Podcast appearances and mentions of Charlie Sloth

In this episode, you'll learn how Charlie Sloth, renowned DJ and music entrepreneur, stays true to his values whilst building and scaling a global brand. Featuring tough decisions, lessons on authenticity, and the role of integrity in creating a successful brand. Head to https://www.linkedin.com/doac24 to claim your credit. Listen to the full episode here - Spotify- https://g2ul0.app.link//TIVYc9ZjNu Apple - https://g2ul0.app.link//eF0IPuWwsPb Watch the Episodes On Youtube - https://www.youtube.com/c/%20TheDiaryOfACEO/videos Learn more about your ad choices. Visit megaphone.fm/adchoices

LINK: ⁠⁠⁠GET TICKETS FOR SCREEN ROT LIVE⁠⁠⁠ The Screen Rot Podcast is the show where we discuss the weirdest and worst content that's been rotting our screens and our minds. It's Monday Night football for internet rubbish. This week we discuss: ⁠Henry Oscar Moores⁠. The bizarro world Hardest Geezer walking from Mancheste to Ibiza with the help of Wayne Lineker and Charlie Sloth. Link for the Rotters Ranking spreadsheet: ⁠⁠⁠HERE⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ IG Handles: @screenrotpodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ @jacobhawley⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ @j_akefarrell Our theme music is the song “Money” by Jose Junior. 

Dive into the story of an East London DJ, who transformed his passion for music into a successful career, becoming a culturally significant voice for young people in London. From his humble beginnings at a youth club, to underground radio stations, and finally landing a permanent spot on 1Xtra, this DJ's journey is nothing short of inspiring. Discover how his debut album, 'Block Diaries,' featuring over 30 artists, is making waves in the UK music scene, and why his hit record, 'Tracksuit Love' is turning heads. Join us as we explore the meteoric rise of this talented DJ, and what it took to make it on the big stage at Reading and Leeds. A story not to be missed, especially for fans of DJ Target, Charlie Sloth, MistaJam, and the UK's vibrant mix of rap, grime, drill, and Afro-swing.

Charlie Sloth is a radio presenter on Apple Beats One, and previously on Radio One. The creator of “Fire in the Booth”, he is known as a adept and visionary patron of new artists worldwide. Appearing on Sloth's show is the moment many rappers and musical artists ‘make it'. Charlie wouldn't have it any other way. As he reveals in this episode, he has never deviated from his dream of bringing new talent to the fore. Even when he was living in a shed as a single father with a young son, he knew where he wanted to end up. That perseverance got him through the difficult moments, when nothing else would. In this conversation Charlie opens up about the need to hold yourself to high standards, because the only feedback that's actually going to take you to the next level is the feedback you give yourself. In a raw, honest and Frank exchange, Charlie shares his lessons that he's picked up from a lifetime of hustling, from being a street artist to founding one of the worlds most successful vodka brands - Charlie is never someone to do things by halves. Topics: How my environment shaped me Tower Block Dreams Self-belief & hard times The beginnings of Charlie Sloth Lack of role models Fire In The Booth Your brand's integrity and deleting episodes Doubting myself What makes a great artist? Joining Apple Music Au vodka & the strategy behind its success Your personal life & work-life balance Are you a workaholic? Our last guest's question Charlie: Instagram - http://bit.ly/3u2YD8n Twitter - http://bit.ly/3gDhLqn Watch the episodes on Youtube: https://g2ul0.app.link/3kxINCANKsb Follow us on Telegram: https://g2ul0.app.link/E5re0ADNKsb Sponsors: Huel - https://g2ul0.app.link/G4RjcdKNKsb BlueJeans - https://g2ul0.app.link/NCgpGjVNKsb

