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Pianist-composer Sylvie Courvoisier is a Brooklyn-based native of Switzerland and winner of the Swiss Grand Prix and The American Academy of Arts and Letters Music Award. She has earned renown for balancing two distinct worlds: the deep, richly detailed chamber music of her European roots and the grooving, hook-laden sounds of the avant-jazz scene in New York City, her home for more than two decades. Courvoisier will perform solo on Night 2 of this year's Other Minds Festival in San Francisco. In the interview, Courvoisier talks about improvising with radios as a child, her multi-stylistic musical education, and the influence of composer Conlon Nancarrow.Music: Frisking (for Henry Cowell), La descente des alpages (for Julian Sartorius), Soliloquizing (for Wadada Leo Smith), and Preluding (for Conlon Nancarrow) composed and performed by Sylvie Courvoisier (Intakt Records)Follow Sylvie on Instagram and Facebook.sylviecourvoisier.comFollow us on Instagram and Facebook.otherminds.orgContact us at otherminds@otherminds.org.The Other Minds Podcast is hosted and edited by Joseph Bohigian. Outro music is “Kings: Atahualpa” by Brian Baumbusch (Other Minds Records).
S6E6 Campari America's Allison Varone on mindful drinking and the new rules of beverage brand building with Gen ZEveryone keeps repeating that Gen Z doesn't drink. The data tells a far more interesting story about mindful drinking and this episode unpacks it.In this episode of The Retail Razor Show, Ricardo Belmar and Casey Golden sit down with Allison Varone, Head of Marketing at Campari America, for a genuine masterclass in beverage brand building. With more than 20 years across the wine and spirits industry, Allison leads marketing for one of the most iconic brand portfolios in the world: Aperol, Campari, Wild Turkey, Courvoisier, Grand Marnier, Espolòn Tequila, and the newly US-launched Crodino, a non-alcoholic spritz beloved in Italy since 1965.This conversation goes beyond the headlines about the spirits industry to explore the cultural shifts, strategic bets, and marketing instincts behind some of the most recognizable drinks in the world, and what they mean for anyone building consumer brands in 2026.What We Cover· How Gen Z is redefining drinking culture, and why mindful drinking is a growth opportunity for the spirits industry rather than a threat· The "zebra striping" trend: how consumers now bounce between alcoholic and non-alcoholic beverages depending on the occasion· Crodino's US launch and the strategic timing behind Campari America's move into the non-alcoholic spirits space· Why occasion-led marketing has replaced category-first brand thinking across the beverage industry· What Aperol's Coachella activation and Negroni Week reveal about experiential marketing ROI· How Wild Turkey's "Don't Change a Damn Thing" campaign keeps a heritage brand culturally relevant on TikTok· The real playbook for challenger brands trying to break through a crowded beverage market· What premiumization actually means when consumers are cautious, and how Espolòn Tequila balances premium with accessible· Inside the Campari Academy and how bartender education becomes a competitive advantage· A bold look at the spirits industry in 2035: more inclusive, more occasion-led, and centered on human connectionA Standout Idea from This EpisodeAllison's advice to brand strategists was refreshingly direct: focus less on categories and more on how consumers are actually evolving. Lead with the occasion, then figure out where your brand fits into that moment. That is brand strategy advice that travels far beyond the spirits industry.Whether you work in retail, brand marketing, CPG, or you are simply curious about how culture shapes consumer behavior, this episode delivers insight you can use immediately.This Episode is Brought to You By RetailClub.Join 2,000 retail leaders at RetailClub AI Festival, September 22–24 in Huntington Beach. Dive deep into how AI is reshaping retail while soaking up the sun at a fully outdoor, beachside venue. Decision-makers from retailers and brands can attend with free tickets and up to $1,250 in travel reimbursement. Head to retailclub.com to learn more. https://retailclub.com/retail-razor-podcastSubscribe & FollowIf you enjoyed this episode, please leave us a 5‑star rating and review on Apple Podcasts, Spotify, or Goodpods. Subscribe on YouTube so you never miss an episode and check out the other shows in the Retail Razor Podcast Network: Retail Transformers, Blade to Greatness, and Data Blades.Subscribe to the Retail Razor Podcast Network: https://retailrazor.com/Subscribe to our Newsletter: https://retailrazor.substack.comSubscribe to our YouTube channel: https://go.retailrazor.com/utubeAbout our GuestAllison Varone, Head of Marketing, Campari America. https://www.linkedin.com/in/allison-varone-4650901/https://www.camparigroup.com/enAllison Varone is Head of Marketing at Campari America, a growing powerhouse group in the U.S. spirits market. A seasoned executive, leader and strategist, she has more than 20 years of experience driving growth, market share and profitability for both large and small brands. She joined Campari America in 2024 and previously served as Vice President of Channel and Customer Marketing, where she lead Campari America to some of its greatest partnerships and campaigns, including Negroni Week for Campari, SKYY Vodka for PRIDE, Courvoisier Bring Your Own Courvoisier campaign and Aperol as a sponsor of the U.S. Open and the official Spritz Partner at Coachella.Chapters00:00 Opening Teaser00:49 Show Intro06:02 Welcome Allison Varone07:23 Gen Z & Mindful Drinking Culture09:09 Non-Alc Innovation & Product Strategy12:46 Occasion-Led Marketing & Coachella14:39 Shifts in Consumer Behavior17:02 Spanning Generations Across the Portfolio19:26 Measuring Activation Impact21:27 Advice for Challenger Brands24:33 Honoring Heritage Brands26:22 Premiumization & Value28:18 The Campari Academy & Elevated Experiences30:53 The Spirits Industry in 203533:17 Advice for Brand Strategists35:27 Wrap-Up37:23 Show CloseMeet your hostsHelping you cut through the clutter in retail & retail tech:Ricardo Belmar is an NRF Top Retail Voice for 2025 and a RETHINK Retail Top Retail Expert from 2021 – 2026. Thinkers 360 has named him a Top 10 Thought Leader in Retail, a Top 25 Thought Leader in AGI and Careers, a Top 50 Thought Leader in Agentic AIand Management, and a Top 100 Thought Leader in Digital Transformation and Transformation. Thinkers 360 also named him a Top Digital Voice for 2024 and 2025. He is an advisory council member at George Mason University's Center for Retail Transformationand the Retail Cloud Alliance. He was most recently the partner marketing leader for retail & consumer goods in the Americas at Microsoft.Casey Golden, is the North America Leader for Retail & Consumer Goods at CI&T, and CEO of Luxlock. She is a RETHINK Retail Top Retail Expert from 2023 - 2026, and Retail Cloud Alliance advisory council member. After a career on the fashion and supply chain technology side of the business, Casey is obsessed with the customer relationship between the brand and the consumer and is slaying franken-stacks and building retail tech! MusicIncludes music provided by imunobeats.com, featuring Overclocked, and E-Motive from the album Beat Hype, written by Heston Mimms, published by Imuno.
Rassegna stampa economico-finanziaria del 23 febbraio 2026, strutturata per macro-temi e basata sulle principali testate giornalistiche nazionali.INVESTIMENTI E MERCATITestate: L'Economia del Corriere della Sera / La Repubblica Affari & Finanza * Ritorno del Made in Italy: Le dinastie imprenditoriali italiane hanno investito 2 miliardi di euro in tre anni per riacquisire marchi storici finiti all'estero. * Prada ha riportato in Italia Versace con un investimento di 1,25 miliardi di euro. * Ariston ha acquisito Riello Group per 289 milioni di euro. * NewPrinces (Angelo Mastrolia) ha rilevato Plasmon da Kraft Heinz per 124,3 milioni di euro. * Shopping oltre confine: Nello stesso triennio, le aziende italiane hanno investito circa 9 miliardi di euro in acquisizioni internazionali, per uno sforzo complessivo di 11 miliardi. * Ferrero ha acquisito WK Kellogg Co. per 1,7 miliardi di euro. * EssilorLuxottica ha rilevato il marchio Supreme per 1,36 miliardi di euro. * Campari ha investito 1,14 miliardi di euro per Courvoisier. * M&A e Consulenza: Lo studio Tremonti Partners, in occasione dei suoi 40 anni, ha lanciato un nuovo brand focalizzato su operazioni cross-border e M&A, potenziando la governance e istituendo un comitato ESG.INDUSTRIA, AUTOMOTIVE E INNOVAZIONETestate: L'Economia del Corriere della Sera / La Repubblica Affari & Finanza / Il Messaggero * Artificial Intelligence Driven Enterprise (AIDE): Emerge il modello delle startup "AI-native" gestite da agenti intelligenti con organico minimo (es. da 50 a 5 persone). * Investimenti IA: Google ha investito 100 miliardi di dollari su Gemini. * Efficienza: Il mercato monitora la "disruption" nel risparmio gestito; Fineco e Banca Mediolanum hanno perso oltre il 9% in borsa l'11 febbraio per timori di disintermediazione da IA. * Industrial Accelerator Act (IAA): La Commissione UE presenterà il 26 febbraio un piano per favorire il "Buy European". * Target componentistica: Per i veicoli elettrici, gli aiuti pubblici saranno vincolati a una provenienza UE dei componenti pari ad almeno il 70%. * Settori chiave: Soglie previste al 25% per l'alluminio e al 30% per le materie plastiche nell'edilizia. * Space Economy: Alleanza strategica tra l'Europa (razzo Ariane 64) e Amazon Leo (Jeff Bezos) per sfidare Starlink. * KPI: Amazon Leo ha 220 satelliti attivi (target 3.236) contro i 10.800 di Starlink. L'alleanza porterà 2,8 miliardi di euro al Pil UE entro il 2029.FISCO E NORMATIVATestate: Corriere della Sera / Il Sole 24 Ore / La Repubblica * Riforma della Giustizia e Referendum: Scontro politico totale in vista del referendum del 22-23 marzo sulla separazione delle carriere e riforma del CSM. Il Procuratore Antimafia Melillo critica le "criticità gravi" della riforma. * Dazi USA e Rimborsi: Dopo la sentenza della Corte Suprema USA che ha giudicato illegittimi i dazi di Trump, sono a rischio rimborsi tra 130 e 175 miliardi di dollari. * Impatto export: FederlegnoArredo stima una perdita potenziale dell'8-9% sul mercato americano nel 2026 a causa dell'incertezza e del dollaro debole. * Golden Power: Cresce l'interventismo statale; nel 2024 sono state effettuate 727 notifiche di operazioni al governo.BANCHE E CREDITOTestate: L'Economia del Corriere della Sera / La Repubblica Affari & Finanza * Risiko Bancario: * MPS: In attesa del nuovo piano industriale di Luigi Lovaglio. Utile netto salito del 17,7% a 2,7 miliardi di euro. * Banco BPM: Crédit Agricole è salito al 20,1%. * Generali: Partita aperta per il rinnovo del board; interesse di UniCredit per la crescita nell'asset management. * Risparmio Gestito: Record di raccolta nel 2025 per la consulenza finanziaria con 60,8 miliardi di euro netti.ENERGIA E GEOPOLITICATestate: Corriere della Sera / L'Economia del Corriere / La Stampa * Caro Bollette e Decarbonizzazione: Il Decreto Bollette introduce agevolazioni per gli energivori ma rischia di rallentare la transizione green favorendo le fonti fossili. * Regolamento Metano UE: L'industria petrolifera (Unem) avverte: le nuove norme del 2027 rischiano di bloccare il 95% delle importazioni italiane di greggio, con rincari della benzina stimati tra il 15% e il 30%. * Guerra in Ucraina (4° anniversario): Conflitto di logoramento. La Russia controlla circa il 20% del territorio ucraino. Mosca ha perso stimati 1,3 milioni di uomini tra morti e feriti.LAVORO, SANITÀ E FORMAZIONETestate: Corriere della Sera / Il Messaggero / Il Sole 24 Ore * Sanità Integrativa: Varata la prima norma per regolare un business da 52 miliardi di euro (45,4 mld spesa out-of-pocket + 6,8 mld contributi ai fondi). La vigilanza passa alla Covip. * Riforma Farmacie: Nuovi margini di remunerazione. Per i farmaci a basso costo (es. acido acetilsalicilico), il guadagno della farmacia sale dell'86%, con un aumento del costo per lo Stato del 31%. * Pubblica Amministrazione: Firmato il contratto per 400.000 comunali; aumenti medi di 140 euro lordi mensili e 2.300 euro di arretrati.EXECUTIVE TAKEAWAY (Insight per C-Suite) * Resilienza del Made in Italy: La riconquista di asset storici per 2 miliardi segnala una nuova fase di consolidamento delle "multinazionali tascabili" italiane e delle dinastie familiari, ora capaci di sfidare colossi esteri in fase di de-leveraging. * Paradigma AIDE: L'integrazione dell'IA non è più solo efficientamento, ma creazione di modelli di business con scalabilità estrema e costi fissi (OPEX) drasticamente ridotti; la minaccia di acquisizioni pre-emptive da parte delle Big Tech resta il principale rischio di mercato. * Rischio Regolatorio Energetico: Il "Regolamento Metano" 2027 rappresenta un potenziale shock di fornitura per l'Italia (rischio stop 95% greggio), imponendo una revisione urgente delle strategie di approvvigionamento e un'azione di lobbying a livello UE. * Sovranità Industriale UE: L'imminente Industrial Accelerator Act segna la fine del laissez-faire europeo, introducendo quote di contenuto locale (fino al 70%) che obbligheranno a una riconfigurazione delle supply chain globali. * Efficienza Fiscale e Welfare: La messa in sicurezza dei fondi sanitari integrativi (mercato da 52 mld) offre alle aziende opportunità per potenziare il welfare aziendale come leva di retention, riducendo al contempo il carico sulla spesa sanitaria pubblica.
