Podcast appearances and mentions of Doug Morris

In this episode, Patrick is joined by Jessica Goodall and Doug Morris from Sharesight. They cover Sharesight's origins, features, use cases for investors and advisers, data capabilities, and future roadmap, with a focus on its comprehensive investment reporting and analytics platform. Jessica Goodall LinkedIn: https://www.linkedin.com/in/jessica-goodall-04055060/ Doug Morris LinkedIn: https://www.linkedin.com/in/morrisdouglas/ Sharesight Website: https://www.sharesight.com/au/ Patrick Gardner LinkedIn: https://www.linkedin.com/in/csba-patrick-gardner/ A world of efficiency awaits you at Netwealth: https://ensombl.com/go/20250124 Join the Ensombl platform: App Store: http://www.ensombl.com/apple Google Play: http://www.ensombl.com/google Desktop: https://www.ensombl.com/ General Disclaimer – https://www.ensombl.com/disclaimer/

Send us a textDel's ordeal in getting to the mall incognito to meet Dave.Bucks salute the growing fanbase in Beaumont, Alberta.  Dave watches the Spacex Falcon 9 takeoff at 5 AM. Send us an email if you want the video.Del discusses the "golden bat" rule being considered for baseball but the Bucks vote it down. Baseball will never be as exciting as curling in Beaumont.Dave "enjoys" the Cardinal Mooney high school football game in the cold, rainy weather.An old classmate who had a boy crush on Del shares being locked in the closet in kindergarten. Yikes!Crypto criminal spends $6.2 million for a banana taped to a wall. You ain't seen nuthin' yet, folks. That's the march of the oligarchs playing in the background.Dave reads another excerpt from the Doug Morris memoir discussing Doug's college years in London while the city was being bombed by the Nazis.Dave reads the short story My Date with Neanderthal Woman by David Galef.Our bonus track is in honor of Doug Morris.Check our youtube channel for some short clips of this episode.Give us your thoughts: BUCKSTWOOLD@GMAIL.COM Find us on FacebookLeave a Voice message - click HEREWHAT ARE YOU GOING TO DO WITH THE REST OF YOUR LIFE?

Send us a textDel meets Amor Towles at a book signing and asks him if he can be a gentleman in Moscow, too. Dave reads the best ever book opening,, and on thermodynamics, no less. Del and THE WIFE see Conclave and learn how to elect a Pope. Political intrigue ensues.Dave talks about the lifespan of republics. Can't happen here, though.Dave gets shingles again. But he still enjoyed the James Museum in St. Pete.Superman Terry pays the Bucks a visit and electromechanically bonds with Del.Del tells a Stray Spoon story.Dave reads the memoir of Doug Morris, a young lad growing up in London in the 1930s. Fascinating account of pre-war England.  More next timeHere's the Bonus TrackGive us your thoughts: BUCKSTWOOLD@GMAIL.COM Find us on FacebookLeave a Voice message - click HEREWHAT ARE YOU GOING TO DO WITH THE REST OF YOUR LIFE?

In this episode:How does cardiorespiratory fitness affect the lifetime risk of developing breast cancer in women? In the Medical Mailbag we look at new research that suggests daily exercise can have a profound effect on decreasing the likelihood of developing this disease. Plus, an interview with age group triathlete, author and coach Doug Morris on how multisport brings him joy and how he shares that with whomever he can.Segments:[09:27]- Medical Mailbag: Fitness and risk of breast cancer[35:00]- Interview: Doug Morris LinksTriing on Amazon

The Flood is thrilled to be featured in the latest installment of Armstrong Neighborhood Channel's Press Room Recordings series of award-winning music videos.Douglas K. Morris and Shane Finster came by the Bowen House on June 27 to take in one of the band's weekly rehearsals and to chat with Charlie Bowen about the group's half-century history.The resulting half-hour film — released this morning — showcases The Flood's eclectic mix of old and new tunes, ranging from swing pieces (“Ain't Misbehavin',” “Sunny Side of the Street,” “Am I Blue?”) to folk "(“I Am a Pilgrim,” “Peaceful Easy Feeling”), blues (“Deep River Blues”) to old rock (“When She Wants Good Lovin'”).EsteemWe were so honored to have Doug and Shane's Armstrong Neighborhood van roll into the Bowen House neighborhood.Press Room Recordings is now in its fifth season, and Doug, who is Armstrong's producer of local programming, already has created more than 100 beautiful local videos featuring area musicians.And they have been attracting serious national attention. Last May, for instance, Press Room Recordings won its fifth Telly Award since 2019 against stiff competition.The Telly Awards is the world's largest honor for video and television across all screens. This year is the 45th annual Telly and saw a record-breaking 13,000