This week's special guest on Trapital is entertainment lawyer Karl Fowlkes. As part of his own The Fowlkes Firm, Karl represents entertainers across many domains — from music to sports to media, including hip-hop's rising star, Blxst. He pulled double duty, not only appearing on the podcast, but guest-writing for the newsletter about the need for the artist contract to evolve.In particular, Karl predicts shared equity between not only artists and record labels, but also with other parties like distributors or fintech companies. The days of record labels having 100-percent ownership of an artists' masters could slowly be phased out over the next decade in favor of a split much more friendly toward the artist.Karl also has advice for an artist, or any content creator for that matter, signing a new contract — LOMO. The acronym stands for length, obligation, money, and ownership. These are the top-line items creators should prioritize when inking deals, according to Karl. Karl has a ton more insights into how artists and creators can maximize their long term value, plus how deals will change in the near and distant future. Here's everything we covered during our interview:[4:13] The Future Of The Artist Deal[5:50] Changes With Major Record Labels[7:36] Will Record Labels Exist In 10-20 Years?[11:20] Artists Wanting A Partnership, Not Signing [15:50] Karl's Advice To All Content Creators Signing Contracts[19:18] The Issue With Music Royalties[22:42] The Hip-Hop “Middle Class”[24:47] Building EVGLE Brand Alongside Blxst[25:08] Blxst Partnership Status With “Major” LabelsListen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuest: Karl Fowlkes, @esqfowlkes, Fowlkes FirmEnjoy 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] Karl Fowlkes If you're making $20,000 to $30,000 a month off music. I mean, damn, that's pretty, you know, that's solid money. No, that's nothing to shirk off. And some of these people, if they were independent, they might not be the global superstars that they are, they might be a little bit more in control, they might have less obligations, and they might still be able to put out the music that they want to put out. And all that stuff sort of creates sort of a concoction of, man, and maybe I will be happier, maybe I wouldn't have to get fake teeth, get a bunch of gold chains. I wouldn't have to do that because I'm living a lifestyle that's conducive for long-term success. [00:00:38]  Dan Runcie Hey, welcome to The Trapital podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from executives in music, media, entertainment, and more, who are taking hip-hop culture to the next level. [00:00:58] Dan Runcie Today's episode is all about the deals that artists sign. There are so many more options and ways that artists can level up and types of companies that they can partner with. It's no longer just the record labels. There's alternative finance options, their distribution platforms, and more. And I broke this down today with my friend and well-respected entertainment attorney, Karl Fowlkes. And he runs an entertainment practice called The Fowlkes Firm where he represents artists like Blxst, producers, entertainers, athletes, and more. [00:01:30]  Dan Runcie So I talked to Karl about his experience with this and what he sees as the future landscape. And Karl has this phrase that I think he needs to trademark, he has this phrase called LOMO, which is focused on the four key elements that artists should be focusing on when they're signing deals. The important thing about LOMO. And more broadly, this conversation is that this doesn't just apply to artists, look at all the different types of creators right now. There's so many deals that they're doing, there's so many opportunities from different companies that want to partner with them. And whenever those things happen, there are more and more contracts that aren't always set up in the easiest way for you to be able to understand and break this down. So we talked about that and where things are heading and how it really is shifting to a place where artists aren't just giving the keys to a big corporation to handle everything. Let's have them, build the businesses around themselves, partner with the different companies to fill in the different roles you need, and build up from there. This was a great conversation. I think it's really insightful for all the creators out there. So I hope you enjoy it. Here's my chat with Karl Fowlkes. All right, today, we got Karl Fowlkes with us who's back on the podcast from The Fowlkes Firm, you represent Blxst and a bunch of other artists. But we're here to talk about this guest piece that you wrote for Trapital, a really great piece about the future of the artists deal. So let's start at the top. Why did you want to write this piece?[00:02:56] Karl Fowlkes  I think right now, you know, historically, there's, there's been a few players. And those few players are really just record labels. So it kind of pigeonholes what the what the deal is going to look like, you know, now, there's so many different players out there. Technologies is infused all through the music industry. So there's, you know, there's distributors, there's advanced companies, right, they're just trying to like, you know, model what they can give you based on streaming algorithms, you know, companies like beatBread, for example. And then you still got those major labels, they're sort of offering a lot of those services. So the landscape is so different, I think, because there's so many different parties and so many different solutions. I think the deal has to change with the times that we're in. And oftentimes, you know, what I'm seeing, you know, I'm not seeing, you know, those changed deal terms. And, you know, I just think it's something that we need to get ahead of.[00:03:48] Dan Runcie  Yeah. And I feel like now you're hearing more than ever, people talk about ownership artists, whether or not they may have enough behind it, want to make sure that they're owning everything when they're coming to try to negotiate contracts. Do you feel like that's shifted the landscape? I mean, I feel like it's definitely improved the conversation around it, but do you feel like that's actually having an impact on the deals that are being made?[00:04:13] Karl Fowlkes  Yeah, and it's been quite effective. You know, I think most people who are in my position, you know, doing deals on the attorney side are seeing contracts that, especially if there's any built-up leverage that almost exclusively, you know, have a license period, right? So instead of the full transfer of ownership or work-for-hire language I've seen in the past, I'm seeing a lot more 20-year licenses, 25-year licenses, 15-year licenses. So the artist is you know, almost exclusively, you want to get the masters back. Now some of the other top line terms might not be that different in terms of the royalty rate, or some, you know, the ancillary income. But you know, the ownership paradigm is definitely, definitely changing. And I think that's the unique thing about it today.[00:04:59] Dan Runcie  Yeah, because I feel like, especially with the major record labels is kind of two things happening, right? On one hand, you're streaming revenues are continuing to grow. And you have all these other revenue sources from outside of the digital streaming providers, whether that's with Peloton or Roblox and all these other partners that want a license deal. So while that's increasing, but on the other hand, more and more artists are not going to want to  just give up their masters in perpetuity. So the labels are also counteracting that piece of it. So I see them in a lot of ways, they're hoping that the revenue from all of these areas can offset the loss that's eventually going to come from the masters, because eventually you can earn money from the back catalog forever if the current artists are going to keep that back catalog, and the labels aren't going to be able to have it.[00:05:50] Karl Fowlkes  3,000%. So I think, I almost wonder why some of the record labels out there don't sort of take from their publishing counterparts, right? Because the co-pub deal is sort of set up as a joint ownership structure, 50-50, right? So the songwriter usually owns half the composition, and the publisher owns the other half of the composition. And, you know, when the term is up, the kind of, the songwriter can go do what they want with their 50%. And they can have, you know, whoever collects on it, and then you know, the record label can, sorry, the publisher can take their 50% and go collect on it as well. So it's a shared equity model. It's something that I think tends to work for better parties. I know, there's some mechanisms that are a little bit different, you know, as it relates to distribution of music versus collection of music. But I think that's sort of a precursor to, you know, maybe something we'll see, you know, happen over the next 10 to 20 years.[00:06:46] Dan Runcie  What do you think the next 10 to 20 years will look like? Because I often have this conversation with a lot of people, some people go to the extreme of being like, no record labels will be extinct by then. And I've never quite gotten to that perspective, just because the people still ignore the desire that people have to be the biggest star in the world and where they feel like they need to go in order to do that. But I do think that we'll likely see more of these shared equity or more of these flexible options because I feel like one of the things you highlight in the piece is that it's great that there's so many distributors and places that you can release your music, but it's still a pretty big difference where it's like, okay, you either got to give up everything, and we'll make you a superstar, or you try to do it your own. But it's still hard to get to that level without some additional support.[00:07:36] Karl Fowlkes Yeah, I think the next 10 to 20 years are going to be a very interesting time. And I don't think anything's going to be figured out in the next 10 to 20 years, just because I think there are so many different emerging business models, right? Like, I keep talking about these music tech companies, kind of coming in and offering using algorithms and, you know, formulas to sort of create an estimate on, you know, what your royalties could be, will make in the next three to four years. They'll give you a big advance, right, and now to reference beatBread, because, you know, I just saw they did that for a massive artist recently. And they're, they're not really they're not offering service or anything, we're just going to give you that funding element. And I think historically, if you look at startups, and you know, there's always been a lot of artists, our founders' conversation in the past five years, but when you look at a lot of startups, it's really hard to scale a business without capital. So capital is always going to be sort of the driving force on any decision I think you have to make in your business journey at a certain point. So I think what will happen is labels will realize I think the all-or-nothing approach of sort of either doing a license deal or completely owning the masters isn't really probably in anyone's best interest, including theirs. And I think we'll see more shared equity, right, and more investing in artists, you know, being in business with an artist forever, like in a tasteful way, right? Like, owning 20% of somebody's master for perpetuity seems a lot better than owning 100% of someone's, you know, master in perpetuity, right. There's, there's like a natural, if you're an artist, you might be able to live with that, hey, this person gave me a million dollars. They have different access, resources, and funding opportunities throughout and they have a history of helping artists, you know, why don't I, we can we could share this thing forever, but you know, I'll be in control. I think that makes a lot more sense.