PASS THE COURVOISIER - BUSTA RHYMES (STR8NGEREMIX) GQOM EDIT by STR8NGE
Do you enjoy Courvoisier? Blazers lose to short-handed Lakers with a thud. Is Kirby Smart playing with fire? Did USC actually win a "Big Ten"-style game?
Earn memories, not just media.In this episode of Brand Insider: 1:1, host Kate Terhune goes behind the bar—and behind the brand—with Allison Varone, Head of Marketing at Campari America, the powerhouse behind some of the world's most iconic spirits: Aperol, Campari, Espolòn Tequila, Courvoisier, Grand Marnier, Skyy Vodka, and Wild Turkey.Allison's story begins in the heyday of Martha Stewart Living, where she learned how lifestyle brands connect to emotion, ritual, and aspiration. That foundation shaped her philosophy today: build from culture, not campaigns. From the aperitifs that define Italian summer to the bourbons that anchor American tradition, she's helping Campari America bridge heritage and modern relevance across wildly different categories.In this conversation, Allison and Kate explore:How to create brand experiences that earn memories and emotional connectionThe balance between splashy, buzz-driving campaigns and on-the-ground consumer realityWhat it takes to scale an irreverent brand like Espolòn without losing its gritThe storytelling power behind Aperol at Coachella and Courvoisier's “Bring Your Own” campaignHow insights, data, and cultural cues guide everything from creative testing to portfolio-level strategyWhy the future of spritz culture—and the rise of non-alcoholic offerings like Crodino—isn't just a trend but a shift in lifestyleAllison shares how her team at Campari America combines intelligence, creativity, and instinct to grow iconic brands in a world where consumers crave connection over consumption.Whether you're a marketer, a strategist, or just someone who loves a good cocktail, this episode serves up a refreshing look at the future of luxury, lifestyle, and the stories we sip on.
Support the podcast on Patreon where you can hear our latest 280 Mysteries episode with special guest JOEL MCHALE! patreon.com/372pages Courvoisier-sipping senator Sedgewick Sexton; the hideous, grotesque, smoke-spewing, long-limbed inhuman creature Marjorie Tench; and Deltas One, Two and Three are just a few of the characters discussed in this episode. So much happens. So many … Continue reading "372 Pages #194 – Deception Point Ep 2 – Ice Bullets, Snifters and Puggish Smiles!"
We are back with another music videos GOAT talk, this time it's the 2000s , where creativity and culture collided in unforgettable ways. https://youtube.com/playlist?list=PLY_nLb6-ciMQyO4XvzCzr4vP5ICxIwel5&si=T92XWp8enCdLKzjcWe're reminiscing about the iconic visuals and beats from Wu-Tang Clan, Busta Rhymes, Outkast, and Kanye West. Discover how these videos not only defined an era but also influenced fashion trends and left a lasting impact on pop culture. Whether you're reliving the past or discovering these gems for the first time, this episode is a nostalgic ride through the golden age of music videos.Keywords2000s music videos, hip hop culture, Wu-Tang Clan, Busta Rhymes, Outkast, Kanye West, fashion influence, pop culture nostalgia, iconic visuals, dance trendsTakeawaysWu-Tang Clan's 'Gravel Pit' is all about that high-energy, creative vibe of the 2000s.Busta Rhymes' 'Pass the Courvoisier' had us cracking up with its hilarious skits.The 'Touch It Remix' video? Total classic with those dance moves.Outkast's 'Bombs Over Baghdad' is wild and colorful, just like the song.Kanye West's 'Stronger' brought shutter shades into our lives, love it or hate it.
AD | In this very special Father's Day bonus episode of That Peter Crouch Podcast, made possible by Courvoisier, Peter Crouch is joined solo by his mentor, former boss, and true father figure in football - the legendary football manager Harry Redknapp. From Spurs, Portsmouth, and Southampton, Harry managed Crouchy across three decades of his career.The two dive deep into the moments that defined their journeys together: transfers that almost didn't happen, career-saving confidence boosts, Premier League relegation battles, Champions League highs, and Redknapp's unique man-management style that helped turn raw talent into England internationals.They share stories of Defoe, Modrić, Bale, Di Canio, and the changing face of football management, from player recruitment to youth development.It's a laugh-filled, honest, and nostalgic look at the beautiful game, and a heartfelt tribute to the managers and father figures who shape careers—and lives, thanks to Courvoisier! Please drink responsibly.Chumbawamba 00:00 – Introducing the Courvoisier Father's Day Special02:00 – Golf with Tony Pulis03:07 – Crouch = Basketball Player?04:23 – Premier League Struggles08:14 – England Calling12:04 – Champions League Qualification14:10 – Sent Off in Madrid20:26 – Modern Football Rant25:05 – Academy Disconnect27:41 – Signing Di Canio28:20 – The Bournemouth Revolution32:30 – Signing offCelebrate the father figures in your life – A thoughtfully curated gift box designed to show appreciation for all the role models who make a difference. Buy here: https://www.amazon.co.uk/dp/B0F486RG34?&ref=smrp_uk_cl_370_Campari_ig_B0F486RG34_Follow our Clips page https://www.youtube.com/channel/UCLNBLB3xr3LyiyAkhZEtiAA For more Peter Crouch: Twitter - https://twitter.com/petercrouch Therapy Crouch - https://www.youtube.com/@thetherapycrouch For Courvoisier:Instagram - https://www.instagram.com/courvoisier/?hl=enFor more Chris Stark Twitter - https://twitter.com/Chris_StarkInstagram - https://www.instagram.com/chrisstark/For more Steve Sidwell Twitter - https://twitter.com/sjsidwell Instagram - https://www.instagram.com/stevesidwell14 #PeterCrouch #ThatPeterCrouchPodcast Hosted on Acast. See acast.com/privacy for more information.
Grab a bottle of Courvoisier and some "quiet storm" music because Leon Phelps, the Ladies' Man is in the house! Well, ok, it's actually Tim Meadows, the talent behind Leon who became an SNL favorite throughout the 1990s and who has built a solid career as a comic actor ever since. A product of Michigan, Tim learned improve there and at the Second City in Chicago where Lorne Michaels discovered him and added him to a strong cast. When Tim left he was (at that time) the longest serving SNL cast member and he turned that into a busy schedule of movie and TV appearances including Mean Girls, Inside Amy Schumer, The Goldbergs, and more. As always find extra clips below and thanks for sharing our shows! Want more Tim Meadows? Tim's SNL breakout character was the always smooth Leon Phelps -- here's a full sketch. https://youtu.be/UNVn-Rpl7DI?si=MqezkJyagXSWYlNY Tim provided SNL with a lot of impersonations over the years, but perhaps none more pointed than his take on OJ Simpson lawyer Johnnie Cochran. https://www.reddit.com/.../tim_meadows_hilarious.../... Tim had a key role in the 2004 hit Mean Girls playing a beleaguered high school principal -- here dressing down a gymnasium full of students for circulating a "burn book". https://youtu.be/GGGBbxXgFug?si=4499G0KGo0wPOJP0 Tim can still bring the sketch comedy as a recent appearance on Stephen Colbert's Late Show demonstrates. https://youtu.be/YT1uE5x4zNw?si=Pu2rDACaLS5JpaRm
Dr Charlie Andrews talks to Dr John Leeds. John Leeds is a Consultant Pancreaticobiliary Physician and Endoscopist based at the Freeman Hospital in Newcastle and an Honorary Clinical Senior Lecturer based in the Population Health Sciences Institute at Newcastle University. He is involved in research in pancreaticobiliary disorders including benign and malignant conditions as well as outcomes from therapeutic/advanced endoscopy.John is a member of the British Society of Gastroenterology and Pancreatic Society of Great Britain and Ireland. He serves on the endoscopy and Pancreas committees for BSG and is the website lead for PSGBI.He is also a founder member of the BSG Pancreas Clinical Research Group which is coordinating research for the society.Key Learnings from this episode:Challenges in Early Detection of Pancreatic Cancer • Pancreatic cancer is often diagnosed at an advanced stage due to the deep location of the pancreas and the lack of early symptoms. • Tumors in the body and tail of the pancreas can grow significantly before causing symptoms, often invading major arteries or veins, making them inoperable. • Tumors in the head of the pancreas may present earlier due to bile duct obstruction, leading to jaundice, but even these are often detected late. Early Symptoms and Red Flags • Early symptoms are vague or absent, making early diagnosis difficult. • Possible early indicators include: • Weight loss (often a sign of advanced disease). • New-onset diabetes, particularly in individuals with a normal BMI or without typical risk factors for type 2 diabetes. • Jaundice, which is a significant red flag and often indicates a serious underlying condition. • Classic signs like painless jaundice and Courvoisier's sign (palpable gallbladder) are important but not always present. Limitations of Current Screening Methods • There is no reliable biomarker or screening test for pancreatic cancer: • CA19-9 is not suitable as a screening tool due to its lack of specificity (elevated in other conditions). • Imaging techniques like CT scans or MRIs are used but have limitations, including incidental findings that may lead to unnecessary anxiety (“scanxiety”) and over-investigation. • Screening is currently limited to high-risk groups, such as those with familial pancreatic cancer syndromes or hereditary pancreatitis. High-Risk Groups for Screening • Familial pancreatic cancer accounts for less than 10% of cases. Criteria for screening include: • Multiple family members with pancreatic cancer, especially diagnosed under age 50–60. • Genetic syndromes like BRCA mutations, familial adenomatous polyposis (FAP), and Peutz-Jeghers syndrome. • Hereditary pancreatitis patients have an increased risk but are harder to screen due to pre-existing pancreatic abnormalities. Emerging Research and Future Directions • Studies are exploring potential biomarkers, such as microbiome signatures in the pancreas, which might help identify high-risk individuals in the future. • Trials like the EuroPAC study focus on surveillance protocols for high-risk individuals using imaging techniques like MRI or endoscopic ultrasound. • Research into new-onset diabetes as a potential marker for pancreatic cancer is ongoing but currently has a low yield due to the high prevalence of type 2 diabetes unrelated to malignancy. Considerations for Screening and Surveillance • Screening should be carefully targeted to avoid over-diagnosis and unnecessary investigations. • The psychological impact of screening (e.g., anxiety from incidental findings) must be considered. • Smoking cessation is emphasized as smoking is a significant risk factor for pancreatic cancer. Advances in Treatment Approaches • PET-CT scans are increasingly used to detect systemic disease that might not be evident on standard CT scans. • Neoadjuvant treatments (therapy before surgery) are being... Chapters (00:00:00) - Ingest(00:00:53) - Pancreatic Cancer(00:04:03) - New diabetes and pancreatic cancer(00:08:01) - Pancreatic Cancer: Screening(00:15:42) - Determining breast cancer early is hard(00:16:03) - Pulmonary neuroendocrine tumors of the pancreas(00:22:26) - Pancreatic cancer 20, Management(00:29:00) - Pancreatic cancer, management principles(00:33:48) - Primary Care Take Home: Pancreas, pain(00:40:29) - Primary Care: Pancreas Cancer Episode 2
durée : 01:00:17 - Sylvie Courvoisier & Mary Halvorson "Bone Bells" - par : Nicolas Pommaret - Avec leur troisième album “Bone Bells”, Sylvie Courvoisier et Mary Halvorson affirment leur place parmi les tandems piano/guitare les plus passionnants et audacieux du panthéon relativement restreint de cette formation.
