Podcasts about darkchild

Is this thing on? Pop fans, we have been Anticipating this deep dive into one of Britney Spears' most seminal albums: “Britney”. Arriving in 2001, ahead of her 20th birthday, our teen-pop sensation was growing up and is making sure the world is hearing what she has to say.  Join Joel and David as they dive into this iconic body of work over a two-part episode. This was a massive era for our Brit. Following two record-breaking albums, a massive first world tour and signing a multi-million dollar deal with Pepsi, she's also making her film debut with “Crossroads”. Here in Part 1, we focus on the industry-shaking lead single ‘I'm A Slave 4 U' - which saw Britney unapologetically owning her sexuality and flaunting a new sound. We get into the music video, legendary 2001 MTV VMAs performance, her new image and styling and so much more. True to our chronological style, we dive into our favourite album highlights before we get to the other singles in the next episode.  Britney's DNA is all over this album, with her co-writing several tracks and collaborating with Pharrell and N.E.R.D., Max Martin, Darkchild, Justin Timberlake and Nile Rodgers. From ‘Anticipating' to ‘Before The Goodbye', ‘Lonely', ‘Cinderella' and more… we are truly feasting on this episode! Follow Right Back At Ya! https://www.instagram.com/rightbackpod/ https://twitter.com/rightbackpod https://www.facebook.com/rightbackpod Follow Joel https://www.instagram.com/dr_joelb/ https://twitter.com/DR_JoelB Follow David https://www.instagram.com/lovelimmy/ https://twitter.com/lovelimmy Email us rightbackpod@gmail.com

What's a birthday without a little existential dread and a surprise demon attack? This week, we're joined by Phil Taylor (a.k.a. One True Nerd King) to unpack New Mutants #14, where Illyana Rasputin goes from traumatized teen to Queen of Limbo in record time.The New Mutants try (and fail spectacularly) to take down S'ym, Professor X gets absolutely wrecked, and somehow, a party still happens. Oh, and Xavier casually STANDS UP AND STARTS DANCING, because why not? Meanwhile, Kitty Pryde's bestie Doug Ramsey has major news—but it comes with a one-way ticket to the Massachusetts Academy… and straight into the Hellfire Club's clutches.Demonic duels, surprise teleports, and a living room that will never be the same—this issue is wild. But has Illyana just taken her first real step toward becoming the Darkchild? Let's break it all down!Find us on the AIPT Podcast Network. Follow our show to be alerted when new episodes appear the first and third Wednesday of the month. Check us out on social media @xreadspodcast on Twitter, Instagram, and Facebook. For business inquiries, email xreadspodcast@gmail.com. Learn more at https://aiptcomics.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/x-reads-an-x-men-experience--3616281/support.

Today we're joined by one of the biggest producers in music history — Rodney "Darkchild" Jerkins. We talk about his career, his new Christian hip-hop label and more. Plus, after our Valentine's Day banter, we have this week's RELEVANT Buzz, covering everything from a surprising survey of Christians' attitudes toward refugees to Tim Robinson's new movie that we're pretty excited about. At the end of the show, don't miss our Valentine's game — Is It a Love Song or Worship Song? (Marty doesn't do well.)Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Micheal Marcelio and I worked together in my VIP RISE program and it was an honor watching him BLOOM! In this interview, you'll get tto know him and his story. I LOVE how he talks about embracing your authenticity!. ABOUT MICHEAL: He attended arts magnet schools his entire life where his passion for theatre was invigorated. Post primary education, Micheal attended the number one public university in the world- Berkeley, and transitioned into his TV/film career shortly after graduation. In 2020 Micheal booked 5 pilots in 5 months, one which was produced & sold to Fox by Grammy Award Winner Rodney 'Darkchild' Jerkins. In 2021 Micheal gained his first big guest star recurring credit on the Emmy & Peabody award winning sci-fi drama, 'Artificial'. With a vibrant edge, fierce face & wide range of conveyable emotions, Micheal Marcelio is someone to keep an eye out for. Connect with Micheal on Instagram: https://www.instagram.com/michealmarcelio/ Connect with me and learn about my services at Hollywood Bound Actors: https://hollywoodboundactors.com/ Learn about my course for Beginners: Breakout Star Academy http://breakoutstaracademy.com/

In this 1st episode of Season 2, Shelley Wade shines the spotlight on some good news stories. Also, Photojournalist and Altadena resident Mark Mehlinger shares the deep African American history of the Southern California town and his family's plans to rebuild after the Eaton wildfire devastation. Plus, Harlem resident Kim Pruitt and iconic producer/songwriter Rodney "Darkchild" Jerkins share their thoughts on kindness and what makes them thankful.

In the first episode of 2025, the trio dives into an action-packed discussion. Trivelle and EverythingOShauN give DJXP a detailed synopsis of Billy Bob Thornton's Land Man, sharing their thoughts on the show and its highlights. The conversation then shifts to wild simping stories the group has witnessed, Donald Trump's shocking plans for his second term, and Beyoncé's delayed 2025 announcement amid rumors of a potential rock album. This sparks a heartfelt tribute to iconic rock music moments and the genre's rich musicality from the '90s. DJXP shares insights from CNN's Luther Vandross documentary, which leads to the trio diving into Luther's background vocal work and his dedication to perfection. This sparks a debate on how music creation and curation have shifted away from being artist-driven to becoming more consumer-driven. The group then hilariously breaks down the third Ball brother's Billboard smash hit, “I Might Swerve Bend That Corner Woah.” They speculate on Justin Bieber's potential return to music, analyzing his recent social media moves, while giving legendary producer Darkchild his flowers. A brief but fiery discussion follows on white artists who have managed to “win both sides” of cultural acceptance. The trio also explores Vybz Kartel's creative process for recording his massive hit “Fever,” as revealed in his recent interviews with Billboard and other outlets. The cast then tries (and struggles) to explain Robbie Williams—of Better Man fame—to DJXP, leading to a passionate discussion about the evolution of singers' subject matter over time. Rounding out the episode, the trio delves into the rumored secret beef between T-Pain and DJ Khaled (via Future), posing the ultimate question: Who would win in a Verzuz battle—T-Pain or Future? The show wraps up with a spicy take on the Joy Taylor spectacle currently rocking the sports world.

Are you ready to let yourself go and 'Get Right' with your Right Back At Ya! boys? We're about to sign you up to an all-inclusive 20th anniversary celebration of Jennifer Lopez's deliciously funky R&B album, "Rebirth". For over two decades and counting, J.Lo has consistently proven why she is one of pop's greatest living entertainers! From the blockbuster movies (hello "Monster-In-Law") to chart-topping albums and singles, hugely successful fragrance and clothing line; nobody was making a killing like her.  Joel and David hop 'on the 6' time machine and whizz back to 2005, where Our Jennifer Lynn (as she's affectionately known on the pod) is making a fresh start after splitting with Ben Affleck the first time. The Bronx diva came back with one of her hottest records, 'Get Right' - thanks to the funk go-go genius producer Rich Harrison. This instant smash, complete with an unforgettable multi-character music video, symbolised Jenny showing up and showing off what she does best! With Fat Joe, Timbaland, Brandy, Darkchild, Marc Anthony, Danja and more involved; "Rebirth" really deserved to have been an even bigger album with more singles! #JusticeForRebirth Follow Right Back At Ya! https://www.instagram.com/rightbackpod/ https://twitter.com/rightbackpod https://www.facebook.com/rightbackpod Follow Joel https://www.instagram.com/dr_joelb/ https://twitter.com/DR_JoelB Follow David https://www.instagram.com/lovelimmy/ https://twitter.com/lovelimmy Email us rightbackpod@gmail.com

From being one-third of En Vogue to becoming a transformative coach, Rhona Bennett shares her journey of personal growth. She delves into stories of courage, authenticity, and joy, emphasizing embracing challenges, fostering continuous growth, and expressing oneself genuinely and authentically.Making It! explores the lives and stories of entrepreneurs as they share their unique perspectives on their success and the path to making it.                 “Keep pivoting until you get it right.”— Rhona BennettGuest Bio:With 35 years professionally in the entertainment industry, Rhona Bennett's talent has graced the studio, the stage, and the screen. As a singer, songwriter, actress, dancer, author, “Personal Power” Life Coach, and overall creative spirit, “Miss R&B” has been afforded the opportunity to travel to many places in the world.Some of her accolades include being the “First Lady” of Darkchild with her debut solo effort on Rodney Jerkins' Darkchild/Sony imprint; her now classic role as “Nicole” on the Jamie Foxx Show in Jingles 2000; her beginnings as a Mouseketeer with the likes of Justin Timberlake, Britney Spears, and other industry titans from the show; her “BIG BREAK” coming from the media giant Oprah Winfrey on her television series Brewster's Place, and her current tenure with the legendary “Funky Divas” En Vogue, which has been a recurring collaboration for 20 years. Check out the original Lifetime Television movie “An En Vogue Christmas” starring Miss R&B along with her band mates (Terry Ellis and Cindy Herron-Braggs)!You can also check out her global outreach coaching school, Personal Power University, established in 2016.Her motto: "I believe in personal growth and contribution until we leave the planet."Resources or websites mentioned in this episode:MiraseeRhona's website: RhonaBennet.comCredits:Producer: Michi LantzAudio Editor: Marvin del RosarioExecutive Producer: Danny InyMusic Soundscape: Chad Michael SnavelyMaking our hosts sound great: Home Brew AudioMusic credits:Track Title: The Sunniest KidsArtist Name: Rhythm ScottWriter Name: Scott RoushPublisher Name: A SOUNDSTRIPE PRODUCTIONTrack Title: Sweet Loving WaltzArtist Name: Sounds Like SanderWriter Name: S.L.J. KalmeijerPublisher Name: A SOUNDSTRIPE PRODUCTIONTrack Title: FountainsArtist Name: Night DriftLicense code: MZPASCSN0ZEQN3EIPublisher Name: UppbeatSpecial effects credits:24990513_birds-chirping_by_promission used with permission of the author and under license by AudioJungle/Envato Market.To catch the great episodes coming up on Making It, please follow us on Mirasee FM's YouTube channelor your favorite podcast player. And if you enjoyed the show, please leave us a comment or a starred review. It's the best way to help us get these ideas to more people.Episode transcript: From Funky Diva to Empowerment Coach (Rhona Bennett)  coming soon.

Southside Tribe!! In this dynamic episode, we sit down with legendary super-producer Rodney "Darkchild" Jerkins for an in-depth conversation on faith, family, and his journey through the music industry. Known for his iconic sound and impact on countless hits, Rodney shares insights on balancing life in the spotlight with his faith in Jesus and values. We also dive into his latest venture, Aliens Alive, and the vision behind his label that's set to shape the future of CHH. Tune in for an inspiring conversation with one of the industry's greats as he reflects on the highs, the challenges, and the calling that drives him to keep pressing. Full episode on all audio platforms, video and bonus content on our Patreon community!! Become a Patreon member for Early Access & Exclusive Content - https://patreon.com/Southsiderabbi Follow us Online: Southsiderabbipodcast.com https://linktr.ee/southsiderabbi Email us at Southsiderabbipodcast@gmail.com Southside Rabbi is proudly sponsored by Native Supply - grab SR merch there! https://www.native.supply https://native.supply/collections/southside-rabbi Intro music produced by Randeaux- https://www.instagram.com/randeauxbandeaux/ Contact at randeauxbandeaux@gmail.com All rights reserved by their respective owners.

Mattel makes a big mistake with “Wicked” dolls, Christopher Nolan and Lupita Nyongo are working together and Darkchild is nominated for the Songwriters Hall of Fame.

SoundcloudYoutubehttps://belleairemusic.comBelle Aire is an infinitely creative writer and Music Artist who currently dwells in Los Angeles. Hailing from San Diego, she was immersed in the artistic realm early on and the universal love of music has been her driving force ever since.  With her loving, free-spirit, and outgoing personality combined, it certainly feels like love is in the “Aire” when she's performing on stage for all of her wonderful “Aires” (heirs or fans). Belle Aire's songs are windows into her soul, life journey, and dreams.  When it comes to Belle Aire's musical influences, they're countless and include original movie musical Annie, Whitney Houston, Tina Tuner, Michael Jackson, and Toni Braxton. Additionally, Keith Washington, Dark Child, Ike Turner and Joe Ryan all of which she has collaborated with in the past inspire her immensely. Out of everyone, though, the little girl inside her heart still loves the character Annie Because she was always seen as the girl with the least potential but she dreamed big and saw the greater good in everyone and came out on top! As much as the Soul and R&B genres awakened her to her unwavering melodic devotion, EDM is her home sweet home, which matches her vibrant personality and bold energy to a T. What draws her to the genre of EDM is it's universal love and devoid of age discernment; whether you're fifteen or fifty—everyone must DANCE! Belle Aire possesses the genuine background and innate aptitude (dynamic vocal chops and choreographic eloquence included) to move into this lucrative genre, which is in dire need of some diverse female talent since Ultra Nate, Crystal Waters and The Weather Girls. Furthermore, Belle Aire's one-of-a-kind stage persona is a rare commodity, as she draws from the antiquities of Rome—brimming with castles, court men/eunuchs, women robed in elegant body paint, and cascading fluid drops of light… which is also known as “a decadent musical with a free spirit” of sorts. Her unforgettable performances are greatly choreographed with dancer accompaniment.   While music will forever be on her mind and in her heart, Belle Aire also loves to dance, sing karaoke, exercise, play pool, bowl, learn new languages, meet new people and discover new restaurants. Being the second oldest sister of four siblings and the daughter of an ever-supportive mother, she cherishes her family time more than anything. Goal-wise, Belle Aire has various aspirations, including winning a Grammy, being Number 1 on the charts, headlining at huge events like EDC and Concerts overseas, and collaborating with the top EDM DJ's like Zedd, Diplo, and David Guetta. Being the compassionate soul that she is, Belle Aire also wants to give back to the world and start a foundation for abused women and children.  As a strong believer of music being ageless and containing healing abilities for the mind, body and spirit, she knows that each and every one of us are destined for greatness and she wishes to convey this in everything that she does. Belle Aire not only believes in dreams she is “Living Beyond The Dream”.Become a supporter of this podcast: https://www.spreaker.com/podcast/creator-to-creators-with-meosha-bean--4460322/support.

In this episode I'll be discussing the career of producer Rodney "Darkchild" Jerkins. Social Media Links: Facebook:https://www.facebook.com/Inthemixwithleab IG:https://www.instagram.com/inthe_mixwithleahb Donating to the podcast: Buy Me A Coffee: https://www.buymeacoffee.com/inthemix Episode Request Form: https://www.inthemixwithleahb.com/episode-request-form The in the Mix With Leah B. Podcast Youtube Channel:https://youtube.com/@inthemixwithleahbpodcast?si=LXUTzMjKcGnS69re STORE | In the mix: https://www.inthemixwithleahb.com/shop --- Support this podcast: https://podcasters.spotify.com/pod/show/inthemixx/support

Ashley Jana is a singer/songwriter, producer, and engineer whose music has independently garnered over 60 million streams. Her original music has been featured on HBO, NBC, Showtime, Lifetime, Bravo, Vice, Comedy Central, MTV, VH1, CNN, TLC, TNT, Oxygen, and more.  20 of her original songs have been featured on the hit show “Dance Moms”, with her song “Feels So Good”, co-produced with Grammy winner Rodney "Darkchild" Jerkins landing on the hit show "Empire”. She also wrote the topline melody of "Jelly Jelly" for K-pop sensation TWICE, the topline melody of "Scelgo Ancora Te" for Italian superstar Giorgia, and most recently, the song "Trouble" for America's Got Talent Allstar, Daneliya Tuleshova. Ashley works out of her home studio, where she provides a wide range of online music production services, and she recently completed production for the world premiere album version of her new musical, co-written with Will Nunziata, FIGARO: An Original Musical. WILL NUNZIATA is a NYC-based award-winning director, writer, and creator of theatre, concert, television, and film. Film: The Old Guitarist (Writer, Director). Awards: London Movie Awards (Best Short Film, Best Director), New York Movie Awards (Best First Time Director of a Short), Paris Film Awards (Best First Time Director of a Short), among others.. Screenplay: Lillith (Winner of Best Original Screenplay, 2023 Hollywood Blood Horror Festival and Winner of Best Horror Screenplay, 2024 New York Screenplay Competition). Theatre: Figaro: An Original Musical (Director, Co-Book Writer - West End 2025), White Rose: The Musical (Director - off-Broadway 2024, West End 2025), An Entirely Ordinary Town: A New Musical (Director), Faygele: A New Play (Director), By The End Of Tonight (Director), Little Black Book: A New Musical (Co-Creator). Miss Peggy Lee (Director, Writer, Co-Conceiver) starring Tony Award winner Cady Huffman. Award: Broadway World Best Director. Concerts: Will has written and directed shows for Tony Award winner Lillias White, Platinum recording artist Jackie Evancho, Grammy Award nominee Clint Holmes, to name a few. For twenty years Will performed professionally, singing across the country and around the world with his twin brother, singer-songwriter Anthony Nunziata, culminating in co-headlining Carnegie Hall with the NY Pops Symphony Orchestra. Will is a proud graduate of Boston College and member of the Stage Directors & Choreographers Union. Figaro: An Original Musical Set in mid-1800s Italy, Figaro: An Original Musical is the hauntingly beautiful tale of Sienna, a young woman who dreams of singing but feels imprisoned by her life on her father's farm. When a chance encounter with two young orphans thrusts her into the life of a traveling performer, she meets the handsome Figaro, who promises to make all her dreams come true - but there is always a price to fame. Part love story, part mystery, Sienna's journey to discover herself and live the life she always wanted is fraught with twists and turns until it culminates in a moment that will change the course of her life forever.