[00:09:32] Dan Runcie  Yeah. And what I think it does is it itemizes how to look at the value add that you're either getting from a record label or from another type of partner, right? Because at its core, a record label deal is very similar to a private equity model. I know a lot of people make the venture capital comparison. But I think it's a bit more like private equity or even more so an M&A deal where you are essentially selling yourself as the business, at least to the recorded music business of what you're doing, to this company. And then in return, they are paying you for the services, and they're obviously going to try to maximize it as much as they can with everything they offer, from marketing to promotion to all the other services that you can essentially get counsel advice, so on. But I think the shift and what we're seeing a lot more artists do, more so I'd say on the independent side, I think we'll see some of the bigger artists do it, too, they want to create the business, they want to be the one that is doing the actual tasks, and how can they have, you know, things set up around them in order to do that. And it's something we see with all creatives to some extent, right? I feel like some people are always going to, maybe they want to gravitate more towards the business side of things, maybe they want to gravitate more towards the art that they actually do need to make. But still, if you're going to take the business side of it, then yeah, there is likely going to be a company you go to for marketing support, there's going to be a company you go to for PR or for distribution or for those things. And if you do it that way, then you're likely going to have a better approach about how you're making deals. And I feel like this is one of the key things that, like, you and I've been talking about for years now, just in terms of like how these things get set up, and how these things should be set up, especially for the artists that are willing to put in the work.[00:11:20] Karl Fowlkes  Yeah, I think what artists and their teams, too, are realizing are, you know, they're still doing a ton of work, even after they signed to the record label, right. And I think some of those things, historically, that we may be thought or attributed to regularly, but whether it's right or wrong, are things that in this generation, you know, teams, managers, other team members on that direct artists' team are being tasked with, and, and they're executing, you know, to some extent, right? We're seeing TikTok campaigns being launched. And then that being the driving force of, of an artist being signed to a multimillion-dollar license deal, right, because that artists and their team leverage, you know, that music technology to create some moment, momentum and drive the price of that deal up. We're seeing a lot of that. So I think all that's making artists and their teams do is say, hey, if we're going to do a lot of the strategy and, and work to get signed, maybe signing doesn't necessarily make sense, maybe we're looking for, for something else, maybe it's not traditional, we signed to you model. It's like, let's partner, I need you for a few things. The rest we can take care of, we need some funding, and you know, we need some support on you know, a radio, we need some money, some of your tools that you might have and your staffing, but you know, eventually, we think we'll be able to do that stuff down the line. I think that's kind of the fut ure more and more sort of artists' companies. And you see some of these catalogs, you're like, yeah, that's like, that's, you know, that's a mini-company. You know, I know, we talked, we saw Justin Timberlake's catalog sold for, I believe, roughly $100 million. But you think about companies that could sell for $100 million, like, they have more than, like, two employees, where it's actually a company. Like, there's people driving marketing campaigns, there's the Human Resources Department, there's, you know, so I always think it's funny, because when you actually look at the valuation of the IP, and what something is actually making year over year, and, you know, that's like, that's a pretty sizable company, that that's probably not staffed correctly. I think that's probably what we'll see in the future is, hopefully, these companies and they can get staffed correctly.[00:13:35] Dan Runcie  And it makes you also think about, okay, let's take the Justin Timberlake example, obviously, someone that had a very successful and still has had a very successful solo career. But how much more value could there have been if he had created things in the way that, you know, we're talking about here? Obviously, there's a trade-off there, because I do think he's clearly someone that benefited more than the average person for a number of reasons from the major record label system and the broader media system that we're in. But yeah, $100 million, like, you think about a startup that is reaching $100 billion, you already have the idea of how big that startup is, what's that startup's trajectory looks like. And obviously, this is a little bit different because it's based on that recurring revenue stream. But still, I mean, it's huge,[00:14:22] Karl Fowlkes  Right? And I think like it's when we talk about sales and you know, when a company has to do get due diligence done on them, right so you look under the hood and you know, you're trying to see what that company actually owns. Do they even own the rights? Do they own the pub rights? Do they own the likeness? Do they own the trademarks, right? But if a company, for an artist, you know, driven company It doesn't have to be one artist. I think, you know, obviously, there's going to be a lot more collective and smarter labels, I think, in the future that are successful and, you know, running this model. But, you know, if you do due diligence on a company, and they do own all the IP, they do own all the trademarks, they do own the pub, and they do own the record, and there's employees in place, and there's procedures in place, and there's a history and books to sort of show what's happening over the past 5 to 10 years, you know, you're right, like, you know, these, these evaluations are probably being done on just raw numbers. But if you were to factor in some of this other stuff, it's like, man, this is like a, this is a well-oiled machine, this might be worth a little bit more.[00:15:22] Dan Runcie  Yeah, for sure. And I feel like once we were able to get there, a lot of it is focused on the type of deals, people can make and how specific they're getting about these. And you have been pushing and promoting this acronym about how artists, and I think this even extends beyond artists, how anyone that is creating content or making any type of deal should be looking at things. So what's the advice there that you give for that? And what are the elements to look out for?[00:15:50]  Karl Fowlkes  Yeah, yeah, you know, a strategy I've sort of been using and I created, I believe it was about a year and a half ago in talking to a few clients was, you know, length, obligation, money, and ownership. And those four key things are sort of the top line things you need to worry about when you're forming a contract. And also, I like to think about, you know, clients and people I'm talking to, when I'm discussing LOMO, just prioritizing those things, right? Because you're not going to have, you're not going to have the perfect deal where you have a short term, you get, you get a lot of money, your obligations low, and you get to own everything. That's just not, that's just not realistic. But what I do think is realistic is, you know, putting together a strategy that you can sort of, you know, put those things in order and you know, 5, 6, 7 years down the line, be happy with whatever sort of business you set up for yourself because you knew what you were getting into. You knew what your priorities were and you knew what you were signing. So I think those four top line terms: length, obligation, money, and ownership are the driving force of, they're for sure the backbone of every contract, and for better or worse, I think those terms have decided whether an artist is going to be on Twitter in five years, talking about how they hate their contract, or they're going to be, you know, being able to sell their catalog for $50 to $100 million in 10 years, right? So I think LOMO is really important, and they'll help you sort of prioritize your needs if you are an artist. And again, that's not just for the artists, that's for the artists' team. That's where these collectives that are coming up, I think those are probably will be the ones enforcing that strategy. But you know, LOMO is very, it's very useful, I think.[00:17:35] Dan Runcie You got LOMO trademarked?[00:17:37] Karl Fowlkes I haven't gotten LOMO trademark, man, that's crazy. Maybe after this episode.[00:17:42] Dan Runcie  I mean, I feel like you got it, I mean, because that's so many of these things, right? How do you, like, simplify things to just make it clear and take away so much of the legalese that I think is in there, and many times as a tactic itself to confuse artists?[00:18:00] Karl Fowlkes  Yeah, I mean, and again, like some of the legal, you hire an attorney to do the hard legal work, right? That's like the job of, you know, when people are generally saying artists, you need to understand your deals, we're not saying you need to become an attorney overnight because you still need an attorney, you need someone who's, that's someone else's job. Your job is to sort of run your company, you know, have a little bit of insight on some of these objectives and stuff that you're building. But you should really have a key indicator of those top line terms, that's what you really need to know. You're not going to know what the indemnification clause is, or you're not going to get into the warranties and representation. That's not the best use of your time. But you should know how long the contract is. You should know how much money, how much royalty you're going to get, or how the royalties are even paid out. You should know what you're required to do. You know, all those good things are the core of a contract. And I think that artists need to focus less on some of the nitty-gritty of the contract. You're not going to read too much legalese in a contract. But you know, those four things will help you sort of, you know, understand what you're signing.[00:19:03] Dan Runcie  Yeah, I agree. And you mentioned earlier about the artists that are going to be on Twitter complaining about their deal. Is there an area of LOMO that you think they're most likely to complain about or have an issue about?[00:19:18] Karl Fowlkes  Oh, yeah, that's a really good question. I think oftentimes, it's a combination of usually two things, but I think it's the maybe the way royalties are paid out. I think once you really understand recoupment, you know, it's not like a net profit. It's not like an off top thing, and what I mean by that is, if you're recouping at the royalty rate, I mean, If you have a 20% royalty rate, you got to make five times, you know, to recoup, right, to get even, right? because, you know, you're, if a dollar of money is generated, only 20 cents of that dollar is counting toward, you know, paying back the label, right? So you got to make five, you got to make 25 times over. I think that's the part that really rubs people the wrong way, right? Just because if it was a net profit situation, or an off top, right, you know, all costs go toward recoupment,, and then you get 80. And I get 20. and still be bad, but it'd be a little better, it'd be, it'd be a little less bad. So I think it's that part of the money that really, really gets people upset, because I'm not even sure that, you know, these companies really don't have to do that. Like, that is just, and I'm not, I'm not in the business of, I don't care. Like, that's just stupid. That's a bad business model. I think that's the reason why a lot of disruptions happen, because that just so that's so one-sided.