Welcome to Dive Into Reiki, an interview series hosted by Nathalie Jaspar that explores the journeys of high-profile Reiki teachers and practitioners.You can support the mission of spreading Reiki education through my Patreon for less than the cost of a cup of coffee or for free by rating this podcast on your app!IMPORTANT NOTICE: Dive Into Reiki's mission is to bring information that allows Reiki practitioners from all over the world to deepen their practice. Although this information is shared freely on my platforms, all content is tied to copyrights. Please do not repurpose or translate these interviews without previous authorization.EPISODE 63: FERNANDA COURVOISIER AND GABRIELA BARBINFernanda and Gabriela are the visionary co-creators of the International Reiki Congress in Brazil, bringing together masters from around the world to share knowledge and deepen Reiki practice. With diverse backgrounds—Fernanda in holistic therapies and Gabriela in orthodontics—they seamlessly blend science and spirituality. Both are Usui Holy Fire® III Masters certified by William Lee Rand, dedicated to teaching, healing, and expanding Reiki's reach. Their work extends beyond the congress, with Gabriela leading Reiki programs for children and Fernanda guiding practitioners through advanced techniques and integrative therapies. Together, they inspire transformation and connection in the Reiki community.You can contact/follow them via instagram at:Congress @congressodereiki / Gabi: @gabsbrissa / Fernanda: @fernandacourvoisierNathalie Jaspar, the founder of Dive Into Reiki, is a Reiki master with over a decade of experience. She's a graduate teacher from the International House of Reiki, led by world-renowned Reiki master Frans Stiene. She also trained with the Center for True Health and the International Center for Reiki. To gain an even deeper understanding of Reiki practice, Nathalie went to Japan to practice Zen Buddhism at the Chokai-san International Zendo. She is the author of Reiki as a Spiritual Practice: an Illustrated Guide and the Reiki Healing Handbook (Rockridge Press). Support the show
The beverage brand's former CMO, which holds drinks like Aperol, breaks down why events like Coachella, the US Open and Cannes Film Festival are so important to its marketing strategy. Episode TranscriptPlease note, this transcript may contain minor inconsistencies compared to the episode audio.[00:00:00] Damian: I'm Damian Fowler [00:00:01] Ilyse: And I'm Ilyse Liffreing [00:00:02] Damian: And welcome to this edition of The Current Podcast. [00:00:05] Ilyse: This week, we're delighted to talk with Julka Villa, the former Global CMO of Campari Group. [00:00:11] Damian: Founded in 1860, Campari is a household name in the global spirits industry with a portfolio of over 50 brands across world markets. [00:00:20] We're talking familiar names like Aperol, Sky Vodka, Wild Turkey Bourbon, and Courvoisier. [00:00:27] Ilyse: Julka is a marketing veteran with over 25 years of experience in the alcoholic beverage and beauty industries. A specialist in consumer focused brands. [00:00:37] Damian: Julka is responsible for the marketing vision, strategy, and execution of the Campari Group's brands. [00:00:44] At the same time, she has a bird's eye view of the company's worldwide presence, coordinating teams based in Milan, Paris, and New York. [00:00:52] Ilyse: We started by asking her about how she balances the Campari legacy with keeping its brands relevant for today's [00:01:00] consumers. [00:01:02] Damian: So Campari has a rich heritage. The company is now 164 years old. How do you go about balancing its legacy, the preservation of its legacy while keeping the brand modern and relevant for today's consumers? [00:01:18] Julka: I think that, if we go back to the roots of the Campari brand, about being [00:01:23] bold, about being visionary about investing in arts, think about Europe, Italy in the second half of the 19th century. There were so, few brands really investing Campari was one of the first really interacting with artists [00:01:42] and designers and giving them the freedom to, the brand in the way they saw it. if you look at how we started, you how we moved forward along our, our history. You can see that, the [00:02:00] twenties and thirties of last we start cooperating with cinema, really asking the people, working in the industries and producing the movies, postcards, producing, you know, designs and drawings for us. [00:02:16] You can see that, fast forward, to the eighties. We start cooperating with one of the greatest filmmakers. In the world, Federico Fellini, that was a big fan of the Campari brand. He was drinking Campari and he decided to cooperate with us to produce an advertising for the brand. And Fellini was the first filmmaker we cooperated with. But then, we kept this partnership, for instance, with Paolo Sorrentino 2017. And I was personally You know, working with him, it was a fantastic experience to see an artist really bringing to life, the brand, [00:03:00] respecting the legacy, but at the same time, renovating, since you're asking me how a brand modern still loyal to its root, it was amazing to see how we could kept the daring, attitude of the brand alive. According to his own style. [00:03:20] Ilyse: Wow,that is super cool. so is pop culture still as important to the brand even today? [00:03:27] Julka: Absolutely. Absolutely. So, and this is so important for the Campari brand, but for many other brands part of our portfolio, just for you to know, we have more than 50 brands. in our portfolio, and if you'd like we can talk about some of them, but when it, comes to Campari, think about the fact that our partnership with arts, have been, more recently renovated in our, cooperation with the major film festivals, in the world. We, are [00:04:00] partners of the Cannes Film the Locarno, in Berlinale. weclosed the first, year of partnership with the Toronto Film that's definitely a modern way to the brand, extremely aspirational, but still to get in touch with so many consumers and possible advocates of the brand. One of the things we really care about is not just to communicate our brands, but to assure our consumer to consume our brands throughout the signature cocktails in the best way possible and definitely feel festival for us are a huge opportunity to provide liquid tulips, as we say, to our consumers current and future. [00:04:47] Damian: What's interesting is with these different brands, you're sort of talking about how they're valued differently in different markets. that's very interesting to me. How do you know and prioritize [00:05:00] which brands work best in which countries? [00:05:04] Julka: We have, well identified, what we call the global brands. The brands that should be built everywhere in the world. Of course step by step and respecting the life stages, the brand is in a specific geography. And definitely the one I mentioned so far, are global brands. And so also global priorities, for the company. And then, depending on the area of the world, the characteristics of the market and the consumers, each individual, operating company, can, compose, portfolio, to have the best performance on the market. But definitely there are priorities everybody to focus [00:05:51] Damian: if you think about the United States, is there a sort of priority? [00:05:55] Julka: Yeah, [00:05:56] Damian: Leading brand here. [00:05:58] Julka: definitely, [00:06:00] uh, the priority for the United our giant aperitif brands, such as Campari Aperol, Grand Manier, Wild Turkey, Espolon, and of course, the local team is really excited to rebuild the Courvoisier brand. always acquisition we have just finalized. [00:06:21] Damian: Yeah, each of those brands has its own kind of, whole kind of narrative around them, I imagine. But I wanted to ask you actually a little bit about, The current moment that we're in, which we're seeing a kind of a lot of debate around alcohol versus no alcohol consumption, particularly when it comes to like Gen Z demographics. I mean, how do you think about and navigate these perception shifts? [00:06:47] Julka: That's a very that's a very interesting question. And of course, as you can imagine, we have been spending a lot of time and resources really to dig deep into these shift and [00:07:00] transformation in a way of our consumer ships. One thing that is not that evident to, to everybody is that differently from the past, there is a sort of coexistence of, people drinking alcoholic products and non alcoholic products, depending on the moment they are in, the people they are with, what they have to do the day after. [00:07:23] And this kind of consciousness and, control on what to choose is even stronger in younger consumers as you were mentioned so they are more conscious they don't they are not you know afraid to make a choice that could be out of [00:07:43] their are pool of friends. Everybody's drinking something alcoholic There's no problem at all for one of them to say “Look tomorrow I have to wake up very early I have a very important day I prefer to, to opt for a choice, a non alcoholic choice.” So more than a counter position [00:08:00] today, we see the coexistence, of these kind of choices, which is quite interesting, honestly, also because it gives us the opportunity to be more, mindful and, intentional in developing also the part of our portfolio, which is non alcoholic. For instance, we have a product which is an extremely strong product in Italy and definitely in a phase of conquering of continental Europe is, the name of the product is Crodino and is definitely our non alcoholic, kind of spritz. is a product that was invented and launched in the market, in 1965. [00:08:39] So this is a little bit a testament, to the personality of the company, wanting really to push boundaries. And actually we are preparing the launch of these fantastic product also in the U S, that we plan for next year. [00:08:54] Ilyse: So it sounds like Campari really anticipated this trend of non alcoholic [00:09:00] beverages in a sense. [00:09:02] Julka: Yeah, that's, that's correct. That's correct. [00:09:05] Damian: I'm just curious on that point, you know, as a marketer, you must get lots of data back in terms of like, who's drinking what, maybe by generation, maybe by geography even. I'm interested to know, do you kind of look at that in terms of strategizing and find the discrete markets? [00:09:24] Julka: even if, with the passing of the years, what we, really is of people. So demographics are not, gender or age brackets are not the main elements we look for because what really counts. Today is the mindset and the attitude of people, for instance, if I think about a product like Aperol with these with its signature cocktail, Aperol can see across generations drinking this product and across age brackets is the mindset. [00:09:57] And you would be amazed how people approaching Aperol [00:10:00] Spritz, enjoying Aperol Spritz, they really have in common, the way they appreciate life and what they are looking for in that specific moment. Either they are, 25 or 60. So there are also, a number of cross generational, alcoholic beverage experiences, and so the way we look at data is really about the motivation and the attitude of people when they are about to make a choice. [00:10:27] Ilyse: Yeah, that kind of, shift towards mindset over demographics probably helps a lot when it comes to just I guess prioritizing channels for the brand and where to reach those audiences because I know in a lot of the times like Millennials and Gen Zers are in like social media and usually that's not an option when it comes to alcohol brands, is, so is the brand finding other channels to be just as effective, in reaching that kind of mindset that it's [00:11:00] after. [00:11:00] Julka: when, I think a strong, distinctive characteristic Of our marketing and activation strategies, really investing very seriously in, in events, because definitely there's a lot of will among consumers of all ages, really to leave, events, in person really experience, on their, skin, much more than in the past. [00:11:24] and then we amplify, if you want, through social media, those events. But, a big part of our investment. is really, put on organizing, these kind of events. When we, when it comes to the U. S., think about Coachella, which is, more than a music festival, is a lifestyle festival, as we all know. [00:11:43] Think about the U. S. Open. uh, but also if we go on the other side of the world, in the APAC region, think about, The Australian Open, which is for us a, opportunity to reach so many consumers. about [00:12:00] hundreds of thousands live offering our best signature cocktail in our, fantastic lounger and then we can definitely amplify this content on a number of social media where. alcoholic beverage can, have a direct relationship, with their consumers. So for us, it's always a mix. we really believe that we have winning products, very straightforward drinking strategy, and that's why we care so these to life in real life for we don't see this business as happening just, just virtually. Definitely. [00:12:42] How do you kind of maintain and sort of keep tabs, as it were, on people who are loyal to the brands that you market? [00:12:52] definitely over the yearsWe invested and we improved, our, CRM, capacity, so [00:13:00] throughout, social media and massively through events, we gather as much as possible information about our consumers so that, we can definitely keep them, up to date. On our, yearly, program, but also we can establish a more direct dialogue. [00:13:18] Sometimes we consult them, a part of them for new projects. we listen to them, ask them questions about, trends, want to know more and I think that, especially when it comes to a lab important. [00:13:39] Feel part of a feel, really listen to is something as important as enjoying your favorite, brand and your [00:13:50] Damian: And what's interesting to me is I was thinking about this because about, maybe 12 years ago, I have a friend from Venice who lives in New York and we went to a [00:14:00] restaurant and she ordered an Aperol and at that, point it wasn't very, nobody really knew much about it here. [00:14:06] And since then, of course, it's huge. It's like a probably one of the most popular, cocktails around. I was just at the U. S. Open in the summer and I could see, your your [00:14:16] plaza there with Aperol everywhere. I guess it was, there's a sponsor, a partnership [00:14:20] Julka: Mm hmm. [00:14:21] Damian: But my question is, how did you could you walk us through how you, built that awareness from, that moment, however many years ago when it wasn't such a big, obviously big in Venice, she said it was the Venetian drink. [00:14:34] So I was like, Oh, that's interesting. [00:14:39] Julka: yes, I am. 10, 12 years ago, not only in the U. S., but in many other places outside Europe, definitely it was not established. you know, staple it is to die. and at the very beginning, we really faced, some very basic, difficulties. I have to say, it was not easy, to start [00:15:00] talking about, a signature cocktail that, needed, a bottle of Prosecco to be open, to be prepared because. [00:15:07] You know, if you are familiar with sparkly wines, the problem with it is that if you open it and you use just a little part and then you keep the bottle for a couple of days, the carbonation will just, yes, go away. So it was really. a very precise, consistent, and stubborn work of education. [00:15:28] There's just one certainty about education, which is that, you know, when you started that you will never know when you will finish. And actually it's a never ending story in a way. So we, in the past we put, and we keep putting a lot of, effort and an investment in educating the trade the bartenders bar owners But also the final consumers because at the end if the final consumer knows [00:15:52] the best way to prepare an upper spritz They will be your advocate and it happened to me so many times in the past [00:16:00] when I was receiving at the table in upper spritz that was not preparing the way It should have been, I was going back to the bar and I was saying there's something wrong with my cocktail. [00:16:13] it's a double, a double direction [00:16:16] Julka: Yeah, [00:16:18] efforts. And, Also, a very important part is, what we call, the oil spill approach. What does it mean? We start with the city, a major city, we start with the specific neighbors. and key on trade outlets in this neighbor. [00:16:39] We build a relationship of partnership. We invest on these venues and we create the phenomenon of the cocktail and then we expand. So distribution and presence comes just [00:16:52] after having started trend with a very high level, of the serve in a smaller [00:17:00] number of venues. [00:17:01] This, has been the approach in the U. S. and in every other part of the world. You mentioned Venice, which is the place where the brand really, started being known and appreciated and, recognized as, the champion of aperitif. But the phenomenon of Aperol Spritz started in Venice, expanded to the Veneto region, which is the region of Venice, and then expanded Milan and from Milan to the rest of Italy. [00:17:28] So the oil spill approach, as we call it, has always been, front and center of the strategy, of, And it's building. [00:17:38] Ilyse: So interesting. when you think of Campari brands, it also sorts of implies Like a level of sophistication. in a sense, are marketing just drinks or is it something more, I don't know, like lifestyle? [00:17:53] Julka: definitely. I think that,our brands are starting from, The most important ones really [00:18:00] stand for a certain lifestyle. you think about campari, it really represents the Milan. And, the lifestyle of the city. If you, think about aperol, you're talking about a more democratic sort of brand, really more casual. welcome. and, So they, [00:18:21] reflect a way of living and today even more important. If you think about the trend of escapism, traveling without traveling. I need a break. I need a moment for myself of real enjoyment with my friends. [00:18:36] brands like this, and they are signature cocktail, let's say Aperol Spritz for Aperol, Negroni, for instance, for Campari makes you really full for half hour, one hour you're spending with your friends in another place. So they really stand for a way of living for a place and for a moment in life where you really, recharge your batteries and, [00:19:00] you dedicate really a true moment to yourself. [00:19:03] Julka: And that's it for this edition of The Current Podcast. [00:19:05] Damian: We'll be back next week, so stay tuned. [00:19:08] Ilyse: The Current Podcast's theme is by Love Caliber. The current team includes Kat Vesce and Sydney Cairns. [00:19:15] Damian: Cairns. And remember, [00:19:16] Julka: we really believe that we have winning products, and that's why we care so these to life we don't see this business as happening just virtually. [00:19:29] Damian: I'm Damian. [00:19:30] Ilyse: I'm Ilyse. [00:19:30] Damian: And we'll see you next time. And if you like what you hear, please subscribe and leave us a review. Also, tune in to our other podcast, The Current Report.