Critic and writer Naomi Zeichner joins Pop Pantheon to explore the career of the “vocal bible,” Brandy. Louie and Naomi unpacked Brandy's self-titled 1994 debut, released when she was just 15, her landmark acting roles as Moesha and Cinderella, and 1998's Darkchild-assisted Never Say Never, which reimagined her at the vanguard of R&B futurism and became one of the signature blockbusters of the decade. They then discuss 2002 adventurous electropop-R&B fantasia Full Moon, 2004's deeply personal Afrodisiac and her later period work, like 2012's Two Eleven, which kicked off a cultural and critical reappraisal of her work. Finally, Louie and Naomi rank Brandy in the Official Pop Pantheon. Listen to Pop Pantheon's Brandy Essentials Playlist on SpotifyJoin Pop Pantheon: All Access, Our Patreon Channel, for Exclusive Content and MoreShop Merch in Pop Pantheon's StoreCome to Pop Pantheon Live: Tortured Poets & The State of Taylor Mania on 4/22 at the Bellhouse in BrooklynBuy Tickets to Pop Pantheon Presents: Taylor Mania at Parkside Lounge on 4/19Come to Gorgeous Gorgeous LA on 4/20 at Los GlobosCome to Gorgeous Gorgeous NYC on 5/10 at Sultan RoomFollow Naomi Zeichner on TwitterFollow DJ Louie XIV on InstagramFollow DJ Louie XIV on TwitterFollow Pop Pantheon on InstagramFollow Pop Pantheon on Twitter

The gruesome twosome have crazy one for you guys this week! The boys discuss shower routines, LIV golf and their nostalgia for kites.

In 1928 and 1929, two men named Sterling T. Dunn and Van Skelton were shot and killed in the course of “lover's lane” robberies in Memphis, Tennessee. After a series of false leads and rather unlikely coincidences, the murders were finally solved after several months. Twitter: https://twitter.com/PodcastDarkness Instagram: https://www.instagram.com/agable_fd/ Forgotten Darkness Google Map: https://www.google.com/maps/d/u/0/edit?mid=1NsgqAha9Z3bMhBxg8FuM2tRLqwjH5-_F&usp=sharing Part of the Straight Up Strange Network: https://www.straightupstrange.com/ Opening music from https://filmmusic.io. "Dark Child" by Kevin MacLeod (https://incompetech.com). License: CC BY (http://creativecommons.org/licenses/by/4.0/) Closing music by Soma. SOURCES Memphis Commercial Appeal, March 11, 1928. “Identify Floater as Murdered Fireman.” Memphis Commercial Appeal, February 22, 1929. “McCaslin 'Soldiered' While Family Mourned Him as Dead.” Memphis Commercial Appeal, May 13, 1929. “Murder List Growing.” Memphis Commercial Appeal, February 26, 1929. “Mystery Note Now Enters Dunn Slaying.” Memphis Commercial Appeal, January 10, 1928. “Mystery Surrounds Murder on Parkway.” Memphis Commercial Appeal, January 7, 1928. “Negroes' Confessions Clear Roadside Deaths.” Chattanooga Daily Times, October 12, 1929. “Police Closing in on Murder Witness.” Memphis Commercial Appeal, January 8, 1928. “Police to Renew Quiz of Skelton Suspect.” Memphis Commercial Appeal, October 11, 1929. “Sheriff's Force Idle in Probe of Murder.” Memphis Commercial Appeal, February 5, 1929. “Two Admit Slaying of Skelton and Dunn.” Memphis Commercial Appeal, October 12, 1929. “Woman is Held in Murder of Fireman.” Memphis Commercial Appeal, January 23, 1929. “Woman Named Hazel Still Evades Capture.” Memphis Commercial Appeal, January 9, 1928. Maddox, Myrtle. “My Escape from the Ghost Grove Terror.” True Detective Mysteries, September, 1930.  

On this episode of Can We Talk R&B, Ian Von welcomes New Orleans' Singer/Songwriter V Script to Can We Talk R&B. V talks about his love for R&B music started through his dad playing vinyl records from legends like Rick James, Marvin Gaye, Isley Brothers, Stevie Wonder, his aspirations to become a choreographer, how poetry helped him get discovered and getting his start in the music industry. V Script recalls his first placement with Tamar Braxton which was a pivotal point for him while he was working a sales job at T-Mobile. He also talks about placements with Chris Brown, Eric Bellinger, Dani Leigh, Coco Jones, Ty Dolla $ign and working alongside Rodney Jerkins. You don't want to miss this episode!!!!! Stay connected with Us! #CanWeTalkRnB #CWTRB “How VScript became songwriter”: 5:30 - 7:20 “Nobody” by Rance Davis: 7:20 - 8:30 Learning how to place records: 8:30 - 11:12 Having a record placed with Tamar - 11:12 - 14:05 First Check: 14:05 - 15:05 Working with various artist: 15:05 - 16:40 Being Introduced to Darkchild: 16:40 - 19:46 Signing with Darkchild: 19:46 - 20:17 “Exhausted” by H.E.R. : 20:17 - 20:48 Publishing deal with Rodney Jerkins: 20:48 - 22:20 Eric Bellinger writing camp for New Light: 22:20 -  24:13 What keeps you motivated? 24:13 - 26:15 Deep Dive: The Making of Chris Brown “C.A.B. (Catch A Body)” : 26:15 - 28:10 The State of R&B:  28:10 - 31:50 The Role of Reality TV in music : 31:50 - 34:30 Changes in the sound of genres: 34:30 - 34:55 R&B to Hip Hop: 34:55 - 36:40 How Mainstreaming effects R&B: 36:40 - 40:05 R&B's Identity Crisis: 40:05 - 42:52 The next wave of R&B: 42:52 - 43:47 SZA's “Snooze” Record: 43:47 - 44:52 ✅ LISTEN, FOLLOW AND RATE Hosted & Created by:  Ian Von Produced by: Launch Pod Studio Edited by: Lazy Pickle Studios

We had the pleasure of interviewing John Galea over Zoom video!Award winning singer/songwriter John Galea releases his latest single “Don't Wanna Die” featuring rapper Ironik today. This release follows the success of Galea's 5 Independent EP's starting with The Scrapbook EP (2012), Under Attack (2013), Notes From My Piano (2014) and ‘Missing Pages' (2016) which featured single ‘When You Truly Love Someone' which hit Top 10 in the Commercial Charts in 2017, which featured Celebrity Gemma Oaten in the music video. John followed up that success with his Christmas EP ' Christmas Round The Piano' (2018), scoring a Top 30 iTunes Charting track in 2019 with his Christmas song 'A Simple Christmas'. Galea followed up that success with his hit single “Hero Within You” featuring Guildhall Opera Singing Sensation Hannah Long. Now Galea is ready to release more new music to his fans with his latest single “Don't Wanna Die” featuring Ironik.When asked about his latest single Galea said, “Don't Wanna Die' is about being addicted to a love that isn't right for you & you find it hard to let go of. Again this is a very personal song written about a past relationship I was stuck in, like a habit I couldn't break.” Over the last few years John Galea has been making waves in the music industry working with Number 1 producers and writers from around the world including names like Darkchild, (Destiny's Child, Whitney Houston), Beluga Heights (Jason Derulo, Britney Spears), & The Monarch (Kelly Clarkson, Rita Ora) and more! John started songwriting when he was 13 after winning a UK National Songwriting Contest with his track “I Am Not An Angel.” Following that win John started writing for artists such as Lao Ra (Jesus Made Me Bad), Thea Garrett (Frontline) & Gianluca Bezzina (Come Float Away) and more! Around this time his track “Trendsetter” was synced on US TV. John, has also toured the UK supporting the likes of McFly and Boyzlife, as well as performed on the mainstage for London Pride, Birmingham Pride, Northern Pride, Norwich Pride, as well as the main stage on festivals like The Sundown Festival and more. Stay tuned to John's socials below for more updates on future releases as he gets ready to release his next project.We want to hear from you! Please email Hello@BringinitBackwards.com. www.BringinitBackwards.com#podcast #interview #bringinbackpod #JohnGalea #NewMusic #ZoomListen & Subscribe toBiB https://www.bringinitbackwards.com/followFollow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpodThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4972373/advertisement

Listen on your favorite podcast service: https://pods.to/wesoundcrazy This week, our co-hosts converse with special guest, super producer, Rodney "Darkchild" Jerkins! You've heard his iconic tagline "Darkchild 99" starting off some of pop culture's biggest records such as "Say My Name" by Destiny's Child and "It's Not Right But It's Okay" by Whitney Houston and countless others. He is the mastermind behind some of the music industry's most iconic superstars such as Beyoncé, Mary J. Blige, Michael Jackson, Whitney Houston, Janet Jackson, and so many more. Music that has truly defined the soundtrack for modern music since the 90's. Rodney shares priceless stories about his friendship and creative relationship with Michael Jackson, talks about his musical start in the Church and discovering music production, a life changing production meeting for Mary J. Blige, his work with new artists such as SZA and Burna Boy and so much more!  Special thanks to our We Sound Crazy team! Videography: Aaron Walton Video Editing: Aaron Walton Producer: Michael "Roux" Johnson Assistant: Brittany Guydon Intern: Montez Freeman Grooming for Phillionaire & Tamone Bacon: Delvin "Redd The Barber" Washington Thank you to all of our listeners, as well as our sponsors, The National Museum of African American Music and Visit Music City. Subscribe to We Sound Crazy on Spotify, Apple Podcasts, and anywhere you get your favorite podcast.  Follow us on Twitter, Instagram, Facebook, YouTube, and TikTok! Follow We Sound Crazy on Social Media: ~ Facebook: https://wesoundcrazy.ffm.to/wscfacebook ~ Instagram: https://wesoundcrazy.ffm.to/wscinstagram ~ Twitter: https://wesoundcrazy.ffm.to/wsctwitter ~ TikTok: https://wesoundcrazy.ffm.to/wsctiktok ~ Email: https://ffm.link/wsc-signup Subscribe to We Sound Crazy on YouTube: https://wesoundcrazy.ffm.to/wscyoutube-subscribe Visit the official We Sound Crazy website: https://wesoundcrazy.ffm.to/officialwebsite Learn more about your ad choices. Visit megaphone.fm/adchoices

The president of the post-WWII Japanese railway system dies under mysterious circumstances, and in the following weeks, two incidents of railway sabotage occur. Twitter: https://twitter.com/PodcastDarkness Instagram: https://www.instagram.com/agable_fd/ Forgotten Darkness Google Map: https://www.google.com/maps/d/u/0/edit?mid=1NsgqAha9Z3bMhBxg8FuM2tRLqwjH5-_F&usp=sharing Part of the Straight Up Strange Network: https://www.straightupstrange.com/ Opening music from https://filmmusic.io. "Dark Child" by Kevin MacLeod (https://incompetech.com). License: CC BY (http://creativecommons.org/licenses/by/4.0/) Closing music by Soma. SOURCES “Added Violence Marks Japan Labor Crisis.” Baltimore Evening Sun, July 7, 1949. Occupation of Japan - Wikipedia Japan's Red Purge: Lessons from a Saga of Suppression of Free Speech and Thought | The Asia-Pacific Journal: Japan Focus (apjjf.org) Red Purge - Wikipedia FOCUS: Mysterious 1949 disaster draws attention again. - Free Online Library (thefreelibrary.com) Shimoyama National Railways Governor's Memorial Monument (fc2.com) 70 yrs on, struggle for exoneration in Mitaka case continues (kyodonews.net) Hosei University Ohara Institute of Crime Case [Japan Labor Yearbook Vol. 24 674] (archive.org)

B. Cox and Domo review Brandy's classic sophomore album Never Say Never as it turns 25. After her smash eponymous debut album helped make her a household name among R&B fans, Brandy began to diversify her portfolio as an entertainer, starring her own sitcom Moesha, the Cinderella remake and I (Still) Know What You Did Last Summer. In late 1997, she began recording her second album now linked with an upcoming producer Rodney "Darkchild" Jerkins. Jerkins along with his production and writing team of his brother Fred, Harvey Mason, Jr, Lashawn Daniels as well other writers and producers David Foster, Marc Nelson and Diane Warren among others, set to craft a new sound for the maturing Brandy.Jerkins and his versatile production style proved to be a match for Brandy and her now mature and powerful voice and his production and writing team helped build an album that reflected Brandy's life, struggles and innermost thoughts. He also encouraged her to co-write a few of the songs, which made the project that much more candid and well rounded. The final product was something far beyond what fans or critics could dream of.The album featured up to seven singles, most notably two #1 Billboard Hot 100 hits "The Boy Is Mine: featuring fellow R&B singer Monica and "Have You Ever?" and the top 20 hits "Angel In Disguise" and "Almost Doesn't Count". The album has been certified 4x platinum and has sold 16 million copies worldwide. It is Brandy's best-selling album to date and is recognized as her best and most influential work.Visit The Vault Classic Music Reviews Onlinewww.vaultclassicpod.comBuy Exclusive The Vault Podcast Merchandise!www.vaultclassicpod.com/storeSupport The Vault Classic Music Reviews on Buy Me A Coffeehttps://www.buymeacoffee.com/vaultclassicpodBuild Your Own Amazing Podcast Website In Less Than 5 Minutes!https://www.podpage.com/?via=ivecre8Show NotesAlbumism: Brandy's 'Never Say Never' Turns 25 | Album Anniversary https://albumism.com/features/brandy-never-say-never-album-anniversaryVibe: Alex Vaughn Remakes "Almost Doesn't Count" for 'Never Say Never' 25th Anniversaryhttps://www.vibe.com/music/music-news/alex-vaughn-pays-tribute-to-brandy-never-say-never-1234764027/BET: Brandy's "Never Say Never" Was A Semi-Confessional Executed To Perfectionhttps://www.bet.com/article/y4e2n0/brandy-never-say-never-retrospective-25th-anniversaryThe Urban Journal: Essential Albums: Brandy's "Never Say Never" At 25https://urbjournal.com/brandy-never-say-never/OkayPlayer: Brandy Talks 20 Years of "Never Say Never"https://www.okayplayer.com/originals/brandy-interview-never-say-never-20-years-later-okayplayer.htmlSupport this podcast at — https://redcircle.com/the-vault-classic-music-reviews-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

These five stories comprise the homicide cases in L.A. Noire. These are the murders of former aviator Jeanne French (“The Red Lipstick Murder”), teetotaller Dorothy Montgomery (“The Golden Butterfly”), soon-to-be-divorcee Rosenda Mondragon (“The Silk Stocking Murder”), housewife Laura Trelstad (“The White Shoe Slaying”) and the homeless Evelyn Winters (“The Studio Secretary Murder”). Twitter: https://twitter.com/PodcastDarkness Instagram: https://www.instagram.com/agable_fd/ Forgotten Darkness Google Map: https://www.google.com/maps/d/u/0/edit?mid=1NsgqAha9Z3bMhBxg8FuM2tRLqwjH5-_F&usp=sharing Part of the Straight Up Strange Network: https://www.straightupstrange.com/ Opening music from https://filmmusic.io. "Dark Child" by Kevin MacLeod (https://incompetech.com). License: CC BY (http://creativecommons.org/licenses/by/4.0/) Closing music by Soma. SOURCES “Another Woman Slain, Victim of Mutilation Killer.” Los Angeles Times, February 11, 1947. “Bus Driver's Story Clouds L.B. Murder.” Long Beach Independent, May 18, 1947. “Cab Driver Believes He Saw Mrs. Trelstad.” Long Beach Independent, May 30, 1947. “Church Friends of Slain Woman Checked as Baffled L.A. Policemen Open Probe.” Visalia Times-Delta, May 5, 1947. “Clothes of L.A. Victim Found.” San Francisco Examiner, July 10, 1947. “Clues Lacking at Montgomery Murder Inquest.” Los Angeles Times, May 8, 1947. “Colorful Life of Jeanne French Ends in Death by Mystery Killer.” Los Angeles Times, July 16, 1961. “Companion of Nurse During Supper Sought.” Los Angeles Daily News, February 12, 1947. “Dark Man Who Had Late Date With Slain Woman Hunted.” Los Angeles Evening Citizen News, February 13, 1947. “Fiend's Victim Called Good Wife and Mother.” Long Beach Press-Telegram, May 13, 1947. “Horror Victim Last Seen With Sailor.” Los Angeles Daily News, May 13, 1947. “Husband Held in L.A. Slaying.” Ventura County Star, February 11, 1947. “Husband of Slain Woman Arrested.” Venice Evening Vanguard, July 1, 1948. “Inquest Leaves Evelyn Winters Murder Mystery.” Valley Times, March 18, 1947. “L.A. Man is Freed in Death of Wife.” Visalia Time-Delta, July 12, 1947. “L.B. Woman Attacked, Slain.” San Pedro News-Pilot, May 12, 1947. “Lead Sought to Killer of L.B. Mother.” Long Beach Independent, May 13, 1947. “Lie Test Fails to Link Husband in Nurse Killing.” Los Angeles Times, February 12, 1947. “Man in Jail Questioned in Housewife's Murder.” Los Angeles Times, May 7, 1947. “Missing Mother Found Murdered; Battered Body Left in Vacant Lot.” Los Angeles Times, May 4, 1947. “Montgomery Freed in Wife's Death.” Los Angeles Daily News, August 1, 1947. “Montgomery Linked to Wife's Killing.” Los Angeles Daily News, July 25, 1947. “Mother of Three Choked to Death; Body Flung in Signal Hill Oil Field.” Los Angeles Times, May 13, 1947. “Murder of Wife Finally Charged to Montgomery.” Los Angeles Times, May 15, 1947. “New French Murder Lead Uncovered.” Los Angeles Evening Citizen News, February 25, 1947. “New Sex Murders Shock Los Angeles.” Santa Rosa Press-Democrat, March 12, 1947. “Pawnshops May Answer Latest Dahlia Slaying.” Metropolitan Pasadena News, May 6, 1947. “Police Eliminate Sail as Suspect in Sex Slaying.” Sacramento Bee, May 14, 1947. “Police Question Husband in Brutal Slaying of Wife.” Minneapolis Morning Tribune, February 11, 1947. “Police Seek Attempted Attacker As Suspect in French Murder.” Venice Evening Vanguard, February 26, 1947. “Quiz Confessed Murderer on Other Slayings.” Wilmington Daily Press Journal, February 18, 1947. “Reports on Molesters May Give Clue.” Los Angeles Times, May 6, 1947. “Robbery, Attack Suspect Located.” Venice Evening Vanguard, June 27, 1947. “Sailor Cleared as Suspect in Murder.” Long Beach Independent, May 14, 1947. “Screams in Montgomery Home Heard by Witness.” Los Angeles Times, May 21, 1947. “Seek to Link Suspect With Lipstick Case.” Los Angeles Daily News, March 10, 1947. “Sixth Victim in Murder Cycle Found Mutilated in Southland.” Santa Maria Daily Times, July 8, 1947. “Slain Woman's Stripped Body Found in Gutter.” Los Angeles Times, July 9, 1947. “Slayer Known, Police Declare.” Wilmington Daily Press-Journal, May 16, 1947. “Trio Questioned in Winters Case.” Los Angeles Times, March 14, 1947. “Two Fiend Murders Stymie L.A. Police.” Valley Times. February 12, 1947. “Two More Women Slain; One Beaten, One Strangled.” Los Angeles Times, March 12, 1947. “Warrant Issued for Culver Gas Station Attendant.” Venice Evening Vanguard, May 10, 1947. “Winters Murder Case Centers on Drinking Friend.” Los Angeles Times, March 13, 1947. “Woman Slain in New L.A. Dahlia Murder.” Los Angeles Daily News, February 10, 1947. “Woman Slain in New L.A. Murder.” Oakland Tribune, May 12, 1947. 1947project: Slain Woman's Stripped Body Found in Gutter (archive.org) 1947project: Mother of Three Choked to Death; Body Flung in Signal Hill Oil Field