[00:20:36] Dan Runcie  Yeah, it makes me think of Meek Mill, when he had posted, at some point earlier this year, I don't know when I'm going to get paid, or I haven't gotten paid for this. And this is someone that, you know, could sell hundreds of thousands in his first week with, at least to do with Championships, or whatever the album was when he, llike, first came out of prison, but he still doesn't know, and he's also someone that runs a record label himself, or he has the joint venture with Roc Nation for his Dream Chasers. So it's like, even at that level, artists still don't know.[00:21:08] Karl Fowlkes Yeah, I mean, Benny The Butcher, definitely a favorite rapper of mine. But you know, I was listening to a Freestyle yesterday, he did, I think, with Charlie Sloth on London. And he said, these rappers, you know, they're doing 100k first week, but you know, he's still not recouped. And I always, that is interesting, right? Because, you know, we all care about these sorts of, these first week numbers, but, you know, how much money is it taking to get to those first week numbers? And, you know, still, you're still probably in a hole, depending on the advances you've got. Advances are good, but it's also a way for you to continue to be locked in that contract, right? Would you rather. have some people want that $5 million check. But you know, you lose leverage me the more money you take. That's just the reality of it.[00:21:56] Dan Runcie  Right. Yeah. I, I think that Benny, of course. And I think Griselda overall, they figured it out in a model that actually works for them. And I think Russ probably falls in this category as well, where it's like, okay, you know, we don't care about the first week numbers. We actually want to have a business that runs, right? So Griselda could sell $75 or $100 vinyls or, you know, butcher cleaves, or whatever it is, in order to, you know, have, like, high-end merch that people are going to want to buy. And I think for a lot of artists, yeah, there is at least a bit of a trade-off to some extent, like, do you care more about the revenue? Or do you care more about the fame and the accolades and the media and stuff? And I don't think that's as black and white for most artists as they think it is.[00:22:42] Karl Fowlkes   Yeah, because like, the real metrics that people should care about, you know, we're not in this all for money, but I think money and ownership, if you have those things, and you're building a model that sort of is conducive, and not just because you're doing shows all the time, like, you know, I'm not sure Russ passed pop out ar nightclubs, you know, just to pay his bills, I know for a fact he doesn't have to do that, right. And that sort of the flexibility and freedom that I think guys really want when they hop into the rap game. They want to be able to, you know, sit down sit by the Dame Dash Calls it that “by the pool money,” right? You know, I want to be able to put my feet up by the pool, have their residual income coming in, and you know, and really be a boss really be a CEO not have to perform in Shreveport, Louisiana, you know, at a nightclub to pay my bills because I'm not getting any money from my music. Streaming is not the best model yet, from a payout standpoint, but because of how often and consistently people are streaming music, it's still an effective way for you to get money, right? So I think, when Russ posts TuneCore statements, you know, that is, obviously not everyone's going to have that sort of consistency and hard work. But you know, a lot of that's real, I mean, if you have five, I always talk about that, that hip-hop, middle class that needs to emerge, and you need to be happy and we need to celebrate those people. And because if you're making $20,000 or $30,000 a month of music, damn, I mean you could talk, you know, that's solid money. No, that's nothing to shirk off. And some of these people, if they were independent, they might not be the global superstars that they are, they might be a little bit more in control, they might have less obligations, and they might still be able to put out the music that they want to put out. And all that stuff sort of creates sort of a concoction of, man, and maybe I will be happier, maybe I wouldn't have to get fake teeth and get a bunch of gold chains. I wouldn't have to do that because I'm living a lifestyle that's conducive for long-term success. So I think that I think that's really important, too. I mean, that's, that's kind of where I am. And that's not the sort of education that I'm putting out.[00:24:47] Dan Runcie And I feel like that's also how you're building the businesses that you have and what you're associated with, right? I look at what you and Vic and the team are building, with Blxst as well, and what you're building with Evgle, and I feel like this is exactly that. Like, you're building the company that structured around this. Can you talk a bit about how you all have things set up?[00:25:08] Karl Fowlkes Yeah, so Evgle is a company that I am an equity partner in. It's me, Victor Burnett, who was the president and is also Blxst's manager. And then you obviously have Blxst, who is the key cog, the creative genius, and really someone who's sort of, you know, been patient, and made this all possible. But, you know, the way we're set up is, you know, we were, we're a company, privately-owned, and we've been able to partner with entities in, you know, retain 100% ownership of IP, make sure we're getting, you know, some of that mail, that by the pool money at all times, and in putting ourselves in a position for us to, you know, not just build vertically, but horizontally. We're building out, you know, we have a full staff, you know, we have health care for everybody. We have office space, all those, all that fun stuff, that I think that, you know, isn't probably celebrated enough in building a company and particularly in hip-hop. So that's kind of how we're building. And I think long term,  we're empowering our artists and the people that come next, to do the same thing. It's not going to be, hey, you signed with Evgle, or we're taking your masters, and you're taking ownership and control of everything. That's, that's just not what we're doing. And, you know, I think Vic and Blxst in particular, are very, very cognizant of that. And so I think, I think we're trying to lead the way in that regard.[00:26:34] Dan Runcie  So is the plan to continue to build the company solely around the brand of Blxst himself as the creative or do you also want to bring on other artists, too?[00:26:46] Karl Fowlkes  Yeah, so we already signed another I'll call a multi-hyphenate, you know talent as well. He's an artist and producer. So we'll be rolling him out sometime later this summer, maybe early fall, then we have another producer signed on or partnered on, sometimes I use old terms, but partnered on the publishing side. So there are two other creatives already, you know, in-house, and I think the goal will be to get bigger, you know, as time goes by[00:27:14] Dan Runcie  And then in terms of Blxst specifically, what does his relationships look like with the major record label system and being able to amplify the work that he does?[00:27:25] Karl Fowlkes  Yeah, I mean, that's a great question. You know, we obviously have a public relationship with Red Bull Records, who's our partner on the record side, and it's been a super fruitful partnership. You know, Blxst has, you know, elevated his career. They've been really helpful in allowing Evgle to stay, you know, 100% independent, and building what we built. So, kudos to Red Bull. And those guys over there, in Red Bull's distributor, is The Orchard. So we do have a, I guess, major label tie, righ?. So you know, but that's really kind of, you know, I think all three of us, you know, Blxst is a multi-hyphenate to the truest extent ever, you know, he's, he can edit his own videos, he does his design work, he can produce his songs, he engineers it. You know, Vic, similar type of talent, you know,  he's, you know, he's, he's a merch guru, you know, great leader, great manager. And same with myself, obviously, I'm a lawyer, but, you know, as an operator, and someone who builds businesses on the sort of technical and admin side, you know, I love that part. So we're talking about three people who are multi-hyphenates. I think when you have people like that, you don't have to outsource as much throughout the different phases of growth. And we've been able to resist some of the pitfalls that other companies have had to go through because we've been able to scale to  2x to 5x by doing a lot of stuff in-house and I think I don't think that's going to change. And you know, our growth has been incremental and positive, you know, year after year and I think that's because we're taking the steps and we're not trying to build something really quickly.[00:29:11] Dan Runcie  Yeah, you're trying to build for the long haul, right? And if Blxst's someday going to have his triple-figure catalog sale, if he want ever wants that, that's going to be done by, you know, building step by step. You're building for the long term, even though I'm sure, right now, especially after the Kendrick feature, and he's just been blowing up especially I feel like for the past two years now, but I feel like especially the past, like, 12, 18 months, you've been seeing more and more, at least publicly, I feel like, it may seem like it, you know, things are going fast, but I feel like, you know, talking to you all, yeah, you know, this is a long game.[00:29:46] Karl Fowlkes  Yeah, it's a long game. And you also know, like, you know, behind the scenes, we've been aggressive, in know, diversifying our company profile and our portfolio and what we're trying to build, you know, outside of music. You know, I think all of us also realize the entertainment industry is also just a vehicle, to impact the world. So, you know, at some point, your vehicles change. And I think we're also we also realize that, you know, everything that we're building today, you know, has to be bigger than, bigger than just the industry that we that we exist in. That's just not, it wouldn't be fulfilling for for any of us. So, I think that's it, we're very cognizant of that.[00:30:23] Dan Runcie  That makes sense. That makes sense. Good stuff, man. I am excited to see not just more change in the industry, but obviously, I think you wrote this piece for a really timely reason. And we're gonna continue to see the impact of that. So yeah, if you're listening, definitely go check out The Future of the Artist Deal. It's up now on the Trapital website. And Karl, before we let you go, anything else that you want to plug? Or let the listeners know about now?  [00:30:50] Karl Fowlkes No, man. I mean, honestly, just keep your eyes out for everything we're doing at Evgle, I think there's going to be a lot of fun, disruptive stuff that we announced, and we do over the next couple of months to a year. And, you know, personally, you know, The Fowlkes Firm is growing as a disruptor in the law firm space. So, you know, look out for those two things. And, you know, I just challenge everyone to challenge the status quo. You know, that's, that's what we're all here for.[00:31:17] Dan Runcie That's the only way the industry grows, right? [00:31:19] Karl Fowlkes Yeah.[00:31:19] Dan Runcie  Exactly. I appreciate you, man. Thank you.[00:31:22] Karl Fowlkes All right.[00:31:24] Dan Runcie  If you enjoyed this podcast, go ahead and share it with a friend. Copy the link, text it to a friend, post it in your group chat, post it in your Slack groups, wherever you and your people talk, spread the word. That's how Trapital continues to grow and continues to reach the right people. And while you're at it, if you use Apple podcast, go ahead, rate the podcast. Give it a high rating and leave a review. Tell people why you liked the podcast. That helps more people discover the show. Thank you in advance. Talk to you next week. Advertising Inquiries: https://redcircle.com/brands