durée : 00:06:46 - "Vingt Dieux" de Louise Courvoisier
Our exit today has us pouring ourselves a glass of Courvoisier and doling out some relationship advice. This week, we are talking about the grammatically incorrect SNL title The Ladies Man, written by Tim Meadows, Dennis McNicholas and Harper Steele and directed by Reginald Hudlin. And, much to his own chagrin, we are taking our friend Aaron Neuwirth along for the ride. Along the way, we spend a lot of time discussing SNL movies and what makes them work, the careers of Tim Meadows and Helen Hunt (?), our love of The Fresh Prince of Bel-Air, song and dance numbers, Chicago locations, and the seemingly huge budget of this film. And then Tripp unlocks a childhood memory that suddenly makes sense! Aaron's writing on We Live Entertainment. Aaron's writing on Why So Blu? "Out Now with Aaron and Abe." Thememusic by Jonworthymusic. Powered by RiversideFM. CFF Films with Ross and friends. Movies We've Covered on the Show on Letterboxd. Movies Recommended on the Show on Letterboxd.
durée : 02:58:59 - Le 7/10 - par : Nicolas Demorand, Léa Salamé, Sonia Devillers, Anne-Laure Sugier - Sandrine Kiberlain, actrice, Pierre Moscovici, Premier président de la Cour des comptes, Aurélie Filippetti, ancienne ministre de la Culture, Jérôme Sainte-Marie, politologue, Louise Courvoisier, réalisatrice du film “Vingt dieux”, et Jad Ibrahim, critique gastronomique, sont les invités du 7/10.
durée : 00:17:50 - L'interview de 9h20 - par : Léa Salamé - "Vingt Dieux", le premier long-métrage de Louise Courvoisier, une ode à la ruralité jurassienne, est une pépite à découvrir. Rencontre avec cette talentueuse réalisatrice.
durée : 00:17:50 - L'interview de 9h20 - par : Léa Salamé - "Vingt Dieux", le premier long-métrage de Louise Courvoisier, une ode à la ruralité jurassienne, est une pépite à découvrir. Rencontre avec cette talentueuse réalisatrice.
Its an episode for all the elite debutantes and bus-station skanks as Yer Boys speak sweet words of seduction about The Ladies' Man and probe all your celluloid sexual conundrums. Break out the Pina Colada Butt Lotion and pour some Courvoisier for this one.
Dans "Vingt dieux", lumineuse pastorale sur un monde agricole jurassien jeune et plein d'élan qui perpétue la tradition de la fabrication du comté, l'amour vache est bien doux. En lice pour la Caméra d'or. The post “Vingt dieux”, entretien avec la réalisatrice Louise Courvoisier appeared first on Fred Film Radio.
durée : 01:00:43 - Plan large - par : Antoine Guillot - Une jeunesse sous le soleil, ce samedi dans Plan large, en direct du 77e Festival de Cannes, avec Claire Simon pour "Apprendre", Emanuel Pârvu pour "Trois kilomètres jusqu'à la fin du monde", Louise Courvoisier pour "Vingt Dieux", et aussi Roberto Minervini, et encore N.T. Binh. - invités : Claire Simon Cinéaste; Roberto Minervini Cinéaste; Emanuel Pârvu cinéaste; Louise Courvoisier cinéaste; N.T. Binh Journaliste, critique, enseignant de cinéma (Université Paris 1 Panthéon-Sorbonne)
durée : 01:00:43 - Plan large - par : Antoine Guillot - Une jeunesse sous le soleil, ce samedi dans Plan large, en direct du 77e Festival de Cannes, avec Claire Simon pour "Apprendre", Emanuel Pârvu pour "Trois kilomètres jusqu'à la fin du monde", Louise Courvoisier pour "Vingt Dieux", et aussi Roberto Minervini, et encore N.T. Binh. - invités : Claire Simon Cinéaste; Roberto Minervini Cinéaste; Emanuel Pârvu cinéaste; Louise Courvoisier cinéaste; N.T. Binh Journaliste, critique, enseignant de cinéma (Université Paris 1 Panthéon-Sorbonne)
Dave is joined by Chris Ying for an episode in which the two discuss the Courvoisier club, the enduring greatness of Hamlet's Kitchen, and rules for a restaurant playlist before they get into a game of Price Fixing. The two guess the prices of items on menus at Jiquitaia in São Paulo, Brazil; Khaluna in Minneapolis; and Duly's Place in Detroit. Hosts: Dave Chang and Chris Ying Producers: Victoria Valencia and Euno Lee Learn more about your ad choices. Visit podcastchoices.com/adchoices
durée : 00:05:27 - L'invité de 6h20 - par : Marion L'hour - Festival de Cannes 2024 : Louise Courvoisier, est réalisatrice. Son premier long-métrage, 'Vingt Dieux', est sélectionné dans la catégorie "Un certain regard". Elle est l'invitée de 6h20.
Tasting Notes: Since Beam Suntory just sold Courvoisier to Campari recently we thought it a good time to take a look at their flagship VS expression. Among the large houses (Remy, Martell, Hennessy) Courvoisier is the smallest, and most affordable. Not quite catching fire like most Cognac did during the pandemic, the brand was left to its own devices, but just judging on TASTE alone, Courvoisier is soft, fruity, and possibly the most approachable of the big house styles. Soft orange and citrus on the nose with a light leather aroma and a touch of almond paste. On the palate the sweetness settles into a soft glowing candied orange with oak spice growing, but never overtaking.
Collocamento record per il Tesoro, che viene investito da una domanda di 155 miliardi di euro per due Btp proposti al mercato attraverso un pool di banche, un settennale con scadenza febbraio 2031 su cui sono piovuti ordini per più di 73 miliardi di euro e la riapertura di un trentennale con scadenza a ottobre 2053, oggetto di richieste per oltre 82 miliardi di euro. L'emissione arriva in un inizio anno di grandissimo fermento per il mercato obbligazionario europeo, con gli investitori che corrono ad accaparrarsi i rendimenti assicurati da un contesto di tassi alti prima che le banche centrali inizino a tagliare il costo del denaro. L'ammontare delle emissioni del Tesoro è stato fissato in dieci miliardi per il bond a sette anni e in cinque miliardi per il trentennale, in linea con la dimensione massima per la riapertura prevista dal Tesoro. La forte richiesta - record assoluto per un collocamento 'dual tranche' - ha consentito di ridurre di due punti base, rispetto alle indicazioni iniziali di prezzo, i rendimenti. Per il settennale è stata fissata una cedola del 3,5%, con un rendimento dal 3,548%, mentre per il bond a trent'anni, che paga una cedola del 4,5%, il rendimento è del 4,515%. Un ottimo viatico per un 2024 che si annuncia impegnativo, con un programma di emissioni che sul medio-lungo termine oscilla fra i 340 e i 360 miliardi, eguagliando i record del 2023 appena chiuso, e vedrebbe salire gli obiettivi verso quota 390 miliardi se non ci fossero l attesa di due rate del Pnrr e il margine offerto dalla gestione della cassa. In generale nel corso di una sola giornata sono stati emessi 45,7 miliardi di euro di bond da parte di aziende, banche e governi, un record assoluto secondo Bloomberg. Il Belgio ha collocato un decennale da 7 miliardi che ha raccolto richieste per 72 miliardi, la Gran Bretagna uno da 2,25 miliardi di sterline che ha attirato richieste per circa 8 miliardi. Ma anche il mercato corporate è estremamente vivace: dopo i bond di Generali, Mediobanca, Eni e Bper, solo per restare all'Italia, ieri è stata Unicredit a piazzare un subordinato da 1 miliardo, a fronte del quale ha ricevuto ordini per 2,75 miliardi. Approfondiamo il tema con Angelo Drusiani esperto di mercato valutario ed obbligazionario e advisor Ersel Banca Privata.Campari collocazione e bond per 1,15 miliardi. In Borsa va koCampari ha lanciato ieri un collocamento riservato di azioni ordinarie per circa 650 milioni e di obbligazioni convertibili senior unsecured con scadenza al 2029 per circa 500 milioni "per finanziare l'acquisizione di Courvoisier e per rafforzare la sua posizione finanziaria al fine consentire ulteriore crescita". Il rafforzamento patrimoniale completato per finanziare l'acquisizione di Courvoisier ha messo però alla corde Campari a Piazza Affari. I titoli del gruppo accusano la peggiore prestazione del FTSE MIB arrivando a lasciare sul terreno anche oltre sei punti. Tuttavia si allinea al prezzo di collocamento delle azioni. Non sembra quindi essere un giudizio sull'operazione. Prima dell'apertura del mercato Campari ha reso noto di aver collocato nuove azioni ordinarie per 650 milioni di euro con un bookbuilding accelerato, a 9,33 euro per azione, nonché un bond convertibile al 2029 di 550 milioni di euro. «Come previsto nell'ambito dell'acquisizione di Courvoisier del 14 dicembre scorso sulle varie alternative di finanziamento, con questo collocamento il gruppo ha approfittato delle favorevoli condizioni di mercato per ottimizzare la struttura di finanziamento», si legge in un comunicato. Ne parliamo con Chiara Di Cristofaro - Radiocor Il Sole 24 Ore.Ex Ilva: «da noi investiti 2 miliardi, ora tocca allo Stato»Lunedì è saltato il tavolo tra governo e Arcelor Mittal sull'ex Ilva di Taranto: la multinazionale ha rifiutato la richiesta dell'esecutivo di un aumento di capitale da 320 milioni di euro, con cui si proponeva di portare al 66% la partecipazione statale nell'azienda siderurgica di Taranto, tramite Invitalia, e che serviva a garantire la continuità produttiva per far fronte a una situazione di grave dissesto finanziario e crisi di liquidità dell'azienda. ArcelorMittal si è detta indisponibile ad assumere impegni finanziari e di investimento, anche come socio di minoranza. Attualmente il gruppo franco-indiano detiene il 62% di Acciaierie d'Italia, il 38% invece è in mano pubblica tramite Invitalia. Ora si potrebbe riaprire lo scenario dell amministrazione straordinaria, ma anche di una difficile battaglia legale. Il governo ha convocato i sindacati per giovedì 11 gennaio: in bilico il futuro di 20 mila lavoratori. Negli impianti del gruppo rischia di mancare il gas e nell indotto i salari non arrivano da un mese. Intanto scrive Bricco oggi sul Sole, la posizione di Arcelor Mittal espressa lunedì nell incontro con i ministri italiani era stata già formalizzata in una lettera inviata il 5 dicembre dell anno scorso. Il documento riservato, che il Sole 24 Ore ha reperito, non è partito da Londra, il quartiere generale strategico del gruppo controllato dalla famiglia indiana Mittal. Ma dal Lussemburgo, la cassaforte del gruppo. Perché le contestazioni contenute nella missiva indirizzata al ministro Raffaele Fitto un mese prima che l amministratore delegato del gruppo, Aditya Mittal, litigasse a Palazzo Chigi con metà del governo Meloni hanno una forte connotazione finanziaria. Per esempio, sulla questione dei 320 milioni di euro necessari per togliere Acciaierie d Italia dalle secche della illiquidità, già si legge nella lettera di oltre un mese fa: «Siamo convinti che la parte di cassa necessaria a colmare il gap finanziario di breve termine dovrebbe essere fornita dalla parte pubblica, in modo da cominciare a ridurre il disequilibrio rispetto al nostro investimento e gli effetti pregiudizievoli della mancanza delle misure di sostegno». Sui soldi, la lettera esprime la convinzione che il socio privato abbia messo molto più denaro del socio pubblico. Una convinzione che, appunto, lunedì è stata alla base del no dei Mittal alla richiesta di partecipare a ulteriori aumenti di capitale, dopo la diluizione al 34%. Si legge infatti nella lettera: «Abbiamo investito in Acciaierie d'Italia in modo asimmetrico. Considerando il nostro investimento da 1,87 miliardi di euro nel capitale e l'importo dei crediti commerciali non pagati, la nostra esposizione finanziaria totale nei confronti di Acciaierie d'Italia supera i due miliardi di euro, quasi il doppio dell'investimento della parte pubblica di 1,08 miliardi». Approfondiamo il tema con Paolo Bricco, Il Sole 24 Ore.