These are three of the stories that inspired cases in the 2011 video game L.A. Noire. Here are the stories of overstressed engineer Eugene White ("The Driver's Seat"), the accidental death of Jay Dee Chitwood and his wife's drunken confession ("A Marriage Made in Heaven"), and the avoidable disaster of O'Connor Electroplating ("Nicholson Electroplating"). Twitter: https://twitter.com/PodcastDarkness Instagram: https://www.instagram.com/agable_fd/ Forgotten Darkness Google Map: https://www.google.com/maps/d/u/0/edit?mid=1NsgqAha9Z3bMhBxg8FuM2tRLqwjH5-_F&usp=sharing Part of the Straight Up Strange Network: https://www.straightupstrange.com/ Opening music from https://filmmusic.io. "Dark Child" by Kevin MacLeod (https://incompetech.com). License: CC BY (http://creativecommons.org/licenses/by/4.0/) Closing music by Soma. SOURCES “15 Identified Dead in Blast; One Missing.” Los Angeles Evening Citizen News, February 21, 1947. “Alleged Murder Victim Admits Burning House.” Hanford Morning Journal, August 5, 1947. “Chemist Cited Blast Peril, Inquest Hears.” Salt Lake Tribune, March 12, 1947. “Chitwood to Be Sentenced to Death.” Hope (Arkansas) Star, February 20, 1946. “Dead Chemist's Premonition of L.A. Blast Told At Hearing.” Los Angeles Daily News, March 11, 1947. “Driver Absolved in Pedestrian Death.” San Pedro News-Pilot, August 15, 1944. “Engineer Arrested in Arson.” Valley Times, August 4, 1947. “Executive Feared Slaying Victim in St. Valentine's Day Car Mystery.” Los Angeles Times, February 16, 1947. “It Mushroomed Like Atom Blast.” Los Angeles Daily News, February 21, 1947. “Missing Businessman Confesses It Was Fake.” Los Angeles Times, February 27, 1947. “Murdered One Mate Just to Scare Present One, Wife Says.” Los Angeles Daily News, January 22, 1947. “Obituaries – White, Eugene Hamilton.” Los Angeles Times, June 13, 1995. “Only Kidding, Woman Says of Confession.” Metropolitan Pasadena News, January 23, 1947. “Pedestrian Death Inquest Set.” San Pedro News-Pilot, August 11, 1944. “Plant Cleared of Negligence in Faital Blast.” Wilmington Daily Press Journal, March 13, 1947. “Police Discount Murder Story.” San Pedro News-Pilot, January 22, 1947. “Prosecutor Seeks Blast Facts Prior to Inquest.” Los Angeles Times, February 25, 1947. “Psychiatrist to Examine Woodland Hills Arsonist.” Topanga Journal, August 29, 1947. “Reasons For Flight Told By Missing Angeleno.” Los Angeles Times, March 3, 1947. “Secret War Work Blast Cause Denied.” Los Angeles Evening Citizen News, February 21, 1947. “Some Compare Blast to Quake, A-Bombing.” Los Angeles Evening Citizen News, February 21, 1947. “Television Used at Blast Scene First for Coast.” Los Angeles Evening Citizen News, February 21, 1947. “Tool Plant Executive's Arson Case Arraignment Set Aug. 25.” Los Angeles Evening Citizen News, August 9, 1947. “Torrance Orders Sidewalk Built.” San Pedro News-Pilot, August 25, 1944. “Traffic Death Turns Into Murder Mystery.” Los Angeles Times, January 22, 1947. “Woman Admits Spouse Murder Two Years Ago.” Pomona Progress Bulletin, January 22, 1947. “Woman Released After Confession Discounted.” Long Beach Independent, January 24, 1947. “Woman's Murder Story Proves False.” San Pedro News-Pilot, January 24, 1947. “Woodland Hills Arsonist Sane; Held For Trial.” Topanga Journal, September 5, 1947. “Woodland Hills Man Charged With Arson.” Topanga Journal, August 8, 1947. Newsreel footage of aftermath of O'Connor Electroplating: (230) Deadly explosion, 1947, O'Connor Electroplating Co. Los Angeles - YouTube

John Frankford was a notorious thief of pretty much anything that wasn't nailed down.  His 30 year career in Pennsylvania and elsewhere is a series of crimes, arrests, and jailbreaks, punctuated with the occasional jail sentence that's actually served.   Twitter: https://twitter.com/PodcastDarkness Instagram: https://www.instagram.com/agable_fd/ Forgotten Darkness Google Map: https://www.google.com/maps/d/u/0/edit?mid=1NsgqAha9Z3bMhBxg8FuM2tRLqwjH5-_F&usp=sharing Part of the Straight Up Strange Network: https://www.straightupstrange.com/ Opening music from https://filmmusic.io. "Dark Child" by Kevin MacLeod (https://incompetech.com). License: CC BY (http://creativecommons.org/licenses/by/4.0/) Closing music by Soma. SOURCES Lancaster Saturday Express, June 14, 1856, p. 4. “A Plucky Escape.” The Landmark (White River Junction, Vermont), July 14, 1883. “All Asked to Give Evidence.” Philadelphia Times, June 12, 1897. “Arrest of an Accomplished Horse-Thief.” Baltimore County Union (Towsontown, Maryland), May 26, 1883. “Arrest of a Noted Burglar.” Lancaster Intelligencer, May 25, 1874. “Arrest of a Noted Horse Thief.” Lancaster Intelligencer, June 19, 1877. “Arrested.” Lancaster Intelligencer, December 20, 1869. “At His Old Tricks.” Lancaster Examiner, May 19, 1880. “Attempted Escape from Prison.” Lancaster Examiner, March 15, 1854. “August Term of Quarter Sessions.” Lancaster Semi-Weekly New Era, August 25, 1877. “Caged Again.” Lancaster Intelligencer, September 8, 1880. “Catching One of the Escaped Convicts.” Philadelphia Times, May 26, 1882. “Caught Again.” Pittsburgh Commercial Gazette, September 7, 1878. “Caught in the Act.” Lancaster Intelligencer, May 14, 1880. “City and County Affairs – Court of Quarter Sessions – August Term.” Lancaster Intelligencer, August 25, 1857. “City and County Items – John Frankford.” Lancaster Intelligencer, April 25, 1854. “Committee Probes Frankford's Case.” Philadelphia Inquirer, June 12, 1897. “Court of Quarter Sessions.” Lancaster Daily Evening Express, August 18, 1874. ―. Lancaster Intelligencer, August 23, 1877. ―. Lancaster Intelligencer, August 24, 1877. “Court Proceedings.” Lancaster Examiner, November 27, 1861. “Crime and Casualty.” Carlisle Valley Sentinel, December 9, 1881. “Death Ends His Term in Prison.” Philadelphia Times, January 22, 1896. “Divorced.” Lancaster Semi-Weekly New Era, September 8, 1883. “Escape from Prison.” Lancaster Examiner, September 30, 1863. “Escape of Prisoners from Lancaster Jail.” Baltimore Sun, May 25, 1882. “Escape of Two Noted Criminals.” Lancaster Intelligencer, July 25, 1878. “Escaped Convicts.” Lancaster Intelligencer, October 17, 1883. “Escaped from Prison.” Lancaster Intelligencer, July 14, 1879. “Frankford's Case.” Lancaster Intelligencer, May 28, 1874. “Frankford in Limbo.” Lancaster Weekly Intelligencer, May 16, 1883. “Frankford the Jail Breaker, Burglar and Horse Thief.” Lancaster Intelligencer, June 25, 1877. “Frankford's Return.” Lancaster Semi-Weekly New Era, November 24, 1885. “Frankford's Whereabouts.” Lancaster Intelligencer, October 31, 1883. “Frankfort and Hambright in the Allegheny Court of Quarter Sessions.” Lancaster Daily Evening Express, June 15, 1870. “Frankfort, the Jail Breaker.” Lancaster Intelligencer, May 9, 1870. “G.C. Kennedy Disbarred.” Lancaster Examiner, June 26, 1895. “General Jail Delivery.” Lancaster Examiner, May 31, 1882. “Gordon Still Wants His Way.” Philadelphia Times, June 11, 1897. “Is It Frankford?” Lancaster Semi-Weekly New Era, March 12, 1884. “Jail Breakers.” Lancaster Intelligencer, August 8, 1881. “John Frankford – Back Again In His Old Quarters.” Lancaster Semi-Weekly New Era, September 1, 1883. “John Frankford – His Daughter Reaffirms His Death.” Lancaster Semi-Weekly New Era, January 10, 1885. “John Frankford – Judge Futhey of Chester County Orders His Return to Lancaster County.” Lancaster Semi-Weekly New Era, August 25, 1883. “John Frankford – Sixteen Indictments Against Him In Chester County.” Lancaster Semi-Weekly New Era, August 18, 1883. “John Frankford Dead.” Lancaster Semi-Weekly New Era, January 3, 1885. “John Frankford Taken.” Lancaster Intelligencer, November 25, 1885. “John Frankford's Death.” Lancaster Examiner, January 25, 1896. “Judge Gordon and Committee.” Chambersburg Valley Spirit, June 16, 1897, “Kennedy Leaves the Asylum.” Philadelphia Times, February 11, 1896. “Kennedy Wants Reinatatement.” Philadelphia Times, June 21, 1896. “Lancaster County Thieves Arrested.” Harrisburg Telegraph, August 7, 1879. “Local Department – Court Proceedings.” Lancaster Intelligencer, November 26, 1861. “Local Intelligence.” Lancaster Daily Evening Express, August 28, 1857. “Local Intelligence – A Slippery Fellow.” Lancaster Daily Evening Express, March 5, 1870. “Local Intelligence – Bold Jail Breaker.” Lancaster Intelligencer, November 28, 1881. “Local Intelligence – Court of Quarter Sessions.” Lancaster Intelligencer, November 23, 1876. “Local Intelligence – Court Proceedings.” Lancaster Daily Evening Express, January 17, 1860. “Local Intelligence – Frankford.” Lancaster Intelligencer, April 18, 1880. “Local Intelligence – Proceedings of Court.” Lancaster Daily Evening Express, August 18, 1857. ―. Lancaster Daily Evening Express, January 21, 1862. “Local Intelligence – The Railroad Robbery; Further Particulars.” Lancaster Daily Evening Express, December 23, 1869. “Looking at Lancaster – John Frankford Complains Bitterly of His Sentence.” Lancaster Examiner, May 10, 1880. “Lost an Eye.” Lancaster Intelligencer, November 30, 1881. “No More Jail Breaks.” Lancaster Semi-Weekly New Era, December 12, 1885. “Not Frankford.” Lancaster Intelligencer, March 19, 1884. “On the Trail.” Lancaster Daily Evening Express, August 25, 1876. “Over the Wall.” Lancaster Intelligencer, January 4, 1882. “Owner Wanted.” Lancaster Intelligencer, July 16, 1861. “Personal and Literary.” Lancaster Daily Evening Express, November 23, 1876. “Prisoners Escaped.” Lancaster Intelligencer, September 24, 1869. “Proceedings of Court.” Lancaster Examiner, August 19, 1857. ―. Lancaster Examiner, January 18, 1860. “Quarter Sessions – Judge Collier.” Pittsburgh Weekly Gazette, June 14, 1870. “Recapture of Frankford, the Jail-Breaker.” Lancaster Daily Evening Express, May 6, 1870. “Soft Iron-Clads.” Lancaster Semi-Weekly New Era, December 3, 1881. “Stolen Horse Recovered.” Lancaster Intelligencer, September 1, 1876. “The Champion Jail Breaker.” Lancaster Examiner, August 30, 1876. “The Convicts Still at Large.” Lancaster Intelligencer, May 27, 1882. “The Horse Thieves.” Lancaster Intelligencer, August 25, 1876. “The New Jail Tested.” Pittsburgh Daily Commercial, March 21, 1870. “The True Version.” Lancaster Intelligencer, December 20, 1869. “Thieves Caged.” Lancaster Examiner, August 6, 1879. “Things in New York – An Assault in Court.” Philadelphia Inquirer, June 20, 1870. Bodysnatching and the curious case of One-Eyed Joe - WHYY Jack Sheppard - Wikipedia Lamont, Daniel S., Maj. George B. Davis, Leslie J. Perry, and Joseph W. Kirkley. The War of the Rebellion: A Compilation of the Official Records of the Union and Confederate Armies (volume 42). Washington, DC: Government Printing Office, 1893. Wilmer, L. Allison, J.H. Jarrett, and George W.F. Vernon. History and Roster of Maryland Volunteers, War of 1861-5 (volume 1). Baltimore: Guggenheimer, Weil & Co., 1898.

We know it's gone, we said it's gone but we can still feel it here, this week we say our Goodbye's to the Forever album! We get all of the feels discuss our found gems in this album. Which songs are sticking around on our playlists and do we finally express our love for the one and only Darkchild?! Only one way to find out! Spice up your life!   The Sporty One, by Melanie C   Check out our friend Nicoli's Unbound series of books! Dissonance by Nicoli Gonnella Silence by Nicoli Gonnella Hunger by Nicoli Gonnella Fury by Nicoli Gonnella   Listen to miek and Greg on Two Bandits Watching Bluey! Two Bandits Watching Bluey   miek made an album! progress-is-only-progress-when-documented   Follow us on Twitter: @TheSpiceLevel Check out our other socials: thespicelevel.com Email us: TheSpiceLevel@gmail.com

On December 12, 1911, a missed milk delivery led to the discovery of four dead bodies on a farm near Albany, New York.  The possible murderer can't be found. Twitter: https://twitter.com/PodcastDarkness Instagram: https://www.instagram.com/agable_fd/ Forgotten Darkness Google Map: https://www.google.com/maps/d/u/0/edit?mid=1NsgqAha9Z3bMhBxg8FuM2tRLqwjH5-_F&usp=sharing Part of the Straight Up Strange Network: https://www.straightupstrange.com/ Opening music from https://filmmusic.io. "Dark Child" by Kevin MacLeod (https://incompetech.com). License: CC BY (http://creativecommons.org/licenses/by/4.0/) Closing music by Soma. SOURCES “$1000 Reward For Murderer.” Rutland Daily Herald, December 16, 1911. “1911 Shocking Defreestville Murders Still Unsolved.” Albany Times-Union, April 10, 1966. “Another Morner Tragedy Reported.” Buffalo Enquirer, February 2, 1912. “Arrest Man at Williamstown.” Boston Globe, December 18, 1911. “Bloodhounds on Murderer's Trail.” Warren Times-Mirror, December 15, 1911. “Bloodhounds Trail Slayer of Family.” New York Times, December 15, 1911. “Caught As Slayer of Whole Family on Morner Farm.” New York Evening World, March 1, 1912. “Detectives Assert Murder Suspect is Guilty of Lesser Crime.” Meriden Record-Journal, August 29, 1912. “Dogs Lose Trail of Suspected Man.” Buffalo News, December 15, 1911. “Donato Has Not Been Caught.” Rutland Daily Herald, December 20, 1911. “Edward Donato a Man of Mystery.” Albany Evening Journal, December 22, 1911. “Funeral Resembles a Picnic.” Rutland Daily Herald, December 18, 1911. “Governor May Offer Reward For Murderer.” Rochester Democrat and Chronicle, December 17, 1911. “Family of Four Brutally Slain.” Buffalo Commercial, December 14, 1911. “Foully Slays Whole Family; Find Bodies in Manure Pit.” Elmira Star-Gazette, December 14, 1911. “Held For Morner Murders.” New York Times, December 16, 1911. “Jesse Morner Has Narrow Escape.” Glens Falls Post Star, August 21, 1912. “Link Morner Case With Dorp Suicide.” Glens Falls Post-Star, November 11, 1912. “Massena Italian May Be Donato.” Ogdensburg Journal, May 17, 1912. “Morgan Williams Back Home.” Scranton Times, December 22, 1911. “Morner Estates.” Berkshire Eagle, October 24, 1914. “Morner Murder Suspect Freed.” Albany Argus, May 19, 1912. “Morner Suspect is Released.” Buffalo News, December 20, 1911. “Mrs. Williams Says Her Son is Innocent.” Scranton Tribune-Republican, December 20, 1911. “Murder Suspect Held, Albany Police Notified.” Buffalo News, December 15, 1911. “Police File Still Remains Open in Morner Murders, 35-Year-Old Mystery.” Albany Times-Union, December 29, 1946. “Police Think They Have Slayer of Morner Family.” Brooklyn Daily Eagle, March 1, 1912. “Sheriff Says Donato is Man.” Rutland Daily Herald, December 19, 1911. “Sleuthing Isn't Profitable.” Rutland Daily Herald, February 10, 1912. “Spurned Love Caused Hatchet-Fiend to Murder Entire Morner Family.” Pittsburgh Press, December 16, 1911. “State May Offer Reward For Slayer.” New York Times, December 17, 1911. “State Offers $2000 Reward.” Rutland Daily Herald, December 19, 1911. “Still in Doubt as to Suspect.” Ogdensburg Journal, May 18, 1912. “Suspect Denies Bomb Threat in Extortion Case.” New York Daily News, July 2, 1933. “Suspect Released on Word of a Girl.” Buffalo Commercial, December 16, 1911. “Tatasciore Released By Authorities.” Meriden Record-Journal, September 7, 1912. “Think Morner Family Slayer is in Custody.” Elmira Star-Gazette, May 17, 1912. “Three Women and Man Murdered; Hunt Farmhand as Insane Slayer.” Syracuse Herald, December 14, 1911. “Tony Tash Agrees to Settle With Henry Wyman.” Bennington Banner, December 5, 1913. “Verdict For $900 Was Given To Tony Tash.” Bennington Evening Banner, June 14, 1913. New York, U.S., Wills and Probate Records, 1659-1999 - Ancestry.com Horatio D Mould - Facts (ancestry.com)