DJ, producer and TV presenter Charlie Sloth speaks with Luc Belaire CEO, Brett Berish about growing up poor in London, discovering an NWA cassette tape at age 9, and what contributed to his obsession with shoes.

An In-depth talk with one of the most consistent artists to come out of the midlands, Stardom.Take in exclusively our latest perspective. See acast.com/privacy for privacy and opt-out information.

Charlie Sloth shares his amazing journey about his boomin' career with incredible stories of persistence, hard work, resilience, friendly competition, solid relationships with his days ones and much more! https://www.instagram.com/charliesloth/ ----- NO JUMPER PATREON http://www.patreon.com/nojumper CHECK OUT OUR NEW SPOTIFY PLAYLIST https://open.spotify.com/playlist/5te... FOLLOW US ON SNAPCHAT FOR THE LATEST NEWS & UPDATES https://www.snapchat.com/discover/No_... CHECK OUT OUR ONLINE STORE!!! http://www.nojumper.com/ SUBSCRIBE for new interviews (and more) weekly: http://bit.ly/nastymondayz  Follow us on SPOTIFY: https://open.spotify.com/show/4ENxb4B... iTunes: https://itunes.apple.com/us/podcast/n... Follow us on Social Media: https://www.snapchat.com/discover/No_... http://www.twitter.com/nojumper http://www.instagram.com/nojumper https://www.facebook.com/NOJUMPEROFFI... http://www.reddit.com/r/nojumper JOIN THE DISCORD: https://discord.gg/Q3XPfBm Follow Adam22: https://www.tiktok.com/@adam22 http://www.twitter.com/adam22 http://www.instagram.com/adam22 adam22hoe on Snapchat Learn more about your ad choices. Visit megaphone.fm/adchoices

On this weeks episode, i'm joined by Brixton born Rapper, Songwriter, Singer and Producer Genesis Elijah We discuss the following topics - Life growing up in London - Being an independent artist by default - Recording during Covid-19 - Latest Project None Of You Can XXXX With Me Genesis Elijah, is a Brixton born rapper, singer, songwriter and producer who now calls Watford home. Known for his passionate delivery and gritty reality based lyrics. One of the most respected names in the UK music scene with some of the most loyal supporters worldwide. 
 Genesis Elijah has consistently wowed fans with his original and unpredictable style. Whether on the Glastonbury stage or Wembley arena is energetic performances are always captivating. Genesis Elijah has performed all over the world as well as starred in International advertising campaigns (Magners Irish Cider, Tullamore Dew Whiskey, BBC, ITV, Channel 4, Roberts Speakers). He has been championed by DJs like Zane Lowe and Charlie Sloth as well as Hollywood A-listers like Ricky Gervais. His body of work includes cult classics like Jah Bless, Fathers Day and Phantom Dread Syndrome which was featured in the movie Brotherhood. 
 A versatile musician who flows effortlessly effortlessly between all genres and styles who has worked with artists from Foreign Beggars and Harry Shotta to Kele Le Roc and Matt Goss (Bros) You can listen and follow Genesis Elijah by clicking the links below Spotify - https://open.spotify.com/artist/7ykM9gwcxoplthUOlrih06?autoplay=true Apple Music - https://music.apple.com/gb/artist/genesis-elijah/101903203 Youtube - https://www.youtube.com/channel/UCAAvpWRXBFhwGCB2dh275ow BandCamp - https://genesiselijah.bandcamp.com/ You can also follow Genesis Elijah by clicking the links below Twitter - https://twitter.com/genesiselijah Instagram - https://www.instagram.com/genesiselijah/?hl=en Facebook - https://www.facebook.com/genesiselijahmusic

We sit down with rising star Boy Nash to talk about being co-signed by legendary hip hop DJ, DJ Semtex, his 11 minute Fire in The Booth, and performing at Wireless Festival.In This  Episode* Choosing The Art Over Finance*Performing at Wireless For The 1st Time  * Being Unique Please don't forget to leave a 5* rating and comment if you enjoyed the showCreditsTheme Song: by Annodomination Sound effects obtained from https://www.zapsplat.com Contact Instagram: @thefamilypodcast @don.speaks @boynashTwitter: @thefamilypod @boynashWebsite: https://www.thefamilypodcast.co.uk https://boynash.com

The fellas kicked off this weeks pod by discussing 100 metre sprinter Sha'Carri Richardson's suspension after testing positive for Cannabis and do the US government need to review a number of their policies? They also spoke on driving safely once again, why do YouTuber's get stigmatised for making music and street hustlers don't? Brent Faiyaz and Drake's new song, Charlie Sloth buying Ardee some expensive sneakers plus much more....@craigxmitch@nicdream@doubledownpodcast

Whitley Ruchea is an open-format DJ currently based in Dubai. She has recently dropped guest mixes on BBC 1Xtra and Capital Xtra. She also has an affiliation with Luc Belaire wine brand and has supported artists such as J Hus, Charlie Sloth, WSTRN, and Yungen. See acast.com/privacy for privacy and opt-out information.

DJ Walia is a hip-hop DJ from Newcastle, UK. He performs regularly across his hometown and has been featured on Capital Xtra as a guest DJ. He has also supported artists such as Lethal Bizzle, Charlie Sloth and Nathan Dawe. See acast.com/privacy for privacy and opt-out information.

In the seventy-ninth episode of The Just Checking In Podcast, we checked in with presenter Joe Walker. Having started out at CLASH, PUSH and RWD magazines, Joe joined start-up community radio station Reprezent in 2015 and has hosted his own show on there ever since. He was named by Complex UK in their 14 UK Music Radio Hosts Pushing The Culture Forward for 2021. Joe has hosted shows on Apple Music 1, where the likes of Zane Lowe and Charlie Sloth have had mainstay slots. He is also the co-founder of the International Clearance podcast, a football podcast about British players who make the choice to leave the UK to play abroad and their trials and tribulations on that journey. In this episode we discuss his journey in the media industry, how he broke into one of the most competitive professions there is, starting his own podcast and going viral when he took part in an impromptu live-stream prank on football comedy and culture channel, FilthyFellas. We also discuss the instability of the industry, financial anxiety, grief and the trauma of losing his best friend to suicide three years ago. As always, #itsokaytovent You can follow Joe on social media below: Twitter: https://twitter.com/ohjoewalker Instagram: https://www.instagram.com/ohjoewalker/ Listen and subscribe to the International Clearance podcast here: https://intlclearance.libsyn.com/website You can also find the International Clearance podcast on social media below: Twitter: https://twitter.com/IntlClearance Instagram: https://www.instagram.com/intlclearance/ Patreon: www.patreon.com/venthelpuk GoFundMe: https://www.gofundme.com/f/help-vent-support-people-with-their-mental-health Music: @patawawa - Strange: www.youtube.com/watch?v=d70wfeJSEvk TRIGGER WARNING: this podcast contains a deep discussion about grief, loss and the suicide of a loved one which some listeners may find distressing or upsetting, so please listen with caution.

Pandamonium Radio Show #12. Зборуваме на следните теми: 00:00 - интро, нови синглови: 02:13 - Knucks, RIN 06:42 - DaBaby, Young Thug & Juice WRLD 10:49 - Funkmaster Flex & Fivio Foreign, Central Cee 13:47 - Charlie Sloth, Fire In The Booth 17:11 - тема на денот: најочекувани албуми за 2021: 18:00 - Drake - Certified Lover Boy 24:43 - Kendrick Lamar 29:03 - TDE: Schoolboy Q, SZA, Isiah Rashad 32:01 - Frank Ocean 33:01 - Rihanna 35:51 - ASAP Rocky 38:43 - Travis Scott 41:12 - J. Cole 44:50 - Kanye West 45:18 - Migos 46:07 - 2012 или 2021? 47:39 - Pusha T (+ Neptunes?) 49:37 - IDK, JID, Earthgang, Baby Keem 50:44 - Joey Badass, Beast Coast, Denzel Curry 52:50 - Goldlink 53:57 - Don Toliver 55:00 - UK Hip-Hop: slowthai, Dave, Skepta 57:35 - MK Hip-Hop 2021 1:05:33 - мк сцена: 1:07:30 - Елисеј - Нема шанси 1:09:10 - Лас Веѓас - Џагара Багара 1:11:44 - Young Dadi x Rager - Многу сакам да те видам 1:14:41 - Martix x Druggy - Шесто сетило 1:18:50 - Куманово Cypher 2021 1:21:58 - Doxa - Platformer EP 1:26:10 - Bon Praskiza - bad n buzhi 1:28:54 - Вторник 21 - Д Хроникс