« J'ai besoin d'une unique danse, j'ai un verre d'Hennessy dans une main », ce n'est pas moi qui le dit, c'est Drake. Le rappeur canadien ne boit pas n'importe quoi. Il boit du cognac. Les rappeurs outre-atlantique adorent ce spiritueux français. Ils en parlent dans leurs chansons et montrent des bouteilles, bien jolies et bien chères dans leurs clips. Et le cognac leur dit merci ! Cette eau-de-vie française a retrouvé ses lettres de noblesse grâce au rap us mais pourquoi ? Eh bien, je vais vous le dire non pas dans un épisode mais deux ! C'est le début de l'année, on fait des folies. Déjà, il faut savoir ce qu'est le cognac. Il est fabriqué depuis le XVe mais sa production n'est définie par une AOC, une appellation d'origine contrôlée qu'en 1936. Réalisé à partir de vin blanc, le cognac est produit sur un territoire limité, la Charente. Sa double distillation, les cépages utilisés, tout est consigné dans un cahier des charges strict. Cet alcool est, au départ, réservé à la haute-société. L'Histoire raconte que Napoléon aurait emporté une caisse de cognac Courvoisier lors de son exil sur l'île de sainte-Hélène en 1815. D'ailleurs, le cognac napoléon est une méthode de distillation comparable aux bouteilles XO pour extra old. Un assemblage d'eaux-de-vie vieilles d'au moins 10 ans. Mais au fil de temps, le cognac perd en notoriété et le marché du spiritueux est en déclin. On parle même de crise du cognac dans les années 1990. Le marché japonais chute et embarque avec lui l'appellation. Les viticulteurs sont en colère, les ventes s'effondrent. Mais c'était sans compter sur le hip-hop. En 2002, Busta Rythmes, légende du rap US sort « Pass the Courvoisier part.2 » avec P.Diddy et en featuring : une autre future star planétaire, Pharrell Williams. Bizarrement, sur le site internet de la maison française, on ne parle pas du rappeur et pourtant, grâce à lui, les vente du cognac Courvoisier ont explosé. Il y a deux raisons : la première, c'est le succès de la chanson et l'autre c'est le placement du produit dans le clip, gratos selon les dires de l'artiste. Des bouteilles de Courvoisier XO partout, des filles pas trop habillées, des mecs qui boivent, ça sent le cognac partout. Les ventes de Courvoisier auraient augmenté de 30% aux US dans l'année de sortie du titre. Aux Etats-Unis, ils appellent ça du « yak » et grâce à ce titre, boire cette eau-de-vie de raisin un peu vieillotte devient hyper stylé. Totalement boomer de dire ça. C'est un grand écart magistral entre la commune de cognac peuplée d'à peine 20 00 âmes et la culture du rap US avec derrière, une grosse industrie de la musique pleine de billets verts. Et là, on s'est dit que c'était pas mal d'associer sa marque de cognac avec la réussite des artistes hip-hop mais ça, je vous le raconterai dans le prochain épisode ! Learn more about your ad choices. Visit megaphone.fm/adchoices
Adam, Joanna, and Zach react to the news that Gruppo Campari will be purchasing Courvoisier from Beam Suntory for $1.32 billion. Does this mean that the recent dip in Cognac sales is just a a blip on the radar? Will this allow Campari to take on Hennessy in the American market? And why do we need to be very careful when analyzing sales data from 2020-2022? Please remember to subscribe to, rate, and review VinePair on Apple Podcasts, Spotify, or wherever you get your episodes, and send any questions, comments, critiques, or suggestions to podcast@vinepair.com. Thanks for listening, and be well.Zach is drinking: High West "A Midwinter Night's Dram" Rye WhiskeyJoanna is drinking: Funkytown Brewery Irish Red AleAdam is drinking: 2010 Cru BeaujolaisInstagram: @adamteeter, @jcsciarrino, @zgeballe, @vinepair Hosted on Acast. See acast.com/privacy for more information.
durée : 00:59:15 - Sylvie Courvoisier - par : Alex Dutilh - Inspirée par l'art et le symbolisme du peintre et graveur Odilon Redon, la pianiste suisse installée à New-York a réuni un sextet inédit pour un album envoûtant. “Chimaera” sort chez Intakt.
Recorded at Ten86 Lounge in Hawthorne, New Jersey the lizards pair the Bolívar Coronas Gigantes with Courvoisier XO cognac. The guys smoke a discontinued Churchill, they review Bolivár's history and its ties to Partagás, they discuss two new Habanos S.A. releases, and they share advice on how to avoid predatory cigar sellers.PLUS: Will and Jada, a Lizard AnalysisJoin the Lounge Lizards for a weekly discussion on all things cigars (both Cuban and non-Cuban), whiskey, food, travel, life and work. This is your formal invitation to join us in a relaxed discussion amongst friends and become a card-carrying Lounge Lizard yourself. This is not your typical cigar podcast. We're a group of friends who love sharing cigars, whiskey and a good laugh.website/merch/rating archive: loungelizardspod.comemail: hello@loungelizardspod.com to join the conversation and be featured on an upcoming episode!instagram: @loungelizardspod
Ya....You heard us!
Too Late.
Picture this: tens thousands of fans screaming from the top of their lungs for more content from you, the B2B marketer.It may sound more like how people react to superstars like Taylor Swift; there are tactics she uses in her branding that inspire intense fandom, like how Swifties can wear red lipstick, make beaded bracelets or decode hidden messages in her Instagram posts to own a bit of her brand for themselves. It's all a part of a culture that Taylor Swift and her team of amazing marketers have meticulously cultivated over time. But who's to say B2B marketers can't borrow a bit of that marketing magic? In this episode, we're turning to the artist with more #1 albums than any other woman in history: Taylor Swift, and seeing what new B2B marketing ideas we can learn from her. What about her brand has inspired such passion; the kind of passion that is expected to bring in more than $1 billion in ticket sales from her current tour? Joining us is Senior Director of Content Marketing at Lob, Kim Courvoisier. Together, we're talking about the marketing behind Taylor Swift's record-breaking tour, creating a shareable brand, and refreshing content to give your audience even more value. So layer on your Swifty bracelets and maybe a little something sparkly for this episode of Remarkable.About LobLob is the only direct mail automation platform for the digital age. Lob's platform automates the direct mail execution process for enterprises at any scale - from creation, printing, postage, delivery, and sustainability with end-to-end analytics and campaign attribution. Over 12,000 businesses trust Lob to transform their direct mail into intelligent mail. Founded in 2013 and based in San Francisco, Lob is venture-backed by Y Combinator, Polaris Partners, Floodgate, and First Round Capital.About Taylor Swift and The Eras TourTaylor Swift is an American singer-songwriter who has more #1 albums than any other woman in history after her album “Speak Now (Taylor's Version)” debuted at #1. The 33-year-old artist from Pennsylvania who was originally known for country music is known for her musical versatility and reinventing herself as an artist. As a cultural figure, she has had several high-profile news stories, including her dispute with Big Machine Records over ownership of the masters of her first 6 studio albums which led to her re-recording all of them, and another legal battle with Apple in 2015 over protecting artists' rights to fair compensation for their work. She currently has 10 albums, and has sold 114 million albums worldwide. She's won 12 Grammys, 19 Billboard Music Awards (the most of any woman), 40 American Music Awards, and more. She has many trademarks, including hiding messages in her content, frequently using the number 13, wearing red lipstick, and going barefoot. Her fans call themselves Swifties.The Eras Tour is a journey through all of Taylor Swift's studio albums. It's 131 concerts across five continents, and is expected to be the highest grossing tour in history. Tickets bring in more than $13 million a night, for an expected $1 billion+ overall. The average ticket costs $254. The Philadelphia Federal Reserve even reported that the tour is boosting economic growth, specifically related to hotel revenue. Taylor Swift has a 44-song set list and the concert is 3-hours long. The tour started on March 17th in Glendale, Arizona which was officially renamed “Swift City” for two days. The tour will wrap up on November 23rd, 2024 in Toronto.About our guest, Kim CourvoisierKim Courvoisier is the Senior Director of Content Marketing at Lob, the only direct mail automation platform for the digital age. Kim is an experienced senior-level digital marketing leader with over 12 years of experience in SaaS marketing, specializing in B2B and B2C content marketing, social media, email marketing, customer lifecycle marketing, AI, and SEO. She is based in San Francisco, California.What B2B Companies Can Learn From Taylor Swift and The Eras Tour: Re-use, recycle, repurpose your classic content. Look back at your past marketing content that did really well and see if you can get more juice out of it. Kim says, “A lot of times, I'll write an ebook, and it's like, ‘Okay, that was great for that campaign. Moving on,' And I'm like, ‘No, no, no. That's all perfectly relevant content. We should reuse that, we should recycle it, we should repurpose that.' And that's exactly what Taylor Swift is doing when she is re-releasing these albums because she's now driving eyeballs or ears back to that content.” So make the most of the content you've invested time and effort in in the past, and refresh it to give your customers added value today.Create a shareable culture around your brand. For Swifties, it's making beaded bracelets, wearing the number 13, going barefoot, putting on red lipstick. And it inspires fans to create their own content or even make their own bracelets and sell them. Kim says, “It's helping this whole little generation become entrepreneurs, which I think is so incredible. I talk about marketing and [Taylor isn't] keeping it for herself. She's sharing it with everyone, and I think there's no greater power as a marketer than to empower others. And she's absolutely doing that.” So extend your brand to include free elements that fans can own, get added value from, and make their own.Quotes“If your content isn't adding value, then you're just creating more noise.” - Kim Courvoisier “When [Taylor Swift] re-releases an album, she actually adds new content to it. Like content from the vault that wasn't on the original edition. And so it's adding more value. So that would be like if I took an old ebook that I had written and then put on an extra bonus chapter and re-released it. So I think there's a ton of lessons we can learn as marketers to go back and refresh and repurpose our content. And I get a ton of inspiration from that.” - Kim CourvoisierTime Stamps[0:54] Meet Kim Courvoisier, Senior Director of Content Marketing at Lob[1:32] Why are we covering Taylor Swift?[4:04] Tell me more about Taylor Swift[10:32] Learn more about the record-breaking Eras Tour[16:54] How do you create a shareable culture?[22:39] What are marketing lessons we can learn from The Eras Tour?[24:58] How to repurpose classic content and give your audience added value[33:55] How to make content appeal to people who aren't currently in the “buying mode”[36:34] How does Kim think about the ROI of content?[42:57] What are Kim's favorite pieces of content she's made at Lob?[45:15] Tell me more about Lob's 2023 State of Direct Mail and Consumer Insights ReportsLinksListen to Taylor SwiftLearn more about The Eras TourConnect with Kim on LinkedInLearn more about LobAbout Remarkable!Remarkable! is created by the team at Caspian Studios, the premier B2B Podcast-as-a-Service company. Caspian creates both non-fiction and fiction series for B2B companies. If you want a fiction series check out our new offering - The Business Thriller - Hollywood style storytelling for B2B. Learn more at CaspianStudios.com. In today's episode, you heard from Ian Faison (CEO of Caspian Studios), Colin Stamps (Podcast Launch Manager), and Meredith Gooderham (Senior Producer). Remarkable was produced this week by Meredith O'Neil, mixed by Scott Goodrich, and our theme song is “Solomon” by FALAK. Create something remarkable. Rise above the noise.
During this first summer of the Hey Sis, Eat This podcast, there's been a lot of back and forth traveling between Los Angeles and Dallas! The sisters are rounding out summer with their all time favorite gals, Reagan and Vivi, (Courtney's daughters) and of course the famous Momma Ashley! After 8 recordings in 6 days, the sisters sit down with Momma Ashley over Dirty Sis Martinis to giggle about some of their own shenanigans as teenage idiots and Courtney's unhealthy obsession with Queso. The girls once again rag on their mom for hoarding 35 year old bottles of alcohol while she once again blames just about everything on her ex-husband. When everyone fesses up about their own infatuation with Tex-Mex, they're all in agreement that Big D (Momma Ashley's husband) is the “Queso Blocker” of the family but it doesn't change how much we love him! Everyone can relate to Courtney getting triggered by the constant back and forth debate in her house over what to order in while Whitney suggests a solution through her favorite meal planning app, PlateJoy. Not wanting to leave her girls behind, Courtney brought them to Dallas to visit family while she and Whitney worked. Much to the littles chagrin, mean “Mamu,” (Whitney's auntie nickname) signed the girls up to take a manners class at a local Dallas specialty food store and they come on to tell us all about it! The Lil Sis' enlighten us on shaking hands properly, setting a table with batman and how to eat soup. They also share with us the highlight of their trip, making homemade pasta and ice cream with Lovey, AKA, Momma Ashley. The laughter is loud and the banter is riotous on this rare uncandid episode of Hey Sis, Eat This!
