamilton of Locked on Warriors breakdown the NBA Finals with insight you only get from the local experts who have been with the team all year long.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Host Josh Lloyd speaks with Sean Woodley of Locked On Raptors and Charles Hamilton of Locked On Warriors in our NBA Finals preview and to Mark King of Locked On Grizzlies about the search for a new coach, Mike Conley's future, and the number two overall NBA Draft Pick. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Host Josh Lloyd speaks with Tony East of Locked On Pacers about the Tyreke Evans suspension and the NBA Award finalists, to Charles Hamilton of Locked On Warriors about Golden State's injuries and them going up 3-0, and to Chris Manning of Locked On Cavs about the new head coach in Cleveland Learn more about your ad choices. Visit podcastchoices.com/adchoices

Host Josh Lloyd speaks with Anthony Irwin of Locked On Lakers about the front office situation in LA and Frank Vogel being hired along with Jason Kidd,  to Mike Richman of Locked On Blazers about Portland's return to the Western Conference Finals for the first time in 19 years, and to Charles Hamilton of Locked On Warriors about Steph Curry's massive second half in a close out Game 6 win over the Rockets. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Host Josh Lloyd speaks with Anthony Irwin of Locked On Lakers about the front office situation in LA and the coaching search likely being over, to Sean Woodley of Locked On Raptors about Toronto evening the series with Philadelphia, and to Charles Hamilton of Locked On Warriors about Steph Curry's struggles and the Warriors dropping Game 3. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Host Josh Lloyd speaks with John Karalis of Locked On Celtics about Boston's big Game 1 win over Milwaukee, to Charles Hamilton of Locked On Warriors about Golden State's narrow win and the officiating in Game 1. and to Sean Woodley of Locked On Raptors about Kawhi Leonard putting the 76ers to the sword. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Host Josh Lloyd speaks with Charles Hamilton of Locked On Warriors about Golden State's recent turnaround and how DeMarcus Cousins has looked, to Eric Nehm of Locked On Bucks about how Malcolm Brogdon's injury can impact Milwaukee's chances, and to David Locke of Locked On Jazz about the Jazz's end of season chances. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Host Josh Lloyd chats with Ben DuBose of Locked On Rockets about James Harden's historic run, to Josh Bass of Locked On Nets about the surprising team from Brooklyn, and to Charles Hamilton of Locked On Warriors about DeMarcus Cousins' season debut. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Host Josh Lloyd chats with Jake Madison of Locked On Pelicans about how the Elfrid Payton injury is impacting New Orleans, talks to Charles Hamilton of Locked On Warriors about the recent struggles in Golden State, and to Charles Mockler of Locked On Clippers about the surprising start to the season from the Clippers. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Josh is joined by Charles Hamilton of Locked On Warriors to preview the Golden State Warriors' 2018-19 season. They talk when to expect DeMarcus Cousins back, who fills in for him when he is gone, and whether KD and Steph take it easy this season, while touching on every member of the Warriors' roster. The Locked On Fantasy Basketball Podcast is brought to you by Basketball Monster.Support me and the show here Learn more about your ad choices. Visit podcastchoices.com/adchoices