HTGG's review of the song Get It, by UK DJ Charlie Sloth, which features Gunna, Abra Cadabra, and Kelvyn Colt. Facebook Instagram Youtube Twitch Discord Twitter Fiverr (For all your Outsourcing needs) Curb Face Masks (15% OFF WITH CODE - LAUNCH15) FragranceDirect (For all your Beauty products) 365Games (For all your Gaming needs) Schuh (For all your Shoe needs) #HTGG #Review #CharlieSloth #GetIt #UK #US #Gunna #AbraCadabra #KelvynColt #Song --- Send in a voice message: https://anchor.fm/htgg/message Support this podcast: https://anchor.fm/htgg/support

BIG SHAQ | Before They Were Famous | Michael Dapaah BiographyBefore Big Shaq’s Official Music Video for Man’s Not Hot would blow up on Youtube featuring huge appearances by Waka Flocka, Lil Yachty, and DJ Khaled. Before Big Shaq’s “The Ting Goes” became the biggest meme of Fall 2017, getting Shaq mainstream buzz, by putting his lyrics on top of everyday situations for big laughs. Before Big Shaq’s appearance on Charlie Sloth's Radio series Fire In the Booth brought in over 11 Million views between Facebook and Youtube… Before Big Shaq would get the attention from The OG Big Shaq, Basketball legend and broadcaster, Shaquelle Oneil, who released a diss track claiming the name Big Shaq for himself.Find out more in this podcast

In this episode we speak to Dellessa James who is a Music & Media Executive/Executive Producer and will be joining Amazon Music as their Senior Artists Relations Manager, leading their Black Music Strategy. We speak about how Dellessa got started in music, her journey through various BBC Radio roles, whilst working part time. We then touch on when she started producing Charlie Sloth's show, how they got Fire In The Booth to be as big as it is, then leaving BBC for Apple, and she also touches on what's next. Don't forget to follow us on instagram @tempoandflow and on Facebook https://www.facebook.com/tempoandflow/ and also follow the host of this episode Big Lloyd on instagram @88entertainment. For any questions, feedback and comments, you can email us at info@88entertainment.com

This week, we flash back to the time UK radio personality Charlie Sloth paid the "MikiDz Podcast" crew a visit to talk about his come up on BBC Radio 1 and the success of his "Fire In The Booth" freestyle sessions. See acast.com/privacy for privacy and opt-out information.

The mysteries and unique experiences of typical British nightlife are uncovered. Featuring Tommy and Joe. Chapter Points:03:05 - What is NBs? |13:52 - Sofas |23:09 - The Creepy Lad |26:52 - FOOD |43:45 - Tommy's Night |53:22 - Joe's Night |01:05:54 - Tom's Night |01:15:45 - Matt's Night |01:20:08 - Luke's Night |

It's been a while but the ladies are back with a fresh new look and another episode of 'topical tings'. Tune in for a round-up of all the happenings... they're discussing Black is King, Charlie Sloth, WAP and more...

In this episode we discuss Streaming platforms Paying Artists (03:00) Why We Use Some Apps More (06:25) Banning TikTok & Reels (13:30) Charlie Sloth & 69 (24:05) Simping (27:00) Audi Apology (35:20) Eviction Ban (38:50)

International superstar DJ Charlie Sloth has done it all. In 2017, he sat down with Myles to talk about his journey so far and the release of his project 'The Plug'. Learn more about your ad choices. Visit megaphone.fm/adchoices

From the comfort of home, we bring you special quarantine session with Nomad DXB, we talk with Mish and Rayan Bailouni about truly supporting grassroots talent, collaborative music making and pivoting to build bridges from the Middle East to the world. Special performances from Michele and Ananya. This one, as always, is about love and commitment to our craft, even the in strangest times. To find out more about Nomad, check out https://www.nomaddubai.com/home Check out the On the Rise EP: https://distrokid.com/hyperfollow/nomaddxb/nomad-on-the-rise-3 #WeCauseCulture Hosted by OT, Reem, and Akkaoui, the Dukkan Show is brought to you by the audiophiles at Dukkan Media.

Joe & Joe discuss Boris Johnson becoming Prime Minister and Labour's plan to get rid of private schools. They review Yesterday and Midsommar, moan about the heatwave in London and check in on what Charlie Sloth has been up to.Support this show http://supporter.acast.com/flavours-weekly. Hosted on Acast. See acast.com/privacy for more information.

Joe squared talk about Apu being dropped from The Simpsons, the Southampton student union president wanting to paint over a WW1 mural and nothing on Charlie Sloth unfortunately.Support this show http://supporter.acast.com/flavours-weekly. Hosted on Acast. See acast.com/privacy for more information.

This week we're joined by our long time friend DJ Jonezy, who now holds a weekly slot on Beats 1 alongside Charlie Sloth.

UK radio personality Charlie Sloth pays a visit to the "MikiDz Podcast" crew to talk about his come up on BBC Radio 1 and the success of his "Fire In The Booth" freestyle sessions. See acast.com/privacy for privacy and opt-out information.

YourHostRob Talks with Charlie Sloth ahead of his album 'The Plug', what makes a great artist, Fire In The Booth and more Watch Here https://www.youtube.com/watch?v=vtKeB1WdVWo Grab a copy of 'The Plug' available here: https://t.co/fJDyI00jFP Follow: @YourHostRob @charliesloth

This week is the long-awaited chat with the London-based independent rapper, manga author, entrepreneur and occasional ninja, ShaoDow! Their chat begins with how & why ShaoDow became a full-time rapper before they delve into the process of creating & releasing rap songs (including his newest single “Burn Out”). ShaoDow then talks about his time on the high-street selling CDs (& why he no longer does this) followed by discussing ShaoDow’s manga “The Way Of The Shao”, his trip to China & the other places he’s travelled, how he got onto Charlie Sloth’s Fire In The Booth and his collaboration with Krizz Kaliko of Strange Music! If all of that wasn’t enough, ShaoDow & Mike also discuss ShaoDow’s friend & regular collaborator Zuby, ShaoDow’s track Dropkick Man going viral, instant-gratification culture, ShaoDow winning the 2017 AIM Award for Hardest Working Artist before finishing part 1 with a discussion about Eminem. Part 2 will be out next week at the same time and they discuss a wide variety of topics, but they start discussing ShaoDow’s Kaioken video and link to Dragonball Z/Super, which leads to a long discussion on what ShaoDow & Mike do and do not enjoy about the show as well as Dragonball & Dragonball GT, before talking about other animes ShaoDow & Mike enjoy, live-action adaptations of anime and dubbing & subbing. They then talk about the upcoming Sonic The Hedgehog movie, Detective Pikachu, they then have a lengthy discussion on Super Smash Bros, they discuss other video games and motivation in life before they finish by discussing DIY gang! ShaoDow’s site - ShaoDow's New Single Burn Out In case you missed it, last week Mike spoke with Calum of Placeholder – a UK metalcore band based in Southampton. Their chat is in two parts and they discussed a great many things, including Calum’s love for Gordon Ramsay, using CDs & streaming nowadays, before talking about all of the music Calum & Mike have been listening to (including Billie Eilish, The Plot In You, Lewis Capaldi & more) before they discuss self-promoting on social media, Placeholder’s three new music videos & their meaning along with the theme of their newest EP ‘Despise Me’, they then speak about misheard song lyrics, some of the negative & positive feedback Calum has received on various social media platforms and much more! Promo by Ignite The Flame Audio Genuine Chit-Chat is a part of the Brit Pod Scene, so be sure to check out the other members of the family as well as the BPS podcast – www.britpodscene.com Instagram – Twitter – Facebook – YouTube – Stitcher - Podbean - Spotify You can also email us at GenuineChitChat@outlook.com with any reviews, comments or suggestions.