Recorded at Ten86 Lounge in Hawthorne, New Jersey the lizards pair the San Cristóbal de La Habana Harimau Malaya Edición Regional Malaysia with Courvoisier VSOP cognac. The guys debate the value of Cuban regional editions, they review the Habanos S.A. cigar pricing strategy one year in & and a few lizards recount an all-time prank on Rooster.Join the Lounge Lizards for a weekly discussion on all things cigars (both Cuban and non-Cuban), whiskey, food, travel, life and work. This is your formal invitation to join us in a relaxed discussion amongst friends and become a card-carrying Lounge Lizard yourself. This is not your typical cigar podcast. We're a group of friends who love sharing cigars, whiskey and a good laugh.website/merch/rating archive: loungelizardspod.comemail: hello@loungelizardspod.com to join the conversation and be featured on an upcoming episode!instagram: @loungelizardspod
They talk the talk, but does Gen Z walk the walk? The hosts discuss the generation's complicated relationship with food and whether their values actually impact purchasing decisions. This episode also features an interview with Jorge Antonio Salles, the third-generation master distiller for iconic tequila brand El Tequileño. Show notes: 0:36: We're Bagged Out. Japan Via Montreal. Walk The Talk? Not Exactly. Mike Is Only Sleeping. – Surrounded by two dozen promotional canvas bags and coolers, the hosts assessed the value of such satchels and why brands might be better off sending samples instead of swag. Melissa returned from Montreal with a bushel of crunchy Japanese snacks while Mike tapped Google for some assistance with translation. The hosts also spoke about a recent study that revealed how societal pressures and social media affect Gen Z consumers and later praised brands of chocolate covered bananas, THC-infused drinks and breakfast biscuits. Also, Ray clarified that sleeping is not fasting. 37:35: Interview: Jorge Antonio “Tony” Salles, Master Distiller, El Tequileño – Tony Salles is the master distiller for iconic tequila brand El Tequileño. Described as “Mexico's Best Kept Secret,” El Tequileño distills 10 expressions of tequila along with a soon-to-be released Extra Añejo variety. In this interview, Salles spoke about how the company incorporates its heritage and emphasis on quality and craft into its communication strategy, how modern consumers fit into its innovation strategy and the impact of a limited-edition product on brand awareness. Brands in this episode: El Tequileño, Pitaya Foods, Sailor Jerry, Madre Mezcal, Gigantic Candy, Belgian Boys, Teremana Tequila, Courvoisier, Tilia Wines, Wild Planet, Fresh Fizz, Revol Greens, Velvet Llama, Riff, Flow Water, Diana's Bananas, Jackson's Chips, TBD, Olyra
In this episode, Cornell Bunting pays tribute to Trevor George Smith Jr. (born May 20, 1972), known professionally as Busta Rhymes, an American rapper, songwriter, record producer, and actor. Chuck D of Public Enemy gave him the moniker Busta Rhymes, after NFL and CFL wide receiver George "Buster" Rhymes. He has received 12 Grammy Award nominations for his work, making him one of the most-nominated artists without winning.Busta Rhymes was an original member of Leaders of the New School, a group that attracted national attention when they opened on tour for Public Enemy. He gained exposure for their guest appearance on A Tribe Called Quest's track "Scenario". Shortly after that, the group broke up, leading Rhymes to become a sought-after solo artist, appearing on numerous tracks for other artists before his solo debut album, The Coming (1996). The album reached the top ten on the Billboard 200 album chart, was certified platinum by the Recording Industry Association of America (RIAA), and earned him a Grammy nomination.He has released ten total solo albums, the most recent being 2020's Extinction Level Event 2: The Wrath of God. Rhymes' list of hit singles includes "Woo-Hah!! Got You All in Check", "It's a Party", "Put Your Hands Where My Eyes Could See", "Dangerous", "Turn It Up" (Remix)/"Fire It Up", "Gimme Some More", "What's It Gonna Be?", "Pass the Courvoisier, Part II", "I Know What You Want" and "Touch It". Support the showThank you for tuning in with EHAS CLUB - Stories to Create Podcast
Chefish - w/ Chef India Hey Chefies, Im Chef Jourdan-Cha'Taun and you are now tuned in to Chefish I want to welcome Chef De Cuisine, Owner of Sauce Queen - Chef India Johnson Chef India was born in Queens NY, raised in Asheville NC, but now considers herself an Atlanta native. Chef India grew up inspired by all cuisines. Coming from a family of cooks, bakers, and her father was actually a chef. India started out in corporate America. Then she tapped into her interest of wine making. Before realizing her dream as a chef. Because she had spent so much money on education before corporate America. She decided to skip culinary art school. And worked years besides other accomplished chefs. That's where she got her official training. With her corporate background, and experience with building her own wine brand. She was able to meld all that knowledge & experience together, to become a sought after Private Chef. And go to Multi Media & Culinary Event Coordinator. Working hand in hand with some of the hottest brands to create unforgettable dining experiences. Chef India has create a niche market all her own with the help of social media. Welcome Chef India to Chefish Starter What -How did you get into exploring different types of cuisines ? -Did you travel internationally to develop your craft? Why - Just to give our listeners a Taste -Tell us why did you chose food? -Specifically what made you want to focus on sauces and seasonings ? -I know that you started out in wine. And from what I understand for whatever reasons the pieces weren't sticking together. -Do you think you will ever refocus on that dream and open either a wine distillery/vineyard/or overall wine bar concept? Main Coarse When - When did you fall in love with food? Talk about the moment you knew this was it. When was the turning point in your career. When did you know it was Time to explore your branding of specialty food items? Are you still doing your pop ups & elevated dining experiences? How has becoming a wife and mother changed your business approach? Do you find it difficult to have healthy work/life balance? When you are creating a dinner series or pop up. What do you look for to give you inspiration behind your menus & dining experiences? Do you have any advice for those in corporate America looking to take the leap into the food world-I know you've worked with liquor brands like Martell, Patron, Courvoisier and Bacardi. How do you create budgets for those types of accounts? How do you decide what to cook for their events? Do you have a process you go through? Since you've kinda always been your own boss in the industry. Have you had any issues gaining respect from men in the kitchen? Recipe for success Leave listeners with some tips, affirmations, and do's/ don'ts on their journey -What's the best advise you can give to those interested in branding specialty food items? shoot your shot do the work Chef EATS: -What type of music do you like to listen to when you cook? -After a long day of cooking. What is your go to meal? Dessert Guest talks about the new things she has coming up.. india Chef India @chefindia.co https://instagram.com/chefindia.co?igshid=MWI4MTIyMDE=
Our people have been "passing the Courvoisier" for generations, but this brown liquor's legacy goes beyond rap lyrics. Cognac found a home in Black culture for one terrible reason. _____________ 2-Minute Black History is produced by PushBlack, the nation's largest non-profit Black media company. PushBlack exists to amplify the stories of Black history you didn't learn in school. You make PushBlack happen with your contributions at BlackHistoryYear.com — most people donate $10 a month, but every dollar makes a difference. If this episode moved you, share it with your people! Thanks for supporting the work. The production team for this podcast includes Cydney Smith, Len Webb, and Lilly Workneh. Our editors are Lance John and Avery Phillips from Gifted Sounds Network. Julian Walker serves as executive producer." To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices
Freestyle Conversation about some of todays Latest topics. Enjoy the show
In 1838 a violent murder took place in the Lambeth area of London that set a trend for the stories of the Victorian penny papers for decades to come. Inspiring Charles Dickens, who paid close interest to the case, supplying him with the details he would later adapt to in several of his murder scenes, it was a grim affair that made headlines for months whilst the murderer was blindly chased across London. But was it really an isolated crime or part of something much bigger? Murder, confession and conspiracy all manage to play a role in what would become known as The Grimwood Murder. SOURCES Somerville, Alexander (1841) Eliza Grimwood: A Domestic Legend of the Waterloo Road. B. D. Cousins, London, UK Bondeson, Jan (2017) The Ripper of Waterloo Road. The History Press, Gloucestershire, UK. Bracebridge, Hemyng (1851) Prostitution in London. Griffin, Bohn & Co. London, UK. Mayhew, Henry. Et al. (2005) The London Underworld In The Victorian Period. Dover Publications, USA. Ion, J.L. (1838) Post Mortem Appearances of Eliza Grimwood. The Lancet, Volume 30, Issue 772, P399-400, June 16, 1838. UK. Kelly, Debra & Cornick, Martyn (2013) A history of the French in london. University of London School of Advanced Study Institute of Historical Research. London, UK. The Morning Chronicle (1838) Murder and Suicide. The Morning Chronicle, Mon 28 May 1838, p.3. London, UK. Aberdeen Press & Journal (1840) Murder fo Lord William Russel. Aberdeen Press & Journal, Wednesday 13 May 1840, p.4. Aberdeen, UK. The Globe (1840) Re-Examination of The Valet Corvoisier at Bow Street. The Globe, 14 May 1840, p.3, London, UK. London Evening Standard (1840) Murder of Lord William Russel. London Evening Standard, 11 May 1840, p.3. London, UK. Edinburgh Witness (1840) Confession of Courvoisier. Edinburgh Witness, 1 July 1840, p.2. Edinburgh, UK. ---------- For almost anything, head over to the podcasts hub at darkhistories.com Support the show by using our link when you sign up to Audible: http://audibletrial.com/darkhistories or visit our Patreon for bonus episodes and Early Access: https://www.patreon.com/darkhistories The Dark Histories books are available to buy here: http://author.to/darkhistories Dark Histories merch is available here: https://bit.ly/3GChjk9 Connect with us on Facebook: http://facebook.com/darkhistoriespodcast Or find us on Twitter: http://twitter.com/darkhistories & Instagram: https://www.instagram.com/dark_histories/ Or you can contact us directly via email at contact@darkhistories.com or join our Discord community: https://discord.gg/cmGcBFf The Dark Histories Butterfly was drawn by Courtney, who you can find on Instagram @bewildereye Music was recorded by me © Ben Cutmore 2017 Other Outro music was Paul Whiteman & his orchestra with Mildred Bailey - All of me (1931). It's out of copyright now, but if you're interested, that was that.