In the summer of 1692 Gloucester, Massachusetts was under siege by a mysterious group of men even as the infamous witch trials occurred only a few miles away in Salem. The besiegers of Gloucester were never captured or even located, if they really existed at all... Twitter: https://twitter.com/PodcastDarkness Instagram: https://www.instagram.com/agable_fd/ Forgotten Darkness Google Map: https://www.google.com/maps/d/u/0/edit?mid=1NsgqAha9Z3bMhBxg8FuM2tRLqwjH5-_F&usp=sharing Part of the Straight Up Strange Network: https://www.straightupstrange.com/ Opening music from https://filmmusic.io. "Dark Child" by Kevin MacLeod (https://incompetech.com). License: CC BY (http://creativecommons.org/licenses/by/4.0/) Closing music by Soma. SOURCES Mather, Cotton. Magnalia Christi Americana: or, the Ecclesiastical History of New-England, from Its First Planting in the Year 1620, unto the Year of our LORD, 1698. London: Thomas Parkhurst, 1698. Ebenezer Babson (1667-1696) | WikiTree FREE Family Tree Case files referencing Ebenezer Babson - New Salem - Pelican (virginia.edu)

A Quick Info Session to Brighten Your Day For 10/25/22 Weather in Saigon, Vietnam: Low 75/ High 90, Philadelphia, PA (USA): Low 60/ High 71, Los Angeles, CA (USA): Low 55 / High 73, Miami (USA) Low 68/ High 85, New York, NY (USA) Low 60/ High 67. Personal Development Thought of the Day: "You create abundance from the inside out. And you do that by changing what you focus on" - Sandy Gallagher. Jam of the Day: "Angel of Mine" by Monica. Produced by Darkchild. From her 1998 album from "The Body is Mine". Crypto Check: Bitcoin - (up) $19,282 / Ethereum - (up) $1,344/ XRP (Ripple) - (down) $0.44 (all in USD amounts) Tip to Take: Make that Move! It's better to jump and make a mistake than to sit there too frightened to make a move. #HaveANiceDay, Wen --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

As a child, New Zealand singer-songwriter Marlon Williams believed that if he could nail the songs at iwi or tribe gatherings then surely everything in the world would be ok. Nevermind that elders were discussing big issues such as Maori land rights, water rights and education, Marlon had an inate believe in the virtues of song and his vocal prowess as a singer. Indeed his voice is something to behold — a melismatic, velvety croon that can register as Roy Orbison or Elvis. And before the release of his latest album My Boy, it could be said that it's a voice more comfortable in a different era or genre or part of the world, but after this third record — it's clearly a voice that transcends all of it. Marlon can raid the chest of drawers on any musical era and come up with a piece of art that is contemporary because it speaks to current afflictions in a knowing way, uniquely framed by his indegenuity and wry, humor.Many thanks for making this possible — Marlon for a great psych session, both times! To Dead Oceans for use of all Master Recordings. Native Tongue for Publishing rights. And Jessica Linker at Pitch Perfect PR for all the added support. Thank you to Lily Sloane for additional music and Martin Austwick for additional sound engineering.Songs Featured: "River Rival," "Hello Miss Lonesome," "Dark Child," "Strange Things," "Make Way For Love," "Nobody Gets What They Want Anymore," "My Boy," "My Heart Is A Wormhole," "Princes Walk," "Thinking Of Nina," "Don't Go Back" and "Easy Does It."To share your thoughts on this episode, email: celine.teoblockey@undertheradarmag.com Or leave a voice message here. Hosted on Acast. See acast.com/privacy for more information.

For three years in the 1920s, the women of northwest Philadelphia were terrorized by a madman who entered homes and attacked or even killed whoever was within.  Were these killings work of serial killer Earle Leonard Nelson?   Twitter: https://twitter.com/PodcastDarkness Instagram: https://www.instagram.com/agable_fd/ Forgotten Darkness Google Map: https://www.google.com/maps/d/u/0/edit?mid=1NsgqAha9Z3bMhBxg8FuM2tRLqwjH5-_F&usp=sharing Part of the Straight Up Strange Network: https://www.straightupstrange.com/ Opening music from https://filmmusic.io. "Dark Child" by Kevin MacLeod (https://incompetech.com). License: CC BY (http://creativecommons.org/licenses/by/4.0/) Closing music by Soma. SOURCES “2 More Women Are Attacked By Stranglers.” Philadelphia Inquirer, November 16, 1925. “Boxer Suspect in Stranglings Held By Police.” Philadelphia Inquirer, December 19, 1926. “Dragnet Out For Strangler of Philadelphia Woman.” Scranton Times-Tribune, April 28, 1927. “Fiend Suspect Tries to Enter W. Phila. Home.” Philadelphia Inquirer, April 29, 1927. “Girl's Bravery As Strangler Decoy Brings Capture.” Camden Morning Post, November 24, 1925. “Man in Camden Seized At Bank as Strangler.” Philadelphia Inquirer, November 15, 1925. “New Attack Fans Strangler Terror.” Philadelphia Inquirer, November 13, 1925. “Policeman Killed in Family Quarrel.” Philadelphia Inquirer, January 19, 1957. “Pugilist Goes Insane After Hard Grilling.” Camden Morning Post, December 20, 1926. “Pugilist is Held By Phila. Police As Strangler.” Camden Morning Post, December 18, 1926. “Rooming House Woman Strangled, Lodger Held.” Pittston Gazette, November 7, 1925. “Strangler Clues Lead Searchers to Digger of Subway.” Philadelphia Inquirer, November 25, 1925. “Strangler Suspect Believed a Maniac Frightens 2 Women.” Philadelphia Inquirer, August 3, 1926. “Strangler Suspect Is Held for Probe.” Philadelphia Inquirer, November 4, 1926. “Strangler Suspect Raving Maniac as Alibi is Confirmed.” Philadelphia Inquirer, December 19, 1926. “Strangler Thought Captured At Last in W. Philadelphia Home.” Philadelphia Inquirer, November 14, 1925. “Strangler Tries to Attack Widow.” Philadelphia Inquirer, November 21, 1925. “Strangler's Attack Baffled By Woman.” Philadelphia Inquirer, November 3, 1926. “Suspect Identified.” Philadelphia Inquirer, June 30, 1927. “Third Philadelphia Woman Falls Victim of Strangler.” Hanover Evening Sun, November 11, 1925. “Woman Slain By Strangler in Her Home.” Philadelphia Inquirer, November 11, 1925. “Woman Strangled As Her Baby Sleeps.” Harrisburg Telegraph, October 16, 1925. “Woman Thwarts Attempted Attack.” Philadelphia Inquirer, April 20, 1927. “Women in Fear As Strangler Eludes Police.” Philadelphia Inquirer, November 12, 1925. “Young Girl Seized By Phila. Strangler.” Camden Courier-Post, April 29, 1927. “'Young Joe Wolcott' Dies of Rheumatism.” Salt Lake Tribune, December 27, 1933. “Young Woman Found Strangled.” Indiana Gazette, Nov. 7, 1925.

In 1889, tensions between the Polish and Lithuanian congregants of St. Mary's in Plymouth, PA were fanned to a fever pitch by a violent troublemaker, a Polish man named Martin Wilkes. Twitter: https://twitter.com/PodcastDarkness Instagram: https://www.instagram.com/agable_fd/ Forgotten Darkness Google Map: https://www.google.com/maps/d/u/0/edit?mid=1NsgqAha9Z3bMhBxg8FuM2tRLqwjH5-_F&usp=sharing Part of the Straight Up Strange Network: https://www.straightupstrange.com/ Opening music from https://filmmusic.io. "Dark Child" by Kevin MacLeod (https://incompetech.com). License: CC BY (http://creativecommons.org/licenses/by/4.0/) Closing music by Soma.   SOURCES Plymouth Weekly Star, March 22, 1888. Plymouth Weekly Star, April 26, 1888. Plymouth Weekly Star, May 3, 1888. Wilkes-Barre Times Leader, April 5, 1886. Wilkes-Barre Union Leader, November 22, 1889. Wilkes-Barre Evening Leader, March 5, 1890. Wilkes-Barre News-Dealer, May 8, 1890. Wilkes-Barre News-Dealer, March 25, 1892. “A Plymouth Riot.” Wilkes-Barre Sunday News, October 27, 1889. “And Yet There is No Peace.” Wilkes-Barre Evening Leader, February 14, 1890. “Another Riot.” Wilkes-Barre Evening Leader, January 21, 1890. “Burial Refused.” Wilkes-Barre Evening Leader, January 28, 1890. “Court Proceedings.” Wilkes-Barre Record, June 19, 1891. “District Attorney Lenahan Makes a Point.” Wilkes-Barre Evening Leader, January 27, 1886. “Graves Invaded.” Wilkes-Barre Evening Leader, January 23, 1890. “Guns in the Parsonage.” Wilkes-Barre Sunday Leader, October 27, 1889. “Holding the Fort.” Wilkes-Barre Sunday News, October 27, 1889. “How Wilkes Gets Even.” Wilkes Barre Dollar Weekly News, March 1, 1890. “In Common Pleas Court.” Wilkes-Barre News-Dealer, “Law Defying Poles.” Wilkes-Barre Record, January 21, 1890. “License Decisions.” Wilkes-Barre Evening Leader, February 24, 1890. “Martin Wilkes Acquitted.” Wilkes-Barre Evening Leader, June 22, 1891, “Martin Wilkes Convicted.” Wilkes-Barre Times Leader, March 5, 1888. “Martin Wilkes Leaves.” Wilkes-Barre Sunday News, March 27, 1892. “Martin Wilkes on Trial.” Wilkes-Barre News-Dealer, June 19, 1891. “Martin Wilkes Wins One Case.” Wilkes-Barre News-Dealer, April 30, 1890. “More Trouble Imminent.” Wilkes-Barre Union Leader, November 1, 1889. “Plymouth.” Wilkes-Barre Record, August 31, 1889. “Plymouth.” Wilkes-Barre News-Dealer, January 20, 1890. “Plymouth.” Wilkes-Barre News-Dealer, June 24, 1891. “Plymouth – Martin Wilkes Sat Upon.” Wilkes-Barre Evening Leader, February 11, 1890. “Plymouth – Martin Wilkes' Latest Movement.” Wilkes-Barre Evening Leader, February 12, 1890. “Plymouth Polanders.” Wilkes-Barre Sunday News, April 6, 1890. “Plymouth Tidings.” Wilkes-Barre Sunday Leader, February 23, 1890. “Polish Church Troubles.” Wilkes-Barre Evening Leader, February 8, 1891. “Rioting Poles.” Hazelton Plain Speaker, January 22, 1890. “Sad Saloonmen.” Wilkes-Barre News-Dealer, March 1, 1892. “Sentenced Monday Morning.” Wilkes-Barre Union Leader, March 16, 1888. “Sentences Imposed.” Wilkes-Barre Evening Leader, March 13, 1888. “Some Resolutions.” Wilkes Barre Sunday News, January 5, 1890. “Sterner Measures Needed.” Wilkes-Barre Evening Leader, January 24, 1890. “Still Hold the Fort.” Philadelphia Inquirer, October 24, 1889. “The Martin Wilkes Faction Making Trouble in the Church Again.” Wilkes-Barre News-Dealer, January 27, 1891. “The Plymouth Injunction Case.” Wilkes-Barre Record, January 28, 1890. “The Poles Defiant.” Wilkes-Barre News-Dealer, October 29, 1889. “The Poles Surrender.” Wilkes-Barre Evening Leader, October 23, 1889. “The Priest Got a Gun.” Philadelphia Inquirer, February 21, 1890. “The Priests Arrested.” Wilkes-Barre Evening Leader, November 2, 1889. “The Wilkes Faction Again.” Wilkes-Barre Sunday News, June 19, 1891. “They Still Hold the Fort.” Wilkes-Barre Union Leader, October 25, 1889. “Two Plymouth Assault Cases.” Wilkes-Barre Evening Leader, October 23, 1885. “Wilkes Convicted.” Wilkes-Barre Sunday News, April 27, 1890. “Wilkes in Jail.” Wilkes-Barre Evening Leader, January 22, 1890. “Wilkes in the Toils.” Wilkes-Barre News Leader, January 24, 1890. “Wilkes on Trial.” Wilkes-Barre News-Dealer, April 26, 1890. “Wilkes Sentenced.” Wilkes-Barre News-Dealer, May 14, 1890. “Wilkes Still Holds the Keys.” Wilkes-Barre Sunday News, April 6, 1890. “Would Not Allow Burial.” Wilkes-Barre Sunday Leader, January 19, 1890. “Work of Polish Hyenas.” Wilkes-Barre Evening Leader, January 23, 1890. U.S., City Directories, 1822-1995 - Ancestry.com Plymouth, Pennsylvania - History of Plymouth (1753-1972) - Years of Industrial Growth (1861-1900) - Martin Wilkes and The Polish-Lithuanian Church War | Martin Wilkes Polish-Lithuanian Church War (liquisearch.com) History - All Saints Parish - Plymouth, PA (allsaintsplymouth.com)