The guys discuss Sex In A Canoe, Illitamin G, Asaviour aka Savvy, Bloop Hill Beats, Beer Review, Manuel The Indian Tiger Pirate, Organised Chaos, Lunar C, Marvin, Rap Door, People Without Shoes, Saving Grace Music, Wooden House Prod uctions, Gangstarr, French Mountainboard Championships, Tafia, Yogo Cop Records, Braintax, Illinformed, ShireFunk, Army Of Darkness, King Louie, Charlie Sloth, Rawforms, G21 Saddle Inn Chester, Live Rap and much more --- Send in a voice message: https://anchor.fm/hip-hop-shedsessions-podcast/message

This was a moment to remember - sitting down in a secret location and having food with 3 of the all time greatest UK MC's who have helped pave the way for UK music and street culture (Rodney casually tells me off camera, that he once worked alongside Jimmy Page)This is an exclusive chat with team KINGDEM, comprising of MC's TY, Rodney P & Blak Twang. We get deep on their journeys, their visions, motivations. The connective DNA of the UK music scene; London Posse, Goldie, Roots Manuva, Tim Westwood (dare i bring up his name) friends kenny Ken, Children Of Zues, Harry Shotta, Charlie Sloth and the ethos behind the Kingdem project, which is selling out venues across the UK and beyond. Subscribe the Killa Kela Podcast @ iTunes: podcasts.apple.com/gb/podcast/kill…la/id1348068059 Subscribe the Killa Kela Podcast @ Spotify: open.spotify.com/show/1OGLNJ6bVfW…CEQiafQIQ6SYtN_g Watch here; https://youtu.be/O9Mf1Wh0_k8 Support the Killa Kela Podcast by being a Podcast Patreon and receiving a mass of exclusives and bonus content www.patreon.com/killakelapodcast KILLA KELA Website: www.killakelaofficial.com Instagram: www.instagram.com/killakelaofficial/ Facebook: www.facebook.com/killakelaofficial Twitter: twitter.com/KillaKela KINGDEM Instagram: @Kingdem_2019 @blakzilla @tymusical @Rodneyp_UK Twitter: @blaktwang @Rodneyp_UK @tymusic Facebook; kingdom tour 2019

Stuart Clarkson chats to guests as they arrive on the red carpet at the Radio Academy’s Audio & Radio Industry Awards (ARIAs) 2018, then speaks to winners backstage at the Leeds Arena. Guests include Penny Smith, Tony Livesey, Harriet Scott, Gemma Atkinson, Charlie Sloth, Tony Hadley, Bob Shennan, Ronan Keating, Matt Edmondson & Mollie King, Justin Dealey, Stephen Nolan, Paul Sylvester, Jamie Cullum, Mylo & Rosie, Anna Foster, Ben Cooper and Greg James. Roy Martin pops in for a quick word about the news that Simon Mayo is leaving Radio 2.  There's also James Cridland on podcast measurement and David Lloyd’s look back at this week in history with Radio Moments.

In this episode we discuss: • Adeyemi Micheal's short film about his mother • Social media in the afterlife • How men treat their partners compared to their mothers • Defending your partner in public regardless of right or wrong • Women being men's 'peace' • If men are good at showing emotions • Wiley's issues with Skepta collaborating with Dizzee • If people should not connect or do business with someone their friend has beef with • Pusha T's interview on Joe Budden • If it's ok to have pillow talk with your mrs about your boys • Ridley Road In Shop being closed down • Good deeds in silence • Diddy & Cassie breaking up • If there is such a thing as wasted time after a relationship • Responsibilities to a partner after a relationship end • Deliverymen trying to chat up women they delivered to • Charlie Sloth's award stage outburst • Sajid Javid's Asian Paedophile tweet Connect with us at & send your questions & comments to: #ESNpod so we can find your comments www.esnpodcast.com www.facebook.com/ESNpodcasts www.twitter.com/ESNpodcast www.instagram.com/ESNpodcast @esnpodcast on all other social media esnpodcast@gmail.com It's important to subscribe, rate and review us on your apple products. You can do that here... www.bit.ly/esnitunes

A brief conversation discussing Dave battling for #1 and his creativity with his visuals. Also, with Charlie Sloth making a shock move to Apple, who will the big responsibility of holding down the hiphop show on BBC Radio 1 go to??? #HalfcastPodcast @ChuckieOnline @PoetsCornerUK Guest @J2KLive Youtube.com/ChuckieOnline

Roger Bolton asks why Today is losing listeners and hears views on the Radio 1 interview that never aired. Natalie Haynes talks about finding hilarity in antiquity. The latest set of RAJAR radio listening figures were released this week. There was a big fall in the number of people tuning in to Radio 4's Today. We hear from disgruntled listeners about why they've stopped listening and former Editor of Today and Controller of 5Live, Roger Mosey, discusses whether the corporation should be worried. Radio 1 caused a social media storm last week by first trailing - and then cancelling - an interview with the controversial YouTube vlogger Logan Paul. The online star had been invited for an interview with Charlie Sloth despite making headlines earlier this year when he made a video that many felt made light of suicide. Listeners explain why they were angry about the interview and respond to Radio 1's explanation for cancelling it. Natalie Haynes Stands up for the Classics is perhaps the model of an unlikely hit - a self-described ex-comedian looking for humorous ways to explore the lives of figures from ancient history. Feedback listeners seem to love it, so Natalie joins Roger Bolton to answer their questions and reveal the origin of her obsession with Classics. Producer: Will Yates A Whistledown production for BBC Radio 4.

Well. Stuff has happened. Lots of it. And Laura’s got an explosion sound effect she’s borrowed from Charlie Sloth. Enjoy.

Watson & Manlykchris are back again without Kots AGAIN, to discuss Drakes recent UK appearances on LinkupTv's "Behind Bars" & Charlie Sloth's "Fire In The Booth". ManlykChris also talks about his Wireless Festival experience and much much more...

Niki and Sammy challenge themselves to turn Radio 1's Biggest Weekend into the Peachiest. Along the way, 1Xtra's Dotty and Radio 1's Charlie Sloth, Jordan North and Maya Jama help them with their mission, PLUS Hailee Steinfield plays a special role in the 'Peachiest Weekend' task. The twins will also give you all of their highlights from the weekend!

Fi and Jane head to the Radio Academy’s Radio Festival in the hopes of grabbing the glorious and the good as they queue for a free burrito. In the green room, they corner Radio 1 and 1Xtra’s legendary presenter and DJ, Charlie Sloth. When Charlie reveals his plan to stop work at 40, Fi and Jane are on hand with advice about retirement planning, pensions and getting into gardening. Plus, Jane bumps into a former colleague from her local radio days.

The Don of Slothland joins SRA Con to discuss the importance of Branding & why Student Radio should use its freedom Warning: Explicit Language Produced by Scott Hastie @HastieBeatz Photo by Christopher Hambling @ChrisHambo

MC, Model and Fashion forward artist Tino Kamal speaks his mind about todays mergence of fashion in rap, his work with Director Nick Knight, Charlie Sloth "Fire In The Streets" Show, and his life as a creative. Video recorded live here https://youtu.be/suiz1HdP9QI Find every episode here www.killakelaofficial.com Support the Killa Kela Podcast by being a Podcast Patreon and receiving a mass of exclusives and bonus content https://www.patreon.com/killakelapodcast Connect instagram @killakelaofficial Facebook www.facebook.com/Killakelaofficial Twitter @killakela Tino Kamal Instagram - @TinoKamal facebook - www.facebook.com/tinokamal Twitter - @tinokamal

This week on A Waste of Time with ItsTheReal, we welcome British comedian Michael Dapaah AKA the worldwide sensation Big Shaq AKA Mans Not Hot to the Upper West Side! In his first American interview, Michael talks about the genesis of Big Shaq, how the Fire in the Booth segment took shape, how Michael wasn't completely happy after the performance, how it took the internet by storm, and whether man actually did get hot in the booth. We also dive into Michael's full history, from growing up in South London with dreams of being a football star, to his hilarious quest to get into University and follow his father's footsteps, to finding his passion in performing live on stage and in Instagram videos. We discuss how the loss of a lifelong friend changed his outlook on life, how he quit his desk job to focus on creative videos, and how he held himself to goals he kept posted on his bedroom wall. All that, plus stories about Drake, Shaquille O'Neal, Charlie Sloth, dealing with the ups and downs of producing internet content, and much more! See acast.com/privacy for privacy and opt-out information.

No Harley, but the show must go on! We played some games, talked about Japanese sex culture and Paris Hilton comparing herself to Princess Diana. Also on the show we played out when Reece met Charlie Sloth earlier that day to talk about his new album.

No Harley, but the show must go on! We played some games, talked about Japanese sex culture and Paris Hilton comparing herself to Princess Diana. Also on the show we played out when Reece met Charlie Sloth earlier that day to talk about his new album.

LV PODCAST 'IN DEPTHS'. Recently appearing on Charlie Sloth's 'fire in the booth' on Radio1xtra, 'Mo the Comedian' is the guy we all love to love. An in depth, relaxed, and insightful conversation with 28 year old Mosiah Gilligan, taking place in a cafe on the border of Peckham and Dulwich, south London. Serena Hussain here. I started this online publication to capture and share insightful and diverse content. Interviewing and having conversations with influencers and creatives, young and old, from all sorts of backgrounds, is the way to inspire and educate us all. Why is this necessary? Because we carry around with us all sorts of stereotypes and caricatures of people from all sorts of backgrounds. We do have a lot in common, but perhaps we can relate in a more powerful way by actually learning and listening to different experiences and stories. That's what Life Vocabulary is all about. Expand yours.

Pauline reads the poem after examining the end rhyme sounds

Pauline and her daughter Jennifer briefly explore linking words. We are both snotty and poorly so it's short today!

Together we can practice list making using intonation. I give some guidance regarding how to make a list then we examine how to show the items are equally important or related to each other.

Pauline uses four different resources to explain how to pronounce the two consonants so that they sound different.

In this episode Pauline gives some examples of commonly-used reassuring sentences, taken from Thompson's 'Intonation in Practice'. We look at where the rise and fall occur. Listen to Pauline and repeat slowly. Secondly Pauline gives some examples of how we contradict people, either by disagreeing or correcting them. The intonation pattern is different so listen carefully and repeat. Email for copies of PDFs, for more info or to book an Elocution lesson - info@midwintertuition.co.uk

A brief look at whether a plural should be an s or a z sound...

Using both Thompson's 'Intonation in Practice' and www.home-speech-home.com for a list of wh questions - we look at how the intonation of wh questions really, really, really does have a rule! That rare gem in the English language! For more information on intonation, for copies of the PDF I used or to book a lesson please email me info@midwintertuition.co.uk

To avoid saying 'nothink' instead of 'nothing' listen to this podcast! We talk through actual production of both sounds then try some words and a rhyme or two. Then it is up to you to practice! This week I use the ACE Spelling Dictionary - which I bought second hand.

We look to internet forums and a fantastic textbook "English Pronunciation in Use: Advanced" for some help with pronunciation of compound nouns - particularly 2 or 3 part nouns.

"Dearest creature in creation, study English pronunciation." For the full text go to www.midwintertuition.co.uk or email info@midwintertuition.co.uk for a copy

Pauline demonstrates how to make and drill the T and the D. She looks at a few examples of past tense regular that use ed and which t/d/id sound it makes. She finished with her favourite rhyme that uses both sounds! Email info@midwintertuition.co.uk for more info or look at www.midwintertuition.co.uk

This episode looks at the minimal difference between the production of certain consonants. If you want the list of consonants email me info@midwintertuition.co.uk

A tricky sound for many of my students - here we create the z sound and use it in some words and a couple of tongue twisters

SEASON of mists and mellow fruitfulness, Close bosom-friend of the maturing sun; Conspiring with him how to load and bless With fruit the vines that round the thatch-eves run; To bend with apples the moss’d cottage-trees, And fill all fruit with ripeness to the core; To swell the gourd, and plump the hazel shells With a sweet kernel; to set budding more, And still more, later flowers for the bees, Until they think warm days will never cease, For Summer has o’er-brimm’d their clammy cells. Who hath not seen thee oft amid thy store? Sometimes whoever seeks abroad may find Thee sitting careless on a granary floor, Thy hair soft-lifted by the winnowing wind; Or on a half-reap’d furrow sound asleep, Drows’d with the fume of poppies, while thy hook Spares the next swath and all its twined flowers: And sometimes like a gleaner thou dost keep Steady thy laden head across a brook; Or by a cyder-press, with patient look, Thou watchest the last oozings hours by hours. Where are the songs of Spring? Ay, where are they? Think not of them, thou hast thy music too,— While barred clouds bloom the soft-dying day, And touch the stubble plains with rosy hue; Then in a wailful choir the small gnats mourn Among the river sallows, borne aloft Or sinking as the light wind lives or dies; And full-grown lambs loud bleat from hilly bourn; Hedge-crickets sing; and now with treble soft The red-breast whistles from a garden-croft; And gathering swallows twitter in the skies.

So this week I’ve been lucky enough to be invited to speak on radio and television. I was a guest on Monday Matters on a Community radio station in Sittingbourne, SFM, then I was filmed for a slot on an ITN Tonight show which will be aired at the end of this month. For both pieces I was equally nervous. It doesn’t help that I have two more weeks until my periodontal surgery appointment, so I have a lot of pain in my mouth, plus I had the usual cycle of housework, childcare and work issues on my mind. So I thought this week I would talk about taking care of your voice, using your voice and hearing your voice.

Pauline demonstrates the correct and incorrect pronunciation of the letter L.

In this podcast Pauline demonstrates the three sounds and describes mouth placement for the sounds. She gives some example words and sentences, a few rhymes and tongue twisters too.

In this podcast we are going to repeat sentences several times, changing the emphasis one word at a time - when you listen to me reading it see what meaning you think the sentence has. I will use three different sentences. Then I will give you some examples of statements that change meaning depending on the position of the punctuation.

This time Pauline gives some examples of how you understand the changing pitch in your voice when you are speaking. She demonstrates this change in many ways, finishing with an excerpt from 'If' by Rudyard Kipling.

Pauline discusses the mouth shape, pronunciation and spelling variations of the sound, puts the sound into words such as brown, cow and about and demonstrates sentences to start you off.

In this short podcast, Pauline explains how to create the sound, gives some example words, then a sentence and a silly rhyme. Listen to the examples and repeat them.

This podcast discusses how to approach speaking clearly with children. Pauline shares her personal experience with her two children, currently aged 2 and 5 and her experience working with secondary school children. This is by no means an exhaustive system or approach, but a few things that worked for her and may work for you.

Pauline is officially on holiday so this week her podcast is a light-hearted look at two exercises which build vocal strength - but do not feel like hard work. Lip flutters are fantastic for building strength in the vocal folds and tongue twisters build co-ordination in the muscles of the mouth and - more importantly - your brain!

In this episode, Pauline explains how 'p' and 'b' are actually the same mouth shape but just voiced and unvoiced sounds. She then goes on to compare other consonants and sounds, gives an advanced exercise and ensures you drill the 'th' sound which is so important in formal situations.

Pauline discusses the mouth shape, pronunciation and spelling variations of the sound, puts the sound into words such as dust, love, rough… and a short / long sentence to start you off.

In this short podcast, Pauline explains the short vowel sound 'o' - not to be confused with 'oh' or 'uh'.

Here we collate all of the vowel sounds and use them in a sequence. This then creates a muscle memory. We add consonants and change the pitch of our voices. To purchase these sounds please go to http://paulinemidwinter.bandcamp.com/track/vowel-sounds-1 For more information go to www.midwintertuition.co.uk

The short 'e' is discussed, compared to other short vowel sounds, put within words and sentences and mouth shape discussed. Use the words to listen to and repeat in your practice time.

In this brief podcast, Pauline explains how to position your mouth to create the short 'i' sound, gives some example words such as 'pit' and one sentence to try.

BBC Radio 1 Breakfast's Laura-May Coope, managing director of Somethin' Else Steve Ackerman and Jack FM Oxfordshire's Sue Carter offer their views on how to innovate in radio. The panel discuss how social media has been a game changer, and with tools like Twitter, Facebook and Tumblr now enabling greater audience engagement, having a conversation with your audience is clearly important. Even YouTube has a role to play and may now be the new hunting ground for talent – the likes of Dan and Phil and Charlie Sloth attest to that – so taking creative risks remains key to how successful your innovation will be. Being local with a small budget is no bar to innovation either, as stations like Jack FM have shown, making the most of their branding and budget and reaching their key audiences in an immediate and relevant way.