Mona Scott-Young is best-known for producing the Love & Hip Hop reality TV series on VH1. The franchise debuted in 2011 has remained a TV fixture today through industry-wide changes with TV and around 30 different seasons aired. However, it's Young's ability to permeate hip-hop culture into the mainstream that's been the true calling card.Before Love & Hip Hop, Mona managed talent in music. She was a co-founder for Violator with the late Chris Lighty, and was behind memorable brand partnerships such as Busta Rhymes and Courvoisier, Missy Elliott with Reebok and Adidas, and the landmark 50 Cent-Vitamin Water deal, among many others back then, such deals were harder to cut than nowadays.It was during this time in music when Mona was introduced to the fascinating lives of hip-hop wives, which led to Love & Hip-Hop's creation. But Mona, who also founded and runs Monami Productions,has more stories to tell about the hip-hop industry. She's teaming up with another well-known TV producer, 50 Cent, on “Hip-Hop Homicides,” which debuts later this year.Mona's influence on the world of hip-hop reaches further than most realize. To hear how Mona moved the culture forward, you'll want to listen to our show. Here's everything we covered: [2:59] How does Love & Hip Hop stay fresh?[4:45] Biggest challenge for reality TV in social-media age[7:55] Love & Hip Hop success stories [9:07] Influencing other hip-hop-related series[11:15] Increased programming around hip-hop[14:21] How reality shows fit into today's streaming landscape[19:00] Mona's career in music and artist-brand deals[24:52] Brand deals for Love & Hip Hop talent [28:27] Network pressures to expand the Love & Hip Hop brand[30:06] Scrutiny on the show's content[34:01] Future of Love & Hip Hop Listen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Mona Scott-Youngs, @monascottyoung 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 HitPiece is your place to discover new NFTs from your favorite artists. Learn more today at hitpiece.com 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] Mona Scott-Young: These were women who were living in the shadows of the men in their lives who had achieved all the fame and the success, and how were these women leveraging the relationships that they were in and the things that they were doing to get to where they wanted to be in life. So I always framed it as an opportunity, so you're getting these stories, right? All of the heartbreak and all of the joy, the highs, the lows. But in exchange, these women are also getting this platform where they can build their brands, build their businesses. [00:00:39] 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. [00:00:59] Dan Runcie: Today's guest is the producer and entrepreneur, Mona Scott-Young. She is the mind behind Hop. She also was a music executive for a number of years, worked with Violator and put together some of the more memorable hip hop branding deals of the time, such as Busta Rhymes in Courvoisier and Mountain Dew. She worked with 50 Cent, Vitaminwater as well, and a bunch of other deals, and she's been someone I've wanted to have on this podcast for a while. We talked a lot about the business of TV and how things have changed specifically for a docu-follow show like Love & Hip Hop. This is a show that has been going on for more than 10 seasons now and has had different franchises, different spinoffs, and has had plenty of copycats as well. So we talked about the business of the show, what it's been like producing it, the platform that a lot of the talent have had that have come up from it, one of the most famous examples is Cardi B and what she'd been able to do after the show, but we also talked about some of the other talents that's come from the show as well. We also talked about how Love & Hip Hop is positioned and some of the perception that it's had, whether or not that perception is more so chatter and criticism, or has that actually made a material impact on the business of what Mona's doing. She also talked a little bit about some of the other projects coming up from Monami Entertainment such as Hip Hop Homicides and a whole lot more. It was great to talk to her, get her perspective on streaming, the industry, where things are, and overall the brand deals that are happening in hip hop. Great conversation. Glad we finally had her on. I hope you enjoy it as much as I did. Here's my chat with Mona Scott-Young [00:02:38] Dan Runcie: All right. Today we are joined by the one and only Mona Scott-Young, producer and one of the great folks in media and entertainment today. And I feel like for you, you've been more than a decade in with Love & Hip Hop, you have several spinoffs. How do you keep things fresh? How do you keep everything coming year after year?[00:02:59] Mona Scott-Young: You know, I always say it's about reinvention. It's about evolution, making sure that you are constantly growing, whether it's me as a producer and applying that to the franchise. You know, what's great about the way that that concept was built is it's that it was a world, right? So we could always populate different folks in and out of that world. So it gave us an opportunity to, you know, cycle in new talent who had fresh stories to tell. And I think that has a lot to do with the staying power and the longevity of the franchise. [00:03:31] Dan Runcie: I think the other thing that's impressive is just how the show's been able to stay consistent with all of the changes that are happening with media and streaming and anything else. Have there been any big shifts that you've made from that perspective as things that have continued to move, whether it's from cable to streaming networks to where things are now? [00:03:50] Mona Scott-Young: You know, not necessarily in terms of the concept, right? 'Cause like I said, the stories are what keeps it fresh and different, but we definitely loosened up our shooting style a lot and we became, you know, more free-flowing, I think to be in line with the fact that folks were able to tune into social media and see things happening in real-time. You know, when we first started the franchise, a big part of it was this very soap opera-like feeling that it had. And over the course of the years, we loosened that up a little bit just so that the stories were able to, you know, track a little more closely to what was happening in real-time in their lives.[00:04:30] Dan Runcie: That makes sense. Do you feel as if social media changed the overall feel and the flow of the show itself? I know that's something that, I've talked to a lot of people on TV and they felt like they've noticed that. How are some of the ways you feel like social media either impacted things for Love & Hip Hop?[00:04:45] Mona Scott-Young: Absolutely. You know, because there's such a lead time with production and editing. It's really hard to stay up with the fact that these folks are out here living their lives on social media, and so the audience gets a chance to just tune into their IG lives and get a blow-by-blow of everything that's happening in their lives so that by the time our show is edited, it's hard for it to feel fresh, right, because they're like, oh, I saw that happen months ago. And so it's finding those other stories, getting the cast to keep things exclusively for the show so that there's this sense of discovery for the audience. 'Cause I think that's the biggest hurdle for reality TV is the fact that, you know, everyone has access to their audience and can broadcast their lives, you know, on a minute-by-minute basis. And so how do we offer something that's different, something that's entertaining, something that feels fresh and current and relevant? I think that's the biggest challenge. [00:05:44] Dan Runcie: Have you noticed that shift with social media at all changed based on what platform has been popular at the time? Of course, the show is popular as ever in Black Twitter, but how about with TikTok now with things picking up there? Have there been any unique things you've seen with the reception there? [00:05:58] Mona Scott-Young: Not necessarily. You know what, I'm not a big TikToker. I don't know if I should say that. I probably just aged myself a thousand years, but, you know, I haven't really noticed a big shift based on TikTok viewership. I know that, you know, or usership, 'cause I know that that's mainly what music, dance, or are they doing skits on there as well?[00:06:21] Dan Runcie: I mean, they're doing skits. I feel like with the show like yours though, it's unique because I think that you're reaching a bit of an older demographic than the folks that are really in TikTok. But like with all these social media platforms, they do tend to scale up at some point, right? So the younger community... [00:06:37] Mona Scott-Young: We'll see what happens, yeah. One of the biggest things that we saw happen on social media were the reenactments, right, the recreations where you had all of these social influencers and social comedians doing their takes on the scenes from the show, and that gave it a whole another life. And I think, you know, what people enjoy about the show is the cast's ability to be self-deprecating. They make fun of themselves, so sometimes you'd see them participating in those skits. You know, social media has always played a huge role in the success of the franchise, even dating back to the very early days where we gave bloggers and the video influencers, the social media influencers, the sneak peek at the show so that they kind of had first dibs. And the immediacy of, you know, them talking about the show and having that engagement was a big part of the success of the show. So I love it when I continuously see the show showing up in different ways on social media.[00:07:34] Dan Runcie: Can we also talk about how social media has been a big piece for how a lot of the folks on the show can use Love & Hip Hop as a platform to do other things? I think Cardi B, of course, has been one of the hallmark examples of this. But what are some of the other folks that stick out for you in terms of, yes, what they were able to do at this show, and then social media took them to another level?[00:07:55] Mona Scott-Young: I mean, if you think about everyone who's like started a business, right? Most of their products, they're hawking them online and via social media. So, you know, whether it's the waist trainers, the hair clips, makeup, all of that stuff kind of came from seeing it on the show and then watching them blow it up. And then you have some of it that was reverse engineered like Cardi was huge on social media already as kind of a, you know, influencer, comic, and having an opportunity to be on the show expanded her audience. But I just think seeing those two things come together, that was probably the biggest example of how, you know, social media and linear TV worked really well to really expand her brand.[00:08:40] Dan Runcie: Yeah, especially with her specifically. I mean, she's giving you the shoutouts in the songs, too, but just seeing what she's able to do creatively with the brand, and I think that's something that's been unique that we've seen with reality TV overall. But I feel like with your type of show specifically because you do get some of those characters that come back, you have some that go off and do their own thing, you see a bit more of that variety than some of these other shows where it's like one season that you may never see that person in the season. [00:09:07] Mona Scott-Young: That's very, very true. I mean, one of the big mandates for me, 'cause a lot of these shows were just about chronicling lives, right? This is about your life. For me, it was always, this is an opportunity, right? If you think about at its core, these were women, or the core of the original concept, these were women who were living in the shadows, right, of the men in their lives who had achieved all the fame and the success, and how were these women leveraging the relationships that they were in and the things that they were doing to get to where they wanted to be in life. So I always framed it as an opportunity, and what I love to see is how, you know, they go out and they take advantage of that opportunity. So you're getting these stories, right? All of the heartbreak and all of the, you know, the joy, the highs, the lows. But in exchange, these women are also getting this platform where they can build their brands, build their businesses. Everyone from Yandy, right, who went from being behind the scenes to having her Yelle Skin Care and all of her other numerous businesses that she has. Cardi with her music, who, you know, was doing her music, didn't have that massive success, had a huge following on social media, but was able to kind of connect the dots in a way that allowed for her music to take off. Oh, God, Rasheeda, Karlie Redd, and K. Michelle, and when I think about all of the success stories with their businesses and their brands, that for me is the big differentiator for Love & Hip Hop 'cause I think these ladies understood the assignment, understood that this was an opportunity, and took advantage of it to, you know, level up in their lives and what they were doing with their business.[00:10:50] Dan Runcie: And I feel like I've seen your own career and your own opportunities take a similar evolution as the show has continued to have its own success, and you had started your production company years ago, but I think right now we've just seen more and more opportunity for creators like yourself that have been able to establish their franchises and just have the success and have different networks have interest in them year over year. What has that process been like? [00:11:15] Mona Scott-Young: Yeah. You know, it's the most gratifying thing because I think, you know, the first to market with anything always is a double-edged sword, right? So Love & Hip Hop was the first docu-follow of its kind that focused on the genre of hip hop and the way that we did, and really gave a different look and feel to what we're used to seeing on reality television. And what we've seen since then, I think, are a lot of shows that I would say Love & Hip Hop paved the way for. You know, shoutout to shows like Power and, you know, Empire and even Rap Sh!t that Issa Rae has on right now. I look at that and I go, yeah, the fact that, you know, we're now giving space to scripted shows that are set in this world and shining a light on the culture and, you know, the women in the culture specifically, if you look at Rap Sh!t, I feel like that is a direct descendant of what Love & Hip Hop was able to pave the way for.[00:12:13] Dan Runcie: Yeah, those are good examples. I feel like that moment in the end of the 2010s, you started to see more shows, I feel like that whole Empire run and a bunch of shows around that, we're able to see a lot of success there. I also feel like around this time too, especially in the most recent years, we've also seen a lot more studios and a lot more folks get different opportunities, whether it's folks getting these overall deals from the streaming services or some others getting big interest from private equity firms that are trying to invest in these studios. As someone that runs a studio, runs a reduction company yourself, how do you view that landscape, and how do those opportunities come up for different folks?[00:12:55] Mona Scott-Young: I mean, I think it's fantastic. I think it's a wonderful thing. I still don't think there's enough of it happening. I always say that during, you know, Black Lives Matter, when we were at the height of that movement, there were so many overtures, right? So many calls were made and people wanting to be in business. And I do believe you're seeing an increased number of programming that caters to our audience and opportunities for those content creators. But I also, you know, hope that this trend continues, and I hope this isn't kind of a performative gesture in order to check a box or to satisfy, you know, their contribution. But, I think it's great. I think the more that audiences understand that their viewership matters, that their support matters, and that's really what is going to dictate it at the end of the day, because we can, you know, get those dollars in and we can get those opportunities. But if those eyeballs don't tune in, then you know, we're not going to continue to see the programming and have those opportunities. So I think it's, you know, nice to see it happen. I'm very interested in seeing what the staying power is for this and how those opportunities increase and not, you know, level out. [00:14:10] Dan Runcie: Do you think that there is any sort of fear or thought that folks should have about the staying power of those eyeballs? Like, does some of these things seem a bit more fleeting in nature? [00:14:21] Mona Scott-Young: I don't think we get the same commitment to staying with something and giving it an opportunity to grow, right? It's like if we don't have instant success, if we don't get those eyeballs instantly, the idea is, oh, this audience is in here moving on to the next, right? I just think that sometimes it takes a minute for a show to catch on. I don't ever think the same marketing dollars are put towards the programming so that folks even have the awareness level that's usually left to us to figure out what are the ways that we're going to bring visibility to, you know, our shows and make sure that, you know, folks know that we exist. Again, I just hope that the commitment extends beyond just the initial overture and that there is promotions and marketing and commitment to seeing these shows grow and find their audience like every other programming has an opportunity to do. [00:15:18] Dan Runcie: That makes sense. It also makes me think about whether or not there are specific differences as well for folks who are making shows, whether it's something for streaming versus something for cable TV or for a network specifically, because I know that with your shows and some of the others that are doing reality things, most of your audience still is, at least from my understanding, still tuning in through cable and watching it through those areas, but. Even though we started to see some reality TV that's been exclusive to these streaming services, it still hasn't been to the same extent that we see, like whether it's with Love & Hip Hop on VH1 or some of the other services. Why do you think that is? And do you think that'll change at all? [00:15:59] Mona Scott-Young: I think the formats have to evolve in order for us to find the right formula to live on the streamers. You know, those shows are about repeatability and about, you know, the binge-watching and, you know, for reality, there's something about that appointment television that tuning in week in and week out that I think plays into the idea that what is happening is happening to some extent in real-time, even though we know it isn't, and the ability to, you know, watch it all. I think it's just a different, it's a shift. It's a paradigm shift, and we have to figure out what the right formula is, what the right content play is to work in that arena. So there's a lot of conversations around that and everybody's trying to find like, kind of what is it right now what you're seeing on streamers are. Formatted docu-series, like real estate shows and, you know, those kind of, I'm trying to think of what are some of the docu-follows that are living. Probably the Kardashian show in Hulu is an example, right? That's kind of a beast of a different nature, right? There's a rabid audience there for the Kardashian clan that I think will watch no matter where it exists. So, you know, I'd love to see more conventional docu-follow find its way to the streamers. I think there's going to have to be a little bit of a fine-tuning in what that format looks like for it to really work there.