Before Abe Batshon started BeatStars in 2008, a handful of superproducers had a quasi-monopoly on selling beats, charging hundreds of thousands of dollars per song. Top producers still get paid today, but the concept has become more antiquated with platforms like BeatStars democratizing beat-making. Creators can sell instrumentals — either under an exclusive license or not — to artists around the globe for a fraction of the previous cost. With $200 million paid out to creators to date, BeatStars has reset the entire economics of beats. Abe started BeatStars without any VC funding during the Great Recession. This was also pre-steaming, when the music industry was in its dark days. Bootstrapping the company, BeatStars would redefine the music landscape along with other DIY distribution platforms such as SoundCloud and YouTube. Abe's goal from the get-go was to break the relationship-driven nature of creating music and open opportunities for creators around the globe.Fourteen years later, it's safe to say Abe has created more opportunities and then some. Famously, Lil Nas X bought the beat for viral sensation “Old Town Road” on BeatStars for $30. BeatStars' producers have also been featured on songs released by Drake and Ariana Grande and ads for adidas, the NBA, and many more. BeatStars' fingerprints are all over media, not just the independents but the majors too. Here's all the noteworthy moments during our conversation:[3:27] Recognizing BeatStars instrumentals online [6:18] Starting BeatStars amid 2008 music landscape[7:28] Receiving pushback when BeatStars began[10:02] What finally changed for producers[12:20] Resetting economics of beats[16:25] Typical earnings for BeatStars creators[20:36] Music syncs in mainstream media[23:44] BeatStars growth trajectory[28:20] More competitors in the marketplace [31:22] VC money's impact in the music industry [36:03] BeatStars cap table[39:30] Roadmap for the futureListen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Abe Batshon, @AbeBatshon  Sponsors: MoonPay is the leader in web3 infrastructure. They have partnered with Timbaland, Snoop Dogg, and many more. To learn more, visit moonpay.com/trapital Enjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapital Trapital is home for the business of hip-hop. Gain the latest insights from hip-hop's biggest players by reading Trapital's free weekly memo. TRANSCRIPTION[00:00:00] Abe Batshon: for us, it's never been about the money. It's always been about these young people all over the world and old people, creators from everywhere. Like, can we liberate the idea of songs? Can we help push people to be more experimental with their words and their messages and their art and something that's so personal for them. I don't see any of these like venture-backed companies or big invested-type of companies actually having a genuine approach to how they treat or deal with their community. So I'm really not worried about it. I definitely keep them in mind in terms of continuing our fight to liberate music. [00:00:57] Dan Runcie: Today's episode is a topic I've been wanting to dive into for a minute and this is about the business of buying and selling beats. It's a fascinating marketplace that has shifted considerably over the past few decades. So I wanted to bring on an expert himself to chat about it. Abe Batshon, who is the founder and CEO of BeatStars, which is a marketplace for buying and selling beats. He joined me on this topic, and we took a trip down memory lane. We went back to the 2000s, we talked about what it was like. You remember when Timbaland was bragging about getting half a mill for his beats and Neptunes had 40% of the songs on the radio? As great as it was for them, there really wasn't a lot for the other producers and other people that were trying to come up, so BeatStars came up in this post-YouTube era to make it possible for having this marketplace. And Abe talks about what it was like back then and just given some of the challenges that existed with the music industry, searching for its own business model at the dark days of piracy and trying to navigate that. But then also with the early days of the streaming era and how that has lifted his business. In the past two years, BeatStars has made more money than it made in the past 12 years before that, and it's on track to have another one of its biggest years yet now. So we talk about what that journey's been like, what led to that, and how this marketplace and how this business has evolved. When Abe was starting this, people laughed at him because they thought it was crazy what he was trying to do. Today, there are plenty of investors with bigger pockets that are trying to come in and eat his lunch. So we talked about what that looks like and why he still thinks that BeatStars is well positioned there. We also talk more broadly about the amount of VC money that's come into music tech, and how he looks at that, and what it looks like for other opportunities. If you're as fascinated about this topic as I am, you'll love this conversation. Abe kept it real and it was great to talk to him. Here's our chat.[00:00:37] 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. [00:02:55] Dan Runcie: All right. Today we have Abe Batshon who is the CEO and founder of BeatStars. One of the premier places to buy and sell beats and wanted to have him on so we could have a conversation about this entire process, this landscape, and right before we recorded, Abe, you were just telling me about how you were listening to a different podcast. And you could hear when you hear that BeatStars beats on a podcast, Trapital podcast, of course, mine came from there. How do you know that the beat for sure came from BeatStars as opposed to somewhere else? [00:03:27] Abe Batshon: Well, yeah, I'm a dude. I listen to so much music on the platform. Like, I process everything so much and I kind of, I don't know if it's photographic memory in terms of when you hear something, I just retain that information around that piece of music forever. Like, I know when I've heard something. Yeah, so, yes, I'll randomly, like, you know, turn on the TV or turn on the radio or turn on, you know, TikTok or turn on SoundCloud or turn on anywhere. And I'm like, holy shit. Or Spotify, you know? And I'm listening to, like, some of the trending viral songs or the top Billboard songs. I'm like, yeah, I know those beats. I know those beats. I've heard those before. Yeah. [00:04:04] Dan Runcie: Do you feel like there's a distinct brand or sound that has BeatStars sound that you can pick up on almost in the same way that well-known and established producer has that sound like you could hear a track and be like, oh, that's a Neptunes track even if I'd never heard it before, do you feel like that's the case for a BeatStars beats? [00:04:21] Abe Batshon: Good question. You know, maybe eight years ago, nine years ago, yeah, I could have, you know, been like, okay, that's definitely an influence from the marketplace, from the sound, from the platform, but today with the amount of variety and just so many different genres, and sub-genres and styles of music that's getting uploaded to BeatStars, it's impossible to just define it to one, sound anymore, but maybe 10 years ago, for sure. Yeah, not now, not now. [00:04:49] Dan Runcie: Yeah. That makes sense from the timeframe perspective 'cause I could imagine, especially in the early days, there are artists you have that are likely championing the service. And if they're bringing on others that want to have that artist-type beat there, then there's going to be a lot of that similarity. But over time, especially with where you are now, over 200 million paid out to artists on this platform that just speaks to the reach that you have and everything that you've been able to do from it. [00:05:16] Abe Batshon: Yeah, man. so fulfilling, so fulfilling to just like know that's the kind of impact the technology and platform is making for, you know, for creators' lives. I'm definitely not satisfied with that number at all. But it's a great, great motivational indicator for me to keep going for the team, to keep pushing. But, you know, our aspirations are a lot bigger than that for sure. [00:05:37] Dan Runcie: Yeah. Let's actually go back a bit because I think that could be a way to have the arc of where this is going. Of course, you started this company in 2008, but in the 2000s, it was such a different landscape for producers, beat makers. And I look at that era as being quite top-heavy, right? If you were one of the super producers. If you were Timbaland, if you were Pharrell, if you were Kanye, then you almost had a, you know, quasi-monopoly in a particular area of just what you could charge, what you could do. But for everyone else that wasn't a superstar, it was a much more challenging landscape, I could assume. Can you speak to what it was like that time frame? [00:06:18] Abe Batshon: Oh, so challenging then. So challenging, you know, I was working at INgrooves prior to me starting up BeatStars and, you know, I'd work with a bunch of artists, and labels and I'd get to know, like, the producers behind some of the work that's being released. And even for those top-heavy guys that I was talking to, they started definitely feeling a shift in how operationally the record labels were approaching licensing of beats and the development of an artist. You know, I think I just saw a recent article. I forget which publication, oh, maybe Billboard just the other day about how everyone's a distributor now. All the majors are just, you know, they're distributors. Each one of their kind of like sub-companies under the parent companies are all, you know, competing with each other, actually as distribution companies, and it's creating like a healthy competition of distribution. And so, you know, that wasn't the case back then, man. You know, back in the day, like, the major record labels weren't operating from a DIY, you know, distribution mindset of like mass distribution, mass releases of content. That wasn't the mindset. So, yeah, it was a much more controlled environment with which producers actually were contributing to, you know, these songs or these albums that were, you know, the majority of what we were listening to back in 2008. And I think you know, what changed at all was, was the emergence of probably YouTube, right? The emergence of YouTube, and SoundCloud, and, you know, and BeatStars, right? And the accessibility and the ability to now reach a broader and global audience of collaborators and music creators. And we were kind of laughed at. We were kind of laughed at in the beginning, you know, everything different that goes against a grain, that goes against a traditional way of how things are done, there's always going to be some resistance to that model or any resistance to those ideas. And it used to bother me back in the day and I used to get some of these super producers, you know, some of them would send me like dirty messages, like you're fucking up the game. You're saturating, you're devaluing our art. And I didn't see it that way. You know, I didn't see it that way. I was seeing it as a new opportunity to create more and broader reach of intellectual property for the independent creator that can actually sustain themselves in a world where it's controlled by a few different organizations, you know. [00:08:36] Dan Runcie: Definitely. Thinking about those artists themselves. I'm thinking back to that time, there was that stat, maybe it was in 2002 or 2003, where they said that 43% of the songs on the radio were Neptune songs. And I think you could have said the same about Timbaland. You could have said the same about Max Martin or any of these people that are just on the radio so much, but you come in with this platform that very much speaks to where we were in the music industry and where things were with technology with hip-hop specifically. This is the blog era, it's really starting to pick up. You're starting to see more of that DIY distribution from the artist side. SoundCloud was just launched and even Spotify was still in the early days, but streaming still didn't take off the way it did. And I can imagine that some of the pushback or some of their response you got was from people feeling that you were likely ahead of the curve, and because of that, there were still several years before things really took off in streaming. So it was probably interesting just to see the landscape evolve. And then as you had success, you saw other competitors come in and other folks see the landscape and you're like, well, you know, I've been trying to tell you all, this is what the vision has been since the 2000s. But back then, the industry was just in such a place of people were still trying to push CDs. Like people were still trying to fight piracy. And like, when you think about that, I'm not surprised at all that you had faced some of that pushback you did. [00:10:02] Abe Batshon: Yeah. I'm trying to kind of go back to those days in hip-hop, you know, everyone was the plug for certain things. Everyone was the plug for certain things. And you had to go through this person or this company in order to achieve some of the, like, artistry goals that you have as an artist, you know? And there was a determined route that you had to go, you know. There was a determined route that you had to go and you had to go through certain gatekeepers in order to, you know, achieve success. And it just bothered me from a human level. You know, it bothered me from a human level that we're not allowed to experiment and develop art, you know. Closed environments, the outcome of those. Like you said, how many more Neptunes hits can we have continued to listen to? Nothing against the Neptunes, I fucking love those guys, right? They're amazing, they're geniuses. But even them, they would tell you that, yeah, that kind of monopoly was probably unhealthy for music, for artists all over the world. You know, I'm sure they will tell you that that opportunity was, you know, scarce, you know, opportunity was scarce. And yeah, it was relationship-driven industry, you know, so it was a different time, different time. And I think my goal was to just completely break it.[00:11:16] Dan Runcie: Thinking about that time too. You had the people that were the top producers at those times, and they could charge handover fist for a beat. I mean, there's the line where, you know, Timbaland's like, I'm getting half a mill for a beat. And if I'm thinking about just from the competitive dynamic, what happened there, you did have this very top-heavy landscape. And in some ways they're telling you, Hey, you know, you're fucking up our money. And in some ways you are, but not necessarily in a bad way because you're letting everyone else that couldn't eat at all at least get something, right? So when you now introduce this marketplace and no, you don't necessarily have to pay half a million for a Timbaland beat to get on the radio. You could pay under a thousand dollars, a few hundred dollars to have one of the biggest songs of the summer on your music, and being able to do that lifts it up for everyone else. So I think whether it's your Timbaland's or your Mike Will, other folks could still get, you know, six figures or a lot of money, but I don't know if they're getting that 2006 or those 2003 checks that they were for the type of beats they did.[00:12:20] Abe Batshon: But, Dan, superstars are superstars in terms of creation, right, in terms of music production. Even on BeatStars, right, even on BeatStars, maybe, yeah, there's some producers on a platform that don't have that type of name recognition in a game of only a handful of producers. It's kind of different now to gain that kind of name recognition, but there are superstars on BeatStars. There are superstars that are generating half a million dollars in cumulative earnings in licensing revenue from one beat on BeatStars. So those days of like earning hundreds of thousands of dollars on one track is still happening on the platform. It's just happening in a different model. It's happening in a non-exclusive model where thousands of recording artists are, you know, licensing that same production and have the rights to create another master version of that production. But at the end of the day, that producer generated hundreds of thousands of dollars just from that one piece of content that lives as a catalog item in their store. Yeah. And I'm hearing like huge songs now on the radio that those beats are still available, non-exclusively on the platform, they're still available. So producers are becoming less and less willing to let go of their intellectual property exclusively because there's just so much backend earnings and recurring revenue, business building and, you know, forecasting of earnings for themselves, that it doesn't make sense now for them to kind of give up the rights to just one rights holder anymore. So now it's super competitive and it's gotten to a point where I think competition is healthy in song making like, Hey, here's the beat, $20. By the way, some of these beats, a lot of these beats that live on BeatStars, if they existed back in those 2000s, when it was the heyday of license revenue of 200,000 a beat or 500,000 a beat from Timbaland. Like, these beats are competing with those beats or even beyond them, right, 'cause these kids are pumping out content like crazy, right? They're bending this software in terms of DAW, the accessibility to digital VSTs, and effects, and processing, and sound libraries and, like, their ability to, like, craft, you know, sonically, like, amazing, amazing records that penetrate every market around the world. Like, it's much easier now. Back then it was harder. But, yeah, I think the earnings potential is still there on BeatStars. You know, I think it's still there. It still exists and that's why we're still seeing producers that have had tons of success, you know, licensing to major recording artists still maintaining and developing and building their online presence on BeatStars. Like, it's still a major income stream from them to the point where they can't neglect it. And they can't completely immerse themselves in the traditional way of like, you know, music licensing within the industry. It's cool to see. It's cool to see a balance. You got to have both. You got to have both today. [00:15:07] Dan Runcie: Oh, yeah. And I'm glad you brought that point up 'cause that's an important distinction 'cause, of course, we're talking before about the upfront money that the super producers were getting in the 2000s, but people were rarely talking about the totality of it, and what it looks like. And that's what you're talking about here and being able to measure it in totality makes so much more sense because, with the way it currently is now, with an artist releases something on BeatStars, there's so many ways that they can generate money from that, whether that's, especially if it's non-exclusive, as you mentioned, people can pay for it directly. Anyone that is then using that beat, you could earn revenue directly, you know, from anything that's there, depending on the arrangement. But then I think you have this additional benefit where people, especially with TikTok and all these other platforms, they want to be able to remix and make their own versions of songs and being able to do that and how that can compound on each other. That's what makes the platforms like this successful. And maybe it would be helpful to hear you mentioned that, you know, there are superstars on the platform that are making and exceeding a lot of those, you know, revenue totals that we had seen before. What does a typical breakdown of that look like in terms of how much of that comes from upfront sales of people purchasing versus how much of it is the recurring and maybe ballpark? We don't need anything too exact, but maybe to give an idea. [00:16:25] Abe Batshon: Yeah. So I guess we can only attribute the upfront micro licensing revenue on BeatStars, right? That $200 million, that micro licensing. But if we wanted to get very, very technical, we can talk about the earnings that were actually, you know, generated from those, you know, derivative works, those songs that were made from those beats. And if you calculate the earnings from the millions of songs that are created on the platform every year that get distributed to DSPs and DIY distributors, you're talking probably billions of dollars of earnings, music copyright earnings from, all of these non-exclusive licenses, cumulatively. So I wish there was a way to calculate all that, but it's hard to like quantify that. But I think today, from a platform earnings potential on BeatStars. I think the average seller producer on the platform generates over a thousand dollars a year, you know, which, Hey, a thousand bucks is, you know, not the craziest amount, but if you compare that to the average earnings of artists on these DSPs or some of these, some of these other ways of earning revenue from music. I don't want to poke too many holes at platforms that are, you know, kind of not building their businesses and products with the music creators in mind. I wish they would. I wish they would, but we're not going to get too deep into that. But I think I'm proud. [00:17:53] Dan Runcie: I was going to say there's somewhat listening right now that is backing into the math of how many streams does it take to get a thousand dollars a year?[00:18:01] Abe Batshon: Right. Exactly. Yeah, I think if we were to calculate the stream versus earning ratio on BeatStars, yeah, our million streams are definitely generating a shit ton more, shit-ton more than what you would earn, you know. But again, it's a different concept, different way of consumption. Things are happening differently than compared to, you know, the more bigger consumer products that are out there, which, you know, we're going to keep up with them at some point though, I think, and that's one of our goals is to build a more consumer-friendly product that actually is not just niche to artists and music producers. So we're excited about what the future of what we can do for our creators, yeah. [00:18:41] Dan Runcie: Can we talk a little bit more about that? What would that consumer side look like? 'Cause I think as you mentioned, a lot of the creators themselves are the ones that are using the platform, getting the most out of it, but what would the more creator side focus look like?[00:18:56] Abe Batshon: Like a more creator-focused platform that evolves, what the evolution of what BeatStars could be? Yeah, I mean, you know, we are already starting to do it. We're already starting to do it in terms of adding publishing administration, global publishing administration, and partnership with Sony Music Publishing and giving our creators the ability to go and collect on, you know, all their royalties worldwide. I think is a big one from all of these copyrights that are made on the platform that they still have ownership and rights to. You know, we don't take ownership of anything on the platform. Our creators right now keep a hundred percent of all their sales on the platform. They maintain all of their ownership. They dictate and decide what their license terms look like. We're just a technology layer just facilitating this collaboration. And I think, we'll definitely get into a lot more, a lot more businesses that are complimentary to music licensing. So we do allow our creators to sell sound kits and samples as well, too. And I think we're, you know, we're going to build a more sophisticated product around that. Major companies are already licensing for syncs already off of the platform indirectly, even though that's kind of not the primary function on the platform. That's something that, you know, we're exploring and, and going to expand on as well 'cause just another revenue stream opportunity, you know.[00:20:12] Dan Runcie: I was going to ask you about syncs next because I feel like that is so current and top of mind, especially the explosion of video streaming right now in all those projects. And so many people see the benefit of having a good sync. And I think we're having these conversations before, but ever since the Kate Bush song on Stranger Things, those conversations have happened so many more times, more frequently than I've at least heard before then.[00:20:36] Abe Batshon: For sure. For sure. Yeah. We used to have a, man, like eight years ago, we did have a sync license and I don't know why we took it away. We just kind of wanted to laser focus on just the non-exclusive licensing of artists and producers. But yeah, we're already seeing our music and Netflix documentaries. We're already seeing our music, you know, synced on movies, TV shows, independent, films, commercials for Adidas and Madden video games. We're seeing our content already being used in that way. You know, it makes sense to develop a product that's, you know, tailored for that community for sure. [00:21:06] Dan Runcie: Has any of the explosion of music rights buying and selling, has any of that changed and shaped your business in any way? Because I know that there are super producers themselves that have sold theirs, whether Tableland or Darkchild having done deals themselves. Has any of that shifted anything or have you seen any result of that in your business or any of the transactions that are being made there? [00:21:31] Abe Batshon: Yeah, so I'm not too aware of too many producers on the platform that have kind of sold their rights away or anything like that. It hasn't happened on the platform, but I'm sure, I'm sure there's been, you know, those investor, kind of like investor copyright types that are out there acquiring rights of music, whether it's, you know, from the producer's side of things. But I'm sure they get approached all the time. I just, I don't know of any, like, specific creator producer on the platform that's done it yet. But I'm sure, like, a lot of people are having those conversations with them for sure. [00:22:03] Dan Runcie: Yeah, 'cause I know the artists' side, artists get reached out to all the time now about this whether it's from the main investment firms that we know, or even some that in my experience don't really do much in music, but have reached out because they'll reach out to me to see if I can reach out to these artists, right? And I got to imagine that in some ways, not only are they looking for the artists themselves, they're looking okay, where are these artists? Where are the catalogs that they own? So it's fascinating to see, I assume that it's likely a conversation that, especially given the way your business is, I know you said that a thousand dollars is the average payout annually that artists or that the beat makers and producers get on the platform, but I'm sure that it is quite top-heavy itself where, you know, there are the few that are just bringing in so much, and I'm sure that they're probably hearing some of those conversations every now and then. [00:22:54] Abe Batshon: For sure. For sure. Yeah. I'm sure it's happening a hundred percent. [00:22:58] Dan Runcie: Yeah. One of the things that I had seen, especially with BeatStars, we talked about how growth you've had recently, and, I believe this was at July 2020, you had $85 million in payouts that you had done to beat makers specifically at that point since you had launched a platform in 2008, and then you had recently announced a few months back here now in 2022, that you had had $200 million. So quite a big jump, it's almost double in less than a two-year span. One, it would be great to hear what that was like and also, what are the steps that happened or what are the things that you all had done that helped you, you know, double everything that you had done the past decade-plus in the past two years?[00:23:44] Abe Batshon: Yeah. I mean, our growth trajectory, even the years prior were a hundred percent year over year as well, too. So we were already kind of pre-pandemic move, like, that was our growth trajectory prior as well. It just took us a long time. It just took us a long time. We did it the slow and steady way. And the last two years, I would say, for sure the pandemic put a priority, yeah, I guess I guess people started questioning their existence, man. You know, like we started questioning our existence and we're like, am I not going to explore my art, you know? Like, I know I was doing it. I was making more music during the pandemic. And I would, you know, meet a lot of our creators and I and I would hear their stories and like, I started singing during the pandemic, or I started making beats more seriously, I'm home and I needed an outlet to kind of license and sell them. And so I think the pandemic definitely kind of accelerated the priority or like top of mind of creators to take it more seriously or to kind of, you know, explore more serious options for monetizing their music. So it's been a blessing to kind of see the platform and marketplace grow globally all over the world, and yeah, the marketplace is still booming and still going crazy. And I think, you know, we'll achieve over 70 million this year for sure. That's kind of our projection, could be more. So yeah, the licensing activity is continuing to go great. I'm excited. I'm excited about the future, man.[00:25:06] Dan Runcie: That's good to hear because I am not surprised to hear the growth in the pandemic. I think there's so many things we can look back on the past two and a half years where especially something like this, where the art of doing it is something that people could do at home. So many people that are creating products, or creating services, or music, or medium putting out into the world, so much of that picked up and there was so much that was successful. And I think we saw that with the way the stocks went and the way everything was. So you had this run from March 2020 pretty much up until let's say November 2021, when everything was booming, right? The past six months, we saw certain things come back down to earth a bit. And I think there were a lot of the pandemic stocks and a lot of the companies, even the ones in the music industry that had had sky-high valuations, coming back down to earth a little bit, but at least for you all, I'm getting the impression that that hasn't necessarily impacted you from that perspective, given I think you have a different business model than a lot of the companies that had, you know, challenges there, but how the past three to six months been specifically?[00:26:10] Abe Batshon: Yeah, I think our growth has kind of leveled off a little bit. We're kind of, you know, I guess, the normalization of things are happening for sure. And we're having to work harder to like retain our subscribers and users. It's just shifting our approach and adjusting and pivoting to more accessible business models for this time and this moment in our history. I mean, it's for sure a recession. It's happening globally. It's impacting a lot of people's lives and we need to make sure that we kind of still factor that in mind and create products that are are still useful and accessible and functional for anyone with any economic status that they're in, you know, because it breaks my soul if someone can't afford a BeatStars subscription and can't explore their art and can't develop themselves and meet those goals because of this current space that we're in right now. So we're definitely pivoting and adjusting and thinking about new and better accessible business models that can cater to anyone with any kind of economic status. So, we're definitely adjusting things though. [00:27:11] Dan Runcie: I could imagine. I do think though that these things aren't permanent and, of course, we'll see things pick up, again it's just a matter of the timing there specifically. I do feel like for you all, it's interesting because the future of where this all is heading right now, you, as you mentioned, I think that you were a bit ahead of the curve. So, you know, growth in the early days may not have been as fast, but now we're in this place where people saw the success you have, people see the potential of where things going and now more companies are starting to launch their own beat marketplaces and ones that we're establishing other places. Have you seen that impact, what you've seen in your businesses? Because I know that, at least from other people I talked to that are in streaming of the DSPs, they've talked about how we've switched from this herbivore market where everyone's just capturing people that are generally wanting subscriptions to now they're in this carnivore mode of competing with each other. Have you seen any of that where you feel like the people who are beat makers now, it's not so much capturing new ones. It's essentially positioning yourselves from the competitors who have come after you. [00:28:20] Abe Batshon: Yeah, I'm definitely, you know, definitely aware of the competitors, and a lot of these guys were admirers of what we've done. And you know, I know them personally. It's flattering, you know. It's flattering to see in terms of people being inspired by the things that I create and build and what we do here as a company as well too. And it's part of being in a capitalistic society that we're in, you know. Monkey see monkey do, you know. I feel like it's increased our kind of our competitive spirits here at the company to want to be more innovative. I think it's a blessing that there's other folks trying to come into our space. For me, I've been doing this for almost 15 years, right? So it's, I need a kick in the ass in terms of where I want to go in my career and the aspirations where I want to see BeatStars. I mean, we've always been driven and always been the hardest working and most caring community that you'll ever see in terms of the music producers. But yeah, I just use it as a competitive chip to keep moving and pushing and pushing for our creators to provide even more fair and useful products for them. I haven't seen a shift in like our business or anything like that because of the competitors, you know. It may take a while for that to happen. If they do something super unique or whatever it is that they're doing, but I haven't seen anything that's like, exciting from an innovation standpoint. It's just monkey see monkey do, copycats. [00:29:38] Dan Runcie: Yeah. That was going to be my next question, you see, if are there new things that you're seeing the competitors do that make you say, oh, that's interesting, right? 'Cause that would definitely validate the ass-kicking or the bit of the push there. It reminds you of that sports analogy, right? Like how. Michael Jordan had to go create these demons out of thin air because there was really no one at this level, and anytime someone tried to say, oh, Jordan or Drexler, he just like squash it that immediately. So you all having that, yeah. [00:30:04] Abe Batshon: I've always had that. You know, I'm a sports guy, huge sports guy, played sports my whole life, too. And so I definitely was competing with myself in terms of wanting to be better and extract more capacity of myself and see myself and my team's dreams continue to grow. But yeah, I just use those as just another factor into, and I'm not to say anyone's intentions are bad or anyone's intentions are good, but it's a little suspect. It's a little suspect. It's a little bit, I don't know, what's the word, but it feels ingenuine. It feels like a land grab. It feels like a money game. And for us, it's never been about the money. It's always been about these young people all over the world and old people, creators from everywhere. Like, can we liberate the idea of songs? Can we help push people to be more experimental with their words and their messages and their art and something that's so personal for them. I don't see any of these like venture-  companies or big invested type of companies actually having a genuine approach to how they treat or deal with their community. So I'm really not worried about it. I definitely keep them in mind in terms of continuing our fight to liberate music.[00:31:13] Dan Runcie: How do you feel in general about the amount of VC money that has entered music and music tech and the platforms and companies that have been launched? [00:31:22] Abe Batshon: Dude, where was this money when I was in, like, Silicon Valley? You know, I mean, I'm from the East Bay, Hayward, California. And you know, Silicon Valley was just right down the street. And when I was building BeatStars, man, I couldn't even get a meeting with these guys. Like, I created 12 of the most amazing decks throughout my career that no one ever actually saw. Like, I couldn't sell anyone on the concept of investing into music. But like I understand that at that time, the music industry was going through a huge transitional moment. Like, everyone was really scared about the future of music. So it was pretty disastrous in terms of where music was at that time, and if I wasn't an investor, I probably wouldn't have invested in me either. But I never even got an opportunity to even you know, meet investors or pitch the ideas of BeatStars. We had to bootstrap this thing the whole way. And our creators invested in us, our customers did, we built this thing together with them. We just continue to reinvest every little penny that we made back into the platform. And so I think it made the journey a lot more satisfying, but it's exciting that there's much more investment and people willing to believe and other entrepreneurs and their ideas. I think it's cool. It pushes all of us, you know, pushes our creative boundaries and it's cool to see money flow. And I I'm happy that, you know, other entrepreneurs are not going to have to struggle the way that I did for 13, 14 years before I was, you know, able to kind of like sustain ourselves. So it's like, but you know, we kind of always figured out ways to sustain ourselves build organically, which has been beautiful. And we've been profitable since day one and we just continue to run lean, you know, and just not be wasteful and just, yeah. So it's exciting. I don't know where it's going to go. I mean, I don't know where a lot of the money is actually flowing in music tech, really. You probably know more than me, Dan. I don't pay attention to a lot of that stuff. [00:33:06] Dan Runcie: You're too busy building to track this stuff. [00:33:08] Abe Batshon: I'm busy, man. [00:33:09] Dan Runcie: That's my job. [00:33:11] Abe Batshon: Busy, dude, too busy. [00:33:12] Dan Runcie: Yeah. With that though, do you get more interest or offers from any of these tech companies now, because I've started to hear from a lot of the companies that rose up the same timeframe that you did that. Now, when all this money pours in, now they're getting the attention, too, and the interest, too, from these investors that wouldn't have paid attention before, but now it's much less about the initial investment. Now they're trying to either acquire and now they're trying to do a joint venture, do these things. What have those conversations been like? [00:33:48] Abe Batshon: It's definitely getting aggressive for sure. And I think because of where we are right now, economically, you know, investors feel like they can come in and get a good deal right now for all these startups or companies that have existed even prior to the pandemic that are still thriving through it as well. I'm seeing a lot of acquisitions happen, a lot of private equity stuff happening. And it's interesting. It's interesting. We don't need the money, Dan, in terms of like where we are financially. We're, you know, we're self sustaining. We've got a ton of money in the bank and we have our investment plan internally to kind of finish our, you know, not finish, but continue our roadmap of all the things that we dream of wanting to do and build within our goals at BeatStars. So, thank God I'm healthy. I'm feeling good. I'm in remission. I I battled cancer the last couple years during the pandemic. And you know, that was a shaky moment for me during that time. It was really up and down. I didn't know where my future was and still kind of in it, but I'm thankfully feeling really well and just energized and I'm enjoying independence, I'm enjoying independence. And I really feel that we're in a good spot to kind of push through this kind of down moment of the economy and head down and focus on our creators while everyone is just focusing on profit and revenue. And we're going to do the opposite and just build something that's going to be a utility for people for many years to come, hopefully. [00:35:07] Dan Runcie: Yeah, definitely, I mean. [00:35:08] Abe Batshon: They're coming though. They're throwing checks. They're, you know, they're throwing checks at us. They're making offers, but, yeah, we're just not ready right now. We're just not ready. [00:35:15] Dan Runcie: Yeah. And like you said, you have the vision for this and the amount that you've poured into it, the amount that you've gone through, as you mentioned, especially in recent years, like all that comes through with the story, and I think that is what connects with both the artists and what connects with anyone that may be interested from a business perspective. And I think you do have the control, the autonomy to make those shots when you want to, and that's the power of bootstrapping, right? We all know the trade-offs where, yeah, it can take time as you very well know. But if you're able to get through the other side, the autonomy you have. You could make decisions like you don't have to have, you know, the investors reading it out of your deck or anything else are trying to wonder why you're not pumping more Facebook and Google ads to go do this or that, right? Like, you're able to do the things on your terms and to clarify, is the ownership a hundred percent you for the company or? [00:36:03] Abe Batshon: No, it's not a hundred percent me. Some employees have ownership in the company. We did take a minor, a very small, minor investment from Sony music publishing when we did our joint venture together. They've been great partners. They've been awesome. And they've been helping us kind of strategize and scale our publishing business, which I believe in the last 16 months, we've had 26 Billboard 100 hits that are from our BeatStars publishing roster of creators. One of our producers has two songs on Beyoncé's new album. And I know we had Megan Thee Stallion's new single, Pressurelicious, with one of our producers, I believe, it was HitKidd with Future. So it's like, it's so cool to see that our business is touching so many different parts of the music business. It's not just the independent creator like we're powering songs, even for the major, major superstar artists, which is awesome to see. So yeah, I'm excited about the future, man. I think we're just getting started, Dan. [00:36:53] Dan Runcie: Yeah. and it's always fascinating to hear how companies like yours think about the compensation and things like that for employees because with a lot of the other competitors or even others in the space, especially with the amount of money that support and people are getting, you know, equity in these companies and they are getting them because if they're VC backed, then they have an exit in the mindset and you aren't coming from that perspective. So it's always interesting to hear, okay, what are the other things you're doing? So, yeah, it sounds like you're still doing equity, I know. [00:37:22] Abe Batshon: Oh, I forgot to mention like there's 400 creators as well. 400 creators that invested in BeatStars when we partnered with Indiegogo back in 2016 to be one of their, actually their initial kind of equity crowdfunding launch partners. And it wasn't because we needed funds or needed money at that time. We did it because I loved the fact that our creators can actually, like, buy ownership into the company, and I can like, continue serving them, man. I can continue feeling like, you know, I have to make sure I'm reporting to these people because these are the people that keep me grounded. These are the people that keep me focused on, you know, how we impact all the other creators' lives. So yeah, we have 400 other creators from the platform that invested like $150,000 total during that campaign. So it was pretty cool to know that they're also on our ownership structure.[00:38:11] Dan Runcie: That's great to see them on the cap table. That's great. I'd like to close this conversation out. [00:38:16] Abe Batshon: Hopefully, make some money at some point. [00:38:19] Dan Runcie: Well, I mean, that depends how some of these conversations go with these, you know, companies breathing down your back. [00:38:23] Abe Batshon: Exactly. [00:38:24] Dan Runcie: So we'll see.[00:38:25] Abe Batshon: For sure.[00:38:26] Dan Runcie: But I like to close this conversation out of it and talk about focus because you talked a lot about creators and how you're focused on serving them. We're talking primarily about the people who are buying beats, the people that are selling beats, and anyone involved with that production or engineering process. But for you, I know what it's like to build a company. I'm sure there's been plenty of times where not just you or some of the people you're working with are like, oh, what if you did this? What if we did that, right? But you've been able to stay focused on I'm sure, part of it was likely a function of you're building as fast as you can. Given the fact that you're bootstrapped, some of your focus is by design, but then on the other hand, now that things are starting to come in, you're starting to see the success in reaping the rewards. I'm sure there's likely some thoughts of maybe that thing that you had in the back of your mind for a few years, but now maybe it's a little bit easier to do if you're going to be, you know, hitting nine-figure payouts annually soon enough. What are some of those things, if there are, that you have on the roadmap for where things are going for other things you might be doing?[00:39:30] Abe Batshon: Yeah, we definitely want to make some acquisitions for sure. We're exploring some of that too. We're exploring some potential acquisitions, and I think maybe we'll do our first one by the beginning of 2023. Never know. So we're definitely thinking about how can we acquire some technology or companies or communities that really would help elevate what we're doing. So definitely, definitely thinking about that. We're investing a ton in technology, man. We're, I mean our engineering team, we're probably, we'll double by next year. I think we're at like 40, 40 people on the engineering team now. So we have all of these cool projects that these engineering pods are working on and it's exciting to see. So you'll definitely start seeing a lot more innovation more frequently from BeatStars soon. We have spent, and it may look like focus, but really it's been just kind of a restrain of our technology for the last four or five years. We've been rebuilding our whole tech stack, the back end, front end, the whole thing, because, you know, we were still using legacy platform from 2008 when it was just, you know, me and our founding members of the company, Joseph Aguilar, one of our engineers, you know, building it together and we're just some kids, you know, just going crazy. We didn't think that this thing was going to scale to millions and millions of creators all over the world. So we had to kind of pivot four years ago. And we're about 95% done in terms of the full platform rebuild. And from a technology standpoint, we're competing with some of the biggest music services in the world in terms of our tech stack. Now we're prepared to really do some damage now and build on top of what we're doing and optimize our offering and also get into some different verticals as well, too. So, yeah, it's kind of like a new rebirth of BeatStars in a sense, a whole new team, a whole new technology stack, a whole new drive, and purpose. And we're building out our executive team right now, too. It's been just me in terms of executives. I was wearing all the hats, and I don't know why I was doing that. And we just hired a Head of People, Sarah Simmons, who just joined us. We have our CTO, Nader Fares. We hired Damien Ritter as our President of Label. [00:41:37] Dan Runcie: My guy, Dame. [00:41:38] Abe Batshon: Yeah, man, Dame is legend and legend to me in terms of what he's done on the independent record label front, you know, and what he's been able to do, the dude's one of the smartest guys I know. And I'm excited to have him lead the initial kind of kickoff of what a BeatStars record label can look like. Like, so many amazing artists have been discovered on BeatStars, even just from our competitions. You know, like we discovered Ali, Ali Gatie, won one of our song contests and he's got billions of streams, you know, Joyner Lucas, and Anees. Anees is an independent artist right now that's doing some amazing things, touring, you know, he's got a hit song called Sun and Moon and just killing it on TikTok and just so cool, man, just so cool to see all of these amazing artists take and utilize the platform the best way and build careers. And, yeah, so it's cool to see all these different things happen and finally bringing some like seasoned leadership to, you know, bounce things off of and build with and collaborate with. And I think I've come to a place in my career now. I feel like almost 15 years in, I can let go of some control and I think I've matured enough as an executive to now understand and articulate what the company needs and what we want in our dreams and now do it in a collaborative way with a bunch of amazing people that have the same kind of mission. So it's exciting to see what this new phase of BeatStars goes into. [00:42:55] Dan Runcie: Making moves. Love to hear it.[00:42:57] Abe Batshon: Trying to, man.[00:42:58] Dan Runcie: Hey, hey, that says that's the journey. That's the journey. Well, Abe, this has been great. Appreciate you for coming on, and before we let you go, we want to make sure that people that are listening know to find you, so where can they go to either follow you or to follow BeatStars if they want to tap in more? [00:43:14] Abe Batshon: Thanks, Dan. Dude, I'm some big fan of yours, like I told you before the podcast. Congratulations. Amazing to follow your journey as well. Follow BeatStars at @BeatStars, B E A T S T A R S everywhere. My personal social media shut down everywhere for the last few months. I shut it down, but I'm going to bring it back, just @AbeBatshon and excited to hear the feedback from this episode from folks listening to it. Appreciate you having me on man. [00:43:37] Dan Runcie: Of course, and best luck to you and best luck to you from health, most importantly, and with the business too. [00:43:43] Abe Batshon: Thank you, sir.[00:43:45] 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

On this episode of the podcast we celebrate the music of producer Rodney Jerkins!! It's a fun filled jam packed show, check us out!!! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/vgeorgesmith/support

Today we welcome Roger Canaff, an award winning legal thriller author whose writing is influenced by his experiences as a child protection and anti-violence against women advocate, legal expert, and speaker. He has devoted his legal career to the eradication of violence against women and children, first as a prosecutor in Alexandria, Virginia, then as a Special Victims ADA in the Bronx. Roger also was president of the Board of Directors of End Violence Against Women International, an organization that provides training, technical assistance, research and advocacy. He now teaches undergraduate and law school classes, and trains and consults privately, both nationally and internationally. Canaff is a charter member of CounterQuo, an organization of allied professionals challenging the way our culture responds to sexual violence.Most recently he became a consultant with Justice3D.com, a leading educator in issues related to investigating and prosecuting sexual assault, child abuse, and domestic violence cases.Roger Canaff is the author of four novels, the latest of which is "City Dark," a police thriller set in New York City, which will be published October 1. Canaff lives and works in New York City.Some of the questions we asked Canaff:Q. What prompted you to focus your work on violence against women and children?Q. What were some of the experiences in your life, in your work, that informed the four novels that you've written?Q. Tell us about your books, especially City Dark, which is due out on October 1.Q. I did a podcast interview with an author, Sandy Phillips Kirkham, whose book, “Let Me Prey Upon You,” describes how as a teenager she was seduced and eventually raped by the youth pastor of her church, a fundamental protestant denomination. She said she had been “groomed” by this pastor.I noticed in my research that you've given a presentation with Justice3D.com entitled “Introducing evidence of grooming and dynamics of victimization in child sex abuse cases.” Can you explain what that's all about?Q. Another talk you've given focuses on holding offenders accountable. What are some of the challenges and opportunities that arise with respect to that? Kirkham said her abuser was protected by his church, while she was virtually kicked out.Q. All of this also can be related to sex abuse within the Catholic Church.. You've done some work in this area?Q. What did you think of the sex abuse accusations against Judge Kavanaugh when he was being considered for the Supreme Court and how they were handled by the Senate Committee? You said on CNN that you had never seen a witness more compelling than Christine Blasey Ford, who testified that as a teenager in the early 1980s Kavanaugh had sexually assaulted her during a party, which, of course, Kavanaugh denied. Should Kavanaugh be on the Supreme Court today?Q. What's next for you? Another book?Q. Just curious, where do you get the names and descriptions of the characters in your books?Q. Where can listeners find your books or reach out to you?Become a supporter of this podcast: https://www.spreaker.com/podcast/the-lean-to-the-left-podcast--4719048/support.

Today we welcome Roger Canaff, an award winning legal thriller author whose writing is influenced by his experiences as a child protection and anti-violence against women advocate, legal expert, and speaker. He has devoted his legal career to the eradication of violence against women and children, first as a prosecutor in Alexandria, Virginia, then as a Special Victims ADA in the Bronx. Roger also was president of the Board of Directors of End Violence Against Women International, an organization that provides training, technical assistance, research and advocacy. He now teaches undergraduate and law school classes, and trains and consults privately, both nationally and internationally. Canaff is a charter member of CounterQuo, an organization of allied professionals challenging the way our culture responds to sexual violence.Most recently he became a consultant with Justice3D.com, a leading educator in issues related to investigating and prosecuting sexual assault, child abuse, and domestic violence cases.Roger Canaff is the author of four novels, the latest of which is "City Dark," a police thriller set in New York City, which will be published October 1. Canaff lives and works in New York City.Some of the questions we asked Canaff:Q. What prompted you to focus your work on violence against women and children?Q. What were some of the experiences in your life, in your work, that informed the four novels that you've written?Q. Tell us about your books, especially City Dark, which is due out on October 1.Q. I did a podcast interview with an author, Sandy Phillips Kirkham, whose book, “Let Me Prey Upon You,” describes how as a teenager she was seduced and eventually raped by the youth pastor of her church, a fundamental protestant denomination. She said she had been “groomed” by this pastor.I noticed in my research that you've given a presentation with Justice3D.com entitled “Introducing evidence of grooming and dynamics of victimization in child sex abuse cases.” Can you explain what that's all about?Q. Another talk you've given focuses on holding offenders accountable. What are some of the challenges and opportunities that arise with respect to that? Kirkham said her abuser was protected by his church, while she was virtually kicked out.Q. All of this also can be related to sex abuse within the Catholic Church.. You've done some work in this area?Q. What did you think of the sex abuse accusations against Judge Kavanaugh when he was being considered for the Supreme Court and how they were handled by the Senate Committee? You said on CNN that you had never seen a witness more compelling than Christine Blasey Ford, who testified that as a teenager in the early 1980s Kavanaugh had sexually assaulted her during a party, which, of course, Kavanaugh denied. Should Kavanaugh be on the Supreme Court today?Q. What's next for you? Another book?Q. Just curious, where do you get the names and descriptions of the characters in your books?Q. Where can listeners find your books or reach out to you?

The annals of late Victorian era crime are usually dominated by one name, but another series of murders, ones lesser-known but more grisly, took place from 1886-1889 with some outlying cases that may or may not have been connected. Were these murders all the work of the same offender? In some cases, were they even murders at all? Twitter: https://twitter.com/PodcastDarkness Instagram: https://www.instagram.com/agable_fd/ Forgotten Darkness Google Map: https://www.google.com/maps/d/u/0/edit?mid=1NsgqAha9Z3bMhBxg8FuM2tRLqwjH5-_F&usp=sharing Part of the Straight Up Strange Network: https://www.straightupstrange.com/ Opening music from https://filmmusic.io. "Dark Child" by Kevin MacLeod (https://incompetech.com). License: CC BY (http://creativecommons.org/licenses/by/4.0/) Closing music by Soma.   SOURCES Hull Daily Mail, June 12, 1902. “A London Mystery.” Lloyd's Weekly Newspaper, November 2, 1884. “A Thames Mystery.” The Daily Telegraph, May 13, 1887. ―. East Kent Gazette, September 15, 1888. “Another Murder and Mutilation in Whitechapel.” The Times, September 11, 1889. “Another Thames Mystery.” Staffordshire Daily Sentinel, September 11, 1874. “Atrocious Crime in London.” Birmingham Daily Mail, June 9, 1902. “Discovery of Human Remains.” Pall Mall Gazette, October 24, 1884. “Dreadful Discovery.” Christchurch Star (NZ), August 1, 1902. “Further Discovery of Human Remains in London.” Pall Mall Gazette, October 30, 1884. “Horrible Discovery at Rainham.” Essex Weekly Herald, May 23, 1887. “Lambeth Mystery.” The Weekly Dispatch, June 15, 1902. “Le Crime de Montrouge.” Le Radical (Paris), December 3, 1886. “Le Mystère de Montrouge.” Le Figaro (Paris), August 5, 1886. ―. Le Figaro (Paris), August 7, 1886. ―. La Lanterne (Paris), August 7, 1886. ―. Le Figaro (Paris), August 20, 1886. ―. Le Figaro (Paris), August 22, 1886. ―. Le Figaro (Paris), August 29, 1886. ―. La Lanterne (Paris), September 16, 1886. ―. La Lanterne (Paris), November 26, 1886. “Murder & Mutilation,” Lloyd's Weekly Newspaper, October 11, 1887. “Murdered and Hacked to Pieces.” Atherstone Herald, August 13, 1886. “Suspicious Discovery in the Thames.” Acton Gazette, June 13, 1874. “The Chelsea Victim.” The Western Daily Press, July 26, 1889. “The Discovery of Human Remains.” The Times, October 31, 1884. ―. Central Somerset Gazette, June 11, 1887. “The Discovery of Human Remains in Lambeth.” The Evening Standard, June 18, 1902. “The Latest London Horror.” The People, June 30, 1889. “The London Mystery.” Lloyd's Weekly Newspaper, November 16, 1884. “The Murder in Whitechapel.” The Times, September 12, 1889. ―. The Times, September 25, 1889. “The Mysterious Murder and Mutilation.” London Daily News, September 16, 1873. “The Pimlico Discovery.” The Echo, September 12, 1888. “The Pimlico Mystery. - Another Discovery.” The Pall Mall Gazette, September 28, 1888. “The Rainham Mystery.” The People, June 12, 1887. “The Shocking Discovery at Dalston.” The Evening Standard, January 25, 1898. “The Supposed Murder and Mutilation.” London Daily News, November 4, 1884. “The Supposed Murder and Mutilation in London.” The People, November 16, 1884. “The Supposed Murder of a Woman.” The Morning Post, September 9, 1873. “The Thames Mystery.” The Morning Post, May 16, 1887. ―. Birmingham Weekly Mercury, June 15, 1889. “The Whitechapel Mystery.” The Times, September 13, 1889. ―. The Times, September 14, 1889. “The Whitehall Discovery.” Birmingham Daily Post, October 6, 1888. Gordon, R. Michael. The Thames Torso Murders of Victorian London. London: McFarland & Company, 2002. Trow, M.J. The Thames Torso Murders. Barnsley: Wharncliffe Books, 2011. Shelley House Stables - Casebook: Jack the Ripper Forums

In the first of four episodes in our new series covering the work and career of pop titan Beyoncé, DJ Louie is joined by Senior Writer at Rolling Stone, Brittany Spanos, to discuss the group that started it all: Destiny's Child.  Louie and Brittany begin with a broad history of black R&B girl groups, specifically the ‘90s wave of which DC was a part, and the ever-evolving way black women have presented themselves in the pop space. They then discuss Beyoncé's early life, how she and her father Mathew Knowles helped form Destiny's Child with the initial lineup including Kelly Rowland, LaTavia Roberson and Letoya Luckett, their 1998 self-titled debut and it's surprise #3 hit, the remix of their ballad “No No No”, “No No No Pt. 2” featuring Wyclef Jean which showcased Beyoncé's signature singing-rapping hybrid. Next, they dive into their smash sophomore album, 1999's The Writing's on the Wall and its innovative singles, all of which featured the groups virtuosic harmonies, a sharp pop feminist perspective that often traded in the role money plays in gender dynamics, and futuristic staccato R&B production courtesy Darkchild and others, before diving into all the tea on how, at the peak of their success, the initial line-up very messily and publicly gave way to a new trio: Beyoncé, Kelly and new member Michelle Williams. Louie and Brittany then cover DC's blockbuster third album, largely an answer to the negative press of the group shake-ups, 2001's Survivor and its attendant hits, the member's various solo endeavors, and how Beyoncé returned to the group following her solo success for one final chapter, 2004's Destiny Fulfilled. Finally, Louie and Brittany rank Destiny's Child in the official Pop Pantheon.Stay tuned next week for our next episode, Beyoncé Pt. 1, which will cover the first half of Beyoncé's solo career from 2003's Dangerously in Love through 2011's 4!Tickets to see Louie DJ Pop Music at Gorgeous Gorgeous 7/16 in DTLA!Check out Louie's Destiny's Child Essentials Playlist on SpotifyJoin the Pop Pantheon Discord!Follow DJ Louie XIV on InstagramFollow DJ Louie XIV on TwitterFollow Pop Pantheon on InstagramFollow Pop Pantheon on TwitterFollow Brittany Spanos on TwitterCheck out Main Pod Girl with AJ and Sola on Apple, Spotify or wherever you listen to podcasts

Hypothetical planets are those theorized to exist, whether by observation or prediction by means of examining gravitational fields. Several hypotheticals are discussed, with the story of the planet Vulcan, at one time thought to exist between Mercury and the Sun, discussed in-depth. Twitter: https://twitter.com/PodcastDarkness Instagram: https://www.instagram.com/agable_fd/ Part of the Straight Up Strange Network: https://www.straightupstrange.com/ Opening music from https://filmmusic.io. "Dark Child" by Kevin MacLeod (https://incompetech.com). License: CC BY (http://creativecommons.org/licenses/by/4.0/) Closing music by Soma.

An anonymous female type 1 talks about the abuse she suffered as a child. WARNING: Physical, mental and sexual abuse is openly discussed.  RAINN.org Show notes for people who are Bold with Insulin Get your supplies from US MED with the link or 888-721-1514 Learn about the Dexcom CGM You may be eligible for a free 30 day supply of the Omnipod DASH  InPen from Medtronic Diabetes Get Gvoke Glucagon  CONTOUR NEXT ONE smart meter and CONTOUR DIABETES app Learn about Touched By Type 1 Tak the T1DExchange survey A full list of our sponsors  How to listen, disclaimer and more Apple Podcasts> Subscribe to the podcast today! The podcast is available on Spotify, Google Play, iHeartRadio, Radio Public, Amazon Music and all Android devices The show is now available as an Alexa skill. My type 1 diabetes parenting blog Arden's Day Listen to the Juicebox Podcast online Read my award winning memoir: Life Is Short, Laundry Is Eternal: Confessions of a Stay-At-Home Dad The Juicebox Podcast is a free show, but if you'd like to support the podcast directly, you can make a gift here or buy me a coffee. Thank you! Follow Scott on Social Media @ArdensDay @JuiceboxPodcast Disclaimer - Nothing you hear on the Juicebox Podcast or read on Arden's Day is intended as medical advice. You should always consult a physician before making changes to your health plan.  If the podcast has helped you to live better with type 1 please tell someone else how to find the show and consider leaving a rating and review on iTunes. Thank you! Arden's Day and The Juicebox Podcast are not charitable organizations.

In 1910, Dr. B.C. Hyde was put on trial for the murder of Colonel Thomas Swope, a wealthy Kansas City landowner the year before. Also included in the charges were manslaughter and several counts of attempted murder. This is a case I've gone back and forth on several times. Twitter: https://twitter.com/PodcastDarkness Instagram: https://www.instagram.com/agable_fd/ Part of the Straight Up Strange Network: https://www.straightupstrange.com/ Opening music from https://filmmusic.io. "Dark Child" by Kevin MacLeod (https://incompetech.com). License: CC BY (http://creativecommons.org/licenses/by/4.0/) Closing music by Soma. SOURCES “Col. T.H. Swope Goes to Rest.” Louisville Courier-Journal, October 4, 1909. “Col. Thomas Swope Dead.” Cherryvale Republican (Kansas), October 4, 1909. “Coroner's Jury Finds Dr. Hyde's Medicine Killed Swope.” St. Louis Star and Times, February 9, 1910. “Dr. Twyman Very Ill.” Kansas City Star, April 18, 1910. “For Third Time Dr. Hyde Will Face Trial Next Week.” Parsons Daily Sun (Kansas), May 24, 1912. “Hyde and Wife to Take Stand.” St. Louis Star and Times, April 19, 1910. “Hyde Trial Begins Again in Porterfield's Court.” Salina National Field (Kansas), October 23, 1911. “Juror's Escape May Halt Hyde Trial.” St. Joseph News-Press, December 11, 1911. “Kansas City Pioneer Gone.” West Plains Journal (Missouri), October 7, 1909. “Letter in Swope Case is a Serial Story of Horrors.” St. Louis Post-Dispatch, February 4, 1910. “Mrs. Hyde Prompts Walsh.” Kansas City Star, April 23, 1910. “Nurse Who Attended Swope Swears He Took Patent Medicine Containing Strychnine.” Cincinnati Enquirer, February 8, 1910. “One of the Hyde Jury Ill.” Kansas City Star, November 30, 1911. “Story of Death of Crisman (sic) Swope.” Deseret News, April 22, 1910. “Stranger at Home of Missing Hyde Juror.” St. Louis Star and Times, December 13, 1911. “Swope Murder Case is Opened.” Hope Pioneer (North Dakota), April 14, 1910. “The Juror Returned.” Hutchinson News (Kansas), December 14, 1911. “The Nurse Confused.” Fort Scott Tribune-Monitor (Kansas), April 23, 1910. “The Rialto in Ruins.” Kansas City Star, December 23, 1909. “Typhoid Story Out?” Kansas City Times, April 20, 1910. “Witness Tells How Hyde Bought Disease Cultures.” St. Louis Post-Dispatch, April 27, 1910. Duke, Thomas Samuel. Celebrated Criminal Cases of America. San Francisco: The James H. Berry Company, 1910. Dr. Hyde & Mr. Swope – The Swope Murder Trial - HistoricalCrimeDetective.com Dr Bennett Clark Hyde Sr - Facts (ancestry.com)

The NWA that existed 15 years ago was slightly different, from the vessel you see these days. One of the standard-bearers of that time and space was Chance Prophet. Early in his career appearing in the early days of TNA at the Assylum and working several NWA Wildside Tapings, things seem to be progressing for the young man from Logan, West Virginia. Prophet would be in the middle of the first of two, National Championship runs when an injury would put him on the shelf and he would be stripped of the National Championship. The Dark Child would reinvent himself. A new Chance Prophet would emerge. This Chance Prophet would become the first-ever NWA DAWG Champion, NWA Ring Warriors Bahamian Champion, and eventually, he would regain his cherished NWA National Championship. All the while, Chance Prophet was blazing a path in promotions not affiliated with the NWA, like MPW, ASW, Remix Pro, and IWA East Coast On this episode of Sessions with Jay Cal, we'll speak to the 2 times former National Champion. We'll get his thoughts on the NWA of yesteryear. We'll also check in to see where Chance Prophet is wrestling these days and how you can follow his career currently.

An unidentified, mostly noncommunicative man in a Minnesota mental hospital, known as J.C.R., was the plaintiff in a case to prove his identity as a North Dakota rancher's son.  Who was J.C.R.?  Will we ever know? Twitter: https://twitter.com/PodcastDarkness Instagram: https://www.instagram.com/agable_fd/ Part of the Straight Up Strange Network: https://www.straightupstrange.com/ Opening music from https://filmmusic.io. "Dark Child" by Kevin MacLeod (https://incompetech.com). License: CC BY (http://creativecommons.org/licenses/by/4.0/) Closing music by Soma. SOURCES “Accused of Writing Bogus Checks.” Washington Post, January 7, 1905. “Aphasia Victim May Be Naval Officer.” New York Tribune, May 26, 1913. “Are Positive of Identity.” Long Beach Telegram (California), May 23, 1913. “Bullets Write New Chapter in 'J.C.R.' Mystery.” Leavenworth Times (Kansas), May 4, 1917. “Caldwell Will Case Postponed.” Grand Forks Herald (North Dakota), August 27, 1917. “Dorothy Harris Claims to be Daughter of 'J.C.R.' and Heir to a Large Fortune.” Minneapolis Star-Tribune, November 16, 1919. “Famous Identity Case Concluded Late Last Week.” Dickinson Press (North Dakota), January 20, 1917. “Found Paralyzed.” La Crosse Tribune (Wisconsin), July 13, 1907. “Four Others Identify 'Aye-Hee' as Ramsey.” Oregon Daily Journal, May 23, 1913. “Girl, 18, Claims 'J.C.R.' Mystery man as Father.” Maurice Times (Iowa), December 11, 1919. “Hopes of Fortune Depend on Flute.” Spokane Daily Chronicle, November 17, 1919. “Insane Prisoner Attacks Sheriff.” Billings Gazette (Montana), August 10, 1917. “Is He? Or Is He Not? Week of Court Serves to Deepen Mystery of 'J.C.R.'.” Dickinson Press (North Dakota), January 6, 1917. “'J.C.R. Again in Our City.” Dickinson Press (North Dakota), July 31, 1915. “'J.C.R.' Face to Face With Lost Identity.” Chicago Inter Ocean, January 17, 1914. “J.C.R. Identified as James Harris Now Making Home with Former Wife.” Ward County Independent (Minnesota), August 26, 1920. “'J.C.R.' in Visit to Dickinson.” Bismarck Tribune, November 14, 1921. “'J.C.R.' on Co. Wants to Let Go.” Dickinson Press (North Dakota), April 10, 1915. “'J.C.R.,' the Man of Mystery, Declared Seen in Spokane.” Spokane Chronicle (Washington), January 24, 1920. “'J.C.R.' Walks to Dickinson.” Williston Graphic (North Dakota), August 5, 1915. “Man of Mystery Found.” Seattle Star, January 27, 1920. “Mrs. Pitkin Has an Unenviable Record.” Fargo Forum and Daily Republican (North Dakota), December 14, 1914. “Mysterious 'J.C.R.' Identified as Man Missing since 1906.” St. Louis Star and Times (Missouri), November 19, 1914. “Mystery Man for 13 Years is Brought Home.” Minneapolis Morning Tribune, August 18, 1920. “Mystery Man of Stark is Paralyzed.” Bismarck Tribune, January 31, 1921. “Noted Murder Case in North Dakota.” Rapid City Journal (North Carolina), June 19, 1917. “Says She is Wrong.” Long Beach Telegram (California), May 22, 1913. “'Silent Man' an Oklahoman?” Oklahoma Weekly Leader, May 29, 1913. “Slayer of Two Caldwells Held Insane by Jury.” August 14, 1917. “State News and Comment.” Bismarck Daily Tribune (North Dakota), April 10, 1915. “Strange Case of 'J.C.R.' the Man of Mystery Who Has Apparently Lost All Track of Himself.” Asheville Citizen-Times (North Carolina), November 9, 1913. “Trial of Mike Chumack Likely to be Postponed.” Hope Pioneer (North Dakota), June 14, 1917. “Wife Looks for Jas. P. Harris.” Tampa Times, January 13, 1920. Burnett, W. Fulton. “The Case of the Mysterious J.C.R.” North Dakota Law Review, volume 25, number 4 (1949). Callahan, Edward W. List of Officers of the Navy of the United States and of the Marine Corps, from 1775 to 1900. New York: L.R. Hamersly & Co., 1901. James H. Caldwell - Facts (ancestry.com) Waseca County Minnesota Railroad Stations (west2k.com) Strange Company: Who Was J.C.R.?

On this episode, Aaron and Gabe discuss the recent passing of DJ Kay Slay, Kendrick Lamar release date announcement, and new music. They also dive into and celebrate the catalog of super-producer, Rodney “Darkchild” Jerkins. Heat of the Week Picks: Aaron- “What She Wants” by. Femme It Forward, Asiahn, & ELHAE; Gabe: “Sleep” by. Adekunle Gold

The “woman in black” stalked the streets of Scranton, Wilkes-Barre and other towns and villages in Pennsylvania's Lackawanna and Luzerne Counties in the winter of 1886-1887 and into the 1930s. Twitter: https://twitter.com/PodcastDarkness Instagram: https://www.instagram.com/agable_fd/ Part of the Straight Up Strange Network: https://www.straightupstrange.com/ Opening music from https://filmmusic.io. "Dark Child" by Kevin MacLeod (https://incompetech.com). License: CC BY (http://creativecommons.org/licenses/by/4.0/) Closing music by Soma. SOURCES Philadelphia Inquirer, November 8, 1886. Scranton Republican, December 15, 1886. Wilkes-Barre Record, January 5, 1887. “Attacked For the Woman in Black.” Wilkes-Barre Evening News, December 27, 1886. “Caught At His Tricks.” Wilkes-Barre Sunday Leader, February 6, 1887. “Caught the Woman in Black.” Scranton Republican, November 6, 1886. “He Wasn't Afraid.” Carbondale Daily News, December 9, 1886. “Lackawanna's Mystery.” Wilkes-Barre Evening News, November 30, 1886. “Local Brevities.” Carbondale Daily News, December 4, 1886. “Local Gleanings.” Pittston Evening Gazette, December 18, 1886. “Plymouth.” Wilkes-Barre Record, December 25, 1886. “Plymouth.” Wilkes-Barre Record, December 27, 1886. “Plymouth.” Wilkes-Barre Record, December 28, 1886. “Scared by a Woman in Black.” Wilkes-Barre Record, December 30, 1886. “Slammer Coleman as the Woman in Black.” Scranton Republican, December 9, 1886. “The Bunko Men.” Wilkes-Barre Sunday News-Dealer, October 31, 1886. “The Woman in Black.” New York Times, November 10, 1886. “The Woman in Black.” Wilkes-Barre Evening News, November 23, 1886. “The Woman in Black.” Wilkes-Barre Dollar Weekly News, December 25, 1886. “The Woman in Black.” Wilkes-Barre News, December 30, 1886. “The Woman in Black.” Wilkes-Barre News, December 31, 1886. “The Woman in Black.” Wilkes-Barre Sunday Leader, January 2, 1887. “The Woman in Black.” New York Times, January 7, 1887. “The Woman in Black.” Wilkes-Barre Weekly Dollar News, January 22, 1887. “The Woman in Black.” Wilkes-Barre News, February 5, 1893. “Woman in Black.” Wilkes-Barre News, December 27, 1886. “Woman in Black.” Wilkes-Barre Sunday News-Dealer, January 2, 1887. “Woman in Black.” Wilkes-Barre Dollar Weekly News, January 15, 1887. Peter VON WEISENFLUE - Facts (ancestry.com) Wright J. Horton - Facts (ancestry.com) Ancestry.com - U.S., City Directories, 1822-1995 – Scranton 1886 Ancestry.com - U.S., City Directories, 1822-1995 – Wilkes-Barre 1882 Luzerne County 1873 Pennsylvania Historical Atlas (historicmapworks.com) Coal mining in Plymouth, Pennsylvania - Wikipedia In the passage describing the attack on Wright Horton, the name of the sheriff's son is incorrectly given as Jules. His name was actually Julius, and I've corrected it to such.

B. Cox and Domo review Brandy's 2002 classic third album album Full Moon. After two wildly successful albums and taking a break after her second album which was followed by a nervous breakdown, a relationship breakup and before what was soon to be the birth of her daughter, the vocal prodigy was ready to get back in the saddle. Teaming back up with Rodney "Darkchild" Jerkins yet again after their collaboration with her sophomore album Never Say Never, Brandy explored all of the themes that emerged in the shadow of that success; love, romance, heartbreak, trust and misfortune. The album featured a blend of ballad and slow tempo songs and upbeat and catchy songs.With Darkchild's intuitive production, which fit her like a glove, and her exploration in amazing vocal arrangements and stacking, she emerged from this album with another platinum certification and a new nickname: "The Vocal Bible. The album has since been credited as a work that influenced many of her contemporaries and her successors as a watershed album for R&B in the new millenium.Visit The Vault Classic Music Reviews Onlinewww.vaultclassicpod.comLearn More About the "Podcast GPS" BootCamp Course!www.vaultclassicpod.com/podcastgpsSupport The Vault Classic Music Review on Buy Me A Coffeehttps://www.buymeacoffee.com/vaultclassicpodShow NotesAlbumism: Brandy's 'Full Moon Turns 20 | Anniversary Retrospectivehttps://albumism.com/features/brandy-full-moon-turns-20-anniversary-retrospectiveRated R&B: Brandy's Groundbreaking Album 'Full Moon' Turns 20: A Retrospectivehttps://ratedrnb.com/2022/03/brandy-full-moon-album-in-retrospect/Music Xclusives: Brandy's 'Full Moon': Twenty Years Laterhttps://musicxclusives.com/index.php/2022/03/05/brandy-full-moon-twenty-years-later/The Odyssey: How Brandy's 'Full Moon' Made Me Fall In Love With Musichttps://www.theodysseyonline.com/brandy-full-moonSupport this podcast at — https://redcircle.com/the-vault-classic-music-reviews-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Keith Montena returns this week with previous co-host Ashley Tatum to discuss one of the world's best-selling girl groups, The Pussycat Dolls. The groups sophomore (and last) era was helmed by collaborators like Polow Da Don, Timbaland, and Darkchild. The album, interestingly, was sculpted by beginning sessions for Nicole Scherzinger's debut solo album, "Her Name Is Nicole". Listen to hear about the group's evolving dynamics, why we feel it was always bound to cause drama, and where the girls are now after reuniting in 2020 with "React". While instances of drama at Britney Spears' Circus Tour or the American Music Awards became bait for tabloid culture of the 2000s, the girls still delivered some discography highlights and a huge hit with "When I Grow Up".

  In the winter of 1891-1892, a series of slashing attacks - and one murder - took place in the rough streets of the Bowery in Lower Manhattan, barely a stone's throw from the seedy hotel where “Old Shakespeare” was slain only a few months before. Twitter: https://twitter.com/PodcastDarkness Instagram: https://www.instagram.com/agable_fd/ Part of the Straight Up Strange Network: https://www.straightupstrange.com/ Opening music from https://filmmusic.io. "Dark Child" by Kevin MacLeod (https://incompetech.com). License: CC BY (http://creativecommons.org/licenses/by/4.0/) Closing music by Soma. SOURCES “Arraignment of the Slasher.” New York Sun, January 20, 1892. “Carson's Slayer.” New York Evening World, January 18, 1892. “Caught Cutting a Throat.” New York Tribune, January 18, 1892. “Dowd Was Mad, the Jury Say.” New York Sun, January 30, 1892. “Jack the Slasher Again.” Passaic (NJ) Daily News, January 16, 1892. “Jack the Slasher in Court.” New York Evening World, January 28, 1892. “Masterson a Roundsman Now.” New York Sun, January 20, 1892. “Men Whom Dowd Slashed.” New York Evening World, January 29, 1892. “Murder or Suicide?” New York Evening World, January 15, 1892. “Red Revenge Day By Day.” Pittsburgh (PA) Dispatch, January 18, 1892. “Saloon Keeper Flynn's Frenzy.” New York Sun, July 6, 1887. “Slasher Dowd's Defense.” New York Evening World, January 21, 1892. “Slasher Dowd's Trial Put Off.” New York Evening World, January 25, 1892. “The Slasher's Brother Sane.” New York Evening World, January 28, 1892. “The Weather.” Brooklyn Times-Union, January 18, 1892. “Who Killed Lawyer Carson?” New York Evening World, January 16, 1892. Dekle, George. The East River Ripper. Kent, OH: Kent State University Press, 2021. New York, U.S., Sing Sing Prison Admission Registers, 1865-1939 - Ancestry.com Daytonian in Manhattan: The 1894 House of Relief -- Nos. 67-69 Hudson St. (daytoninmanhattan.blogspot.com)

On this episode of DOD45 Tai & Adrienne chat with Strange Famous Records producer ALXNDRBRWN. They discuss ALXNDRBRWN's recent album "Ghost Kid" (album cover designed by Tai), his bout with tinnitus, a random link with Frank Zappa's The Mothers' percussionist Ruth Underwood, interning for Madchild, flying in dreams, skateboarding, growing up in Baltimore in a tumultuous environment, the amazing OP-1 synthesizer, and they also talk about the 1980s film The Young Guns, a shared favorite of Brown & Tai's. It's a solid sit-down with ALXNDRBRWN & a chance for you to learn more about the man behind the music. Sophie's Choice questions from this episode include: Danger Mouse or Deadmau5? Dan Deacon or Dan the Automator? Cas One or OP-1? Dr. Octagon or Dr. Dre? Madchild or Darkchild? Dale or Boomhauer? Young MC or Young Thug? Young Thug or Young Guns? Warren G or G-Unit? Orioles or Ravens? Old Bay or J.O. Spice? Pizza squares or triangles? Utz or Lays? Hairspray or Crybaby? Ed Norton or Ed Sheeran? Ron Allen or Edgar Allan Poe? Montell Williams or William H. Macy? Tori Amos or John Stamos? Frank Ocean or Frank Zappa? Why? or Explosions in the Sky? Prints of the ALXNDRBRWN's "Billy Blue Crab" are available here Tai's shirt in this episode: "We Brought Knives" Metermaids Pertinent links from the episode: ALXNDRBRWN Bandcamp ALXNDRBRWN on SFR ALXNDRBRWN instagram ALXNDRBRWN soundcloud ALXNDRBRWN on Elk Lodge podcast Become an ArtByTai collector Theme music by Nalei from her debut album "13" --- Send in a voice message: https://podcasters.spotify.com/pod/show/artbytai/message Support this podcast: https://podcasters.spotify.com/pod/show/artbytai/support

Erin and Jacob tackle the impossible task of picking only a few songs out of Rodney Jerkins' (aka Darkchild) insane discography! Also, Erin tries to teach Jacob a lesson, but it doesn't go exactly as planned. What is your favorite song produced by Darkchild? Let us know! Follow the Hits Don't Lie podcast on twitter and instagram at @hitsdontliepod or get in touch by emailing hitsdontliepod@gmail.com Listen to the playlist from today's episode on Spotify: Ep. 06 - Best of Darkchild Artwork created by @jungaehyuk on Instagram. Intro music is Island by extenz | https://soundcloud.com/extenze | Creative Commons Attribution 3.0 Unported License https://creativecommons.org/licenses/by/3.0/deed.en_US

SPONSORS Panels Comics and Coffee Some of the hottest graphic novels and comics out right now. They also have an assortment of merchandise, toys as well as back issue vintage comic boxes that are sure to have a few hidden gems in there. Mention the Creative Brew for 10% off of your next purchase Also share with me on IG or FB what are you reading right now? Check them out @panelscoffee or go to panelscoffee.com Elevate Coffee Trading If you appreciate specialty coffee, enjoy outdoor adventure, and love helping elevate the lives of children around the world, then you are going to LOVE Elevate Coffee Trading! Their mission is to EXTRACT HOPE through LOVE, COFFEE, & ADVENTURES!. Free shipping in the US and every bag of coffee helps sponsor health and education for children in coffee producing countries and areas of need in the USA. Use promocode elevate21 on your next order and on Follow their journey on social media @elevatecoffeetrading, and visit online at elevatecoffeetrading.com to start Extracting Hope together!" They are currently promoting the Coffee Lovers 5K Virtual Race, anyone can sign up. Run your own race and submit your time, get race swag and coffee! Sign up today at elevatecoffeetrading.com Astropad If you're a digital creator like me and you use your IPad for your illustration or design work, Astropad can transform your IPad into a professional tablet, allowing you to use Photoshop, Illustrator and your other programs right from your IPad. They have great discounts going on right now for students and educators right now! Check them out at astropad.com or on social @astropadhq Cobo Pod Is a boutique video and audio production studio in Oceanside. If you're a podcaster, vlogger, or content creator you really should swing by and try the venue for yourself. I've had guests on my shows tell me how professional the set up is. they also have a sound coach and photographer on staff to help you in every facet. Book your session at cobopod.org I'm actually offering for podcasters, digital branded assets so if you need a pitch deck for sponsorships, media kit, podcast cover and branded social graphics through my design company Langfordesign. Mention this podcast to receive a special packaged deal when you're ready to get your podcast out in the world. Send an email at info@langfordesign.com This episode we share the story of one half of a popular band in the San Diego area, Sodie Orr with The Swingin' Johnsons. We talk about his up and down journey from playing college football and quitting, signing to a crazy music deal, to driving and working 12 hours a day to work with famous artist Too Short and music producer known as Darkchild, to coming around full circle to playing with his step dad and grammy award winning guitarist Wayne Johnson. For every challenge he's had in his life, he's still found a way through his creative journey to create and play music, being close to his family and friends, and learning that he enjoys life most when he goes the path that feels good to him. To book them for your next music gig you can email them at theswinginjohnsons@gmail.com Ending music to this episode is brought to you by 2MyndzAlyke be sure to check out their music and give them a follow on Facebook and Instagram at @2myndzalyke ______________________________________________________________ KEEP THE CREATIVE BREW SHOW GOING STRONG If you want bonus content and resources to help your creative/coaching/entrepreneurial career, graphic templates or your marketing, creative tips to build your mind, body and spirit, and more? Support the show at buymeacoffee.com/QuantalLangford and help support the show, get a backstage pass on other projects I'm currently working on, bloopers and more! Branding Work I Show Inquiries I Speaking Engagements Contact me IG: @quantallangford IG: @thelangfordstudio IG: @thecreativebrewtv