[00:17:29] Dan Runcie: Right. Because it isn't necessarily a binge release. I don't feel like that necessarily makes sense if you're trying to follow things. I think back to, it was Rhythm + Flow. This is almost three years ago at this point, but the show, you know, the competition show Cardi B and Chance and T.I., I think they did every week or every other week for three block episode of release, and I felt like that was okay. It wasn't too long that felt like it didn't make sense for Netflix, but it was just enough to capture some momentum. And I think back about that, I was like, Okay. [00:17:58] Mona Scott-Young: They're doing that as a format, right? It's a competition show. So those work. The competition shows work. The format shows, the real estate, the cooking, the anything, it's just that finding that right rhythm, that right lane for docu-follow is going to be the challenge.[00:18:14] Dan Runcie: Right. Yeah. That's your point. And then, of course, the Kardashians may be a bit of an outlier just given the size of them, but you are, in a lot of ways, bringing either new stars or people who haven't necessarily had their headlines everywhere in quite some time to the stage, and that's a little bit of a different...[00:18:31] Mona Scott-Young: That's a little bit of a different, yeah, a little bit of a different proposition, if you will.[00:18:36] Dan Runcie: Yeah, definitely. The other reason why I wanted to chat with you is because even before Love & Hip Hop and everything else, you had spent years in music, and you were one of the early ones that were looking at the opportunities for artists, working specifically with brands and looking back at whether it was 50's Vitamin water deal or Courvoisier with Busta.[00:19:00] Mona Scott-Young: For Mountain Dew or Missy with Adidas, or I should say Adidas, and Reebok, and you know, A Tribe Called Quest and Sprite, right? It goes all the way back to that. [00:19:12] Dan Runcie: What do you think it was? 'Cause I felt like Violator was here when everyone else was here in terms of just pushing those things. There were a few others I know that were doing their thing, but it felt like you all were at least five years ahead of where everyone else was pushing them, pushing those things. [00:19:26] Mona Scott-Young: Well, and I appreciate that. For us, it was really always about how do we maximize for our clients, right? We were managers first. And then when we realized that there were all these other areas that we needed to educate ourselves in and get involved in in order to really manage our clients to the best of our ability, and help them expand their brands, and fully monetize, you know, their talents and their contributions to a culture that we saw was taking over every area of advertising and pop culture. We realized that, you know, the opportunities were way beyond just their music, way beyond understanding how to conduct the business of their music. It was about their branding, their cross, you know, marketing value, their ability to bridge the gap with brands and sponsors. So that was just a function of us really wanting to represent our clients not just the best of our ability to help them maximize to the fullest what they, you know, they were bringing to the table with their music and with their cultural relevance. So we understood that it was bigger than just the music. [00:20:41] Dan Runcie: And do you feel like a lot of the brand partners that you were pitching and talking to with about these opportunities at the time saw that it was bigger than just the music and wanted in because I look at the way things are now and the amount of deals and partnerships we see now. It was nothing compared to what it was like when you were doing these deals back then. [00:20:59] Mona Scott-Young: I mean, you know, it's interesting 'cause there was that period where they didn't quite understand what was happening with this, you know, music and the culture because it was always just across the board, Black, White, Asian, and understanding what that kind of point of connection was, right, with all of these kids. Was it the music? Was it the clothing? Was it the lifestyle? What exactly are they buying into? And I think we serve the very important role in helping them bridge that gap, right, giving them that understanding of what hip hop was culturally and all of its different touch points. And then it became about, well, can't we just tap this thing without having to necessarily put this talent front and center? We can just use the music. We can dress, you know, our folks in the clothing and getting them to understand that there was an authenticity, right, that came with the culture that you couldn't fake, and that if you were going to do it, it had to be done in a way that was mutually beneficial because we also couldn't afford to risk our clients' viability with their core audience. Because if they, you know, sold out, then they were done with the music. And that exchange, that dialogue, that conversation I think is what allowed us to position ourselves in a way that benefited our clients, that allowed us to become a gateway to the culture and to the music for a lot of these brands. And that allowed companies like Steve Stoute's Translation literally to exist based on being that, you know, cultural bridge. So it was a step up process of getting them, one, to understand what this thing called hip hop was, and then how it was influencing their consumers, and then how best to tap it in a way that, you know, didn't hurt the artists that they were exploiting. And I'll use the word exploit 'cause I think, you know, exploiting is simply taking full advantage of a situation or, you know, a space. And that's what it was at the end of the day. [00:23:12] Dan Runcie: And we definitely saw a lot of the success at the time with the number of deals that we were seeing. Were there any that you look back on that you were like, oh, you may have pitched that client, or you may have tried to push this one, they just weren't ready, but if this was now, it would've been, No question, this would've already happened? [00:23:27] Mona Scott-Young: You know, I always look back at that time fondly because I realized that we were at the forefront of, you know, an industry that nobody knew exactly what it was. Now when I hear, you know, branding, brand partnerships, you know, I'm like, okay, I guess that's what we were doing way back then. But I think I look back more fondly at the way we were able to leverage our talent into those deals, right? Busta with Mountain Dew started out as a print campaign, and by the time we were done, it had grown into this multimillion-dollar, you know, 360 television spots, everything. It started out as a radio campaign, actually, not even, it was just going to be his voice, right? And then it blew up into something more. It's just now it's par for the course. Now, you know, if you don't have a brand endorsement deal, if you're not, you know, aligned, people think you haven't made it right. But back then, I think it was a lot more challenging, a lot more difficult, and, you know, I think we broke a lot of barriers with the kinds of deals that we did. [00:24:31] Dan Runcie: Yeah, definitely. And I could imagine now that with the stars that are on Love & Hip Hop and the talent that you're working with now, some of them are probably trying to see, okay, can they reach out to you to get advice on these types of deals that they're getting? Do you get involved with any of that ever? [00:24:52] Mona Scott-Young: Yeah, you know, every once in a while. But the interesting thing is now they're sought after, right, because of their following. And all of these brands want them, you know, creating these organic posts so that folks can really believe they're drinking this slim tummy tea or whatever it is that they're hawking. But I think the value, understanding the value of their engagement with their fans is the most important thing for these guys, and I think they're all doing a fantastic job. I mean, I'm always surprised when it's like, oh, okay, well that's, you know, I don't really believe that they're eating or drinking or engaging in this activity, but more power to you. Go ahead. [00:25:33] Dan Runcie: Does any of this ever find a way to get itself into the show itself where folks are like, Okay, I have this partnership now, they'll give me extra money if I wear this Fashion Nova t-shirt in this season of Love & Hip Hop? [00:25:47] Mona Scott-Young: It's funny that you mentioned Fashion Nova because they are extremely aggressive, and they have, you know, they were very smart about the way they built their business, right? They just went out and got a bunch of brand ambassadors, and I think in the beginning it was for a box of free clothes. They had all of these people hawking their product, but the networks and the buyers, they're pretty savvy now. And, you know, they've got their ad sales departments, they still rely probably more than ever on their ad sales dollars. And so they're very, very leery of any kind of integrations, and there are opportunities to kind of go through the front door, do deals with them, buy ad time, and get real, you know, integrated placements. And sometimes, you know, they're also good about if it's an organic, you know, partnership with the talent and it's something potentially that factors into their story, they'll let it slide and let it make its way into the story. But they're a little bit savvy to the fact that, you know, sometimes the talent is getting paid for this and is promising the placement on the show as part of their deal in leveraging that. And yeah, they put the smack down on that. [00:27:01] Dan Runcie: Yeah, I could imagine because it's one of these things where, of course, it's more money into the show and I think everyone generally could benefit from it. But from the other perspective, you don't just want to turn the whole thing into sponsored content, right? [00:27:12] Mona Scott-Young: Yeah. I'm constantly saying to the talent, this is not going to be one big message commercial, you know? But listen, a lot of times the network isn't even participating in that income. They're just letting the talent, yeah, whatever deals that they have in place with these brand partners, they just let the talent hang onto it. So it doesn't really bring money to the show's bottom line. And depending on who the partner is, like somebody like Fashion Nova, the network definitely, you know, their antennas go up. But some of you know the smaller brands and especially. If it's the talent's brand, and they know that it's their business, like you'll always see Yandy washing her face with Yelle Skincare. You'll see Rasheeda doing a scene at the Pressed, you know, store or at the Frost Bistro. So if it's their businesses, the network is always happy to, you know, give them the opportunity to promote their brands and their businesses.[00:28:05] Dan Runcie: Is there ever any pressure from the network to try to capture all of the value that the show is creating? 'Cause I know I'm hearing that from so many other areas in media and entertainment, where they're seeing what's being captured in their area, or they're seeing what's happening and what they're creating. They want to be able to capture more of that. How have those conversations been like with the network if they come up at all? [00:28:27] Mona Scott-Young: When you say capture more of it, you mean with the content or trying to find ways to exploit the brand? [00:28:32] Dan Runcie: The latter, trying to find ways to exploit the brand. [00:28:34] Mona Scott-Young: I mean, yeah, absolutely. It's a little bit of a tightrope, right, because they want to preserve the integrity of the brand. They want to protect the brand and not overexpose it or not hurt it by doing the wrong thing with the brand. But they certainly want to, you know, see the brand continue to evolve, which has been a big part of the staying power. And I think Viacom does a really good, you know, job at that when you think about Love & Hip Hop and the way that it's branched into, you know, all of the specials that we do and they have, you know, spinoffs that they do with the talent. And now they're beginning to do smaller capsule shows that are going to be coming out, you know, whether it's like watch party- type shows or, you know, getaway trip- type shows. So they're very careful about not diluting and over-exposing the brand, but they're very good about continuing to build on the brand so that it evolves and, you know, continues to have a long life. [00:29:34] Dan Runcie: Yeah. And I feel like the longevity you've already had speaks a lot to this. I'm curious though, 'cause I know in other interviews, people have often asked you about how your show is positioned relative to some of the other reality shows and whether or not you are portraying certain people in the best light. And I'm always curious, one of the things I was wondering is that more so chatter where people are talking about these things? Or have any of those conversations actually impacted anything you've either done with the show or the show's success in any way? [00:30:06] Mona Scott-Young: I mean, a lot of it is chatter because you know, in all fairness, when I watched the other shows, there really isn't anything much different happening on those shows in terms of the way the cast members are expressing themselves in any given moment. I think the increased scrutiny on our show has one to do, and I say it very honestly, with the word hip hop and the title, right? I think that there's this preconceived, you know, stigma attached to this huge genre that is literally pop culture right now. So it's almost ridiculously laughable that people still want to treat hip hop as some kind of a subculture, you know, of any kind. But I think the fact that the word hip hop is in the title makes people put us under a microscope, under a magnifying glass in a much different way than they do with, you know, shows with the word Housewives or Beverly Hills in the title. But if you look at the reactions and you look at some of the situations, they're not different at all. So for me, it is chatter, right, because I think the strength is in the numbers and the viewership. I think that's where you know honestly that there is something very relatable about this show, no matter what people want to say or think, because of the sheer volume of, you know, folks who tune in week in, week out to see the show, the staying power that the show has had, the influence that the show has had, whether it's music or, you know, the number of shoutouts that the show gets, the number of mentions that it gets, what happens on social media whenever the show is on air. There's a stronghold there that I think is undeniable. And so there's that whole saying about, you know, we build things up just to bring them down, and we've seen that happen with so many different cultural and iconic, you know, things, and I just think that it's par for the course with this franchise. [00:32:08] Dan Runcie: And I also think you've seen that in the range of folks that tune in as well because I think sometimes the type of content that you create, people will often say, oh, well that's meant for a certain type of person. And it's like, well, it's not really the case 'cause there's people of all ranges of income, however you want to measure success. [00:32:26] Mona Scott-Young: Yeah, it's actually pretty mind-boggling even to this day when, you know, for a long time I did the VOs at the top of the show, so the voice has become a little bit of, you know, its own personality, and, a lot of people don't know what I look like, but the minute I opened my mouth, and it'll be like middle-aged, you know, white people and young, very young kids. And I'm like, why, you know, are you even watching this show? You should be watching Nickelodeon. And so it's interesting to me the broad range of audience that it's found. And again, I always go back to the relatability, and I always go back to the connectivity with the stories, and I think that that's what people gravitate towards. [00:33:11] Dan Runcie: Yeah. And I think that's always going to be there as long as the show continues to evolve as well. And I'm thinking you were probably already thinking about several seasons ahead of now, several years ahead and now, but I'm very curious to see what is this next generation of talent that is going to be into your show, the generation that grew up on TikTok, the generation that grew up with a lot of the things? I think a lot of the talent on your show, whether they're Gen X or millennials, more so, okay, they had their run, but eventually, it's going to be the Gen Z folks and more of them that are going to be on the show more regularly, how that's going to shape not just the things they talk about and everything else, but also as streaming and other things evolve, how the show continues to move, and how the show continues to grow from that perspective. So I'd love to hear what you think the future is going to look like, let's say five years down the road of how this show may continue to evolve.[00:34:01] Mona Scott-Young: Oh, wow. I mean, you know, it's always been about the cast, and they've shaped kind of the feel and the content within the show. So if you're talking about, you know, five years from now, there's going to be a cast there that is reflective of where we are with music, technology, the culture, and those are going to be the stories that we're telling so hard to predict. But like I said, the key and the magic of the franchise has always been that the brand, you know, acted as kind of a bubble within which you cycled in the talent. And five years from now, there's going to be the talent doing what they do, how they do it, and we'll be right there with those cameras to capture it.[00:34:46] Dan Runcie: Yes, it'd be exciting to see. So in the next couple of months though, what should people stay in tune for before we wrap things up here? What should people look out for? [00:34:54] Mona Scott-Young: Oh, so many things that we're doing. I mean, you know, we spent a lot of time talking about the Love & Hip Hop franchise, but as a company, we have so many other projects that we're engaged in and that we're doing. And one in particular coming October 27th and November 3rd actually is the actual premiere, but Hip Hop Homicides is a show that we're doing on WEtv, 50 Cent and G-Unit, Monami and Lionsgate came together with WEtv, and that is a show we're very excited about, very proud of. And it just, again, utilizing, you know, hip hop culture as kind of the foundation, but it's looking at those staggering number of murders that have occurred within our culture that still remain unsolved and even some of them were folks are, you know, serving time for these murders. They're still questions out there that have never been answered. And so Van Lathan is our host and he does a very active, you know, boots-on-the-ground kind of journey to a bunch of different cities where we take a close look at these murders and talk to family members and fans alike. And it's really, to me, a very, very fresh look at these murders that have plagued our community. [00:36:08] Dan Runcie: Oh, nice. That'll be a good one. And I've always liked Van in everything that he's done. I know he's done a lot of stuff with The Ringer recently, but no, he'll be good. I'm excited for this. [00:36:16] Mona Scott-Young: No, he's great at it. And Hip Hop Homicides on WEtv. Yep. November 3rd and we're excited for that one. So that's the next thing coming down the pike. [00:36:27] Dan Runcie: Great stuff. Great stuff. Well, Mona, this is great. Excited for you. Excited for everything coming up from Monami Entertainment. And if people want to follow along with you or with everything that's happening, where should they check in to follow you? [00:36:38] Mona Scott-Young: They can check on Instagram, Twitter, all social platforms. Mona Scott-Young or Monami Productions, @monamiproductions. [00:36:47] Dan Runcie: All right, great. Thanks again. This is great. [00:36:50] Mona Scott-Young: Thank you so much. I appreciate it. Thank you so much.[00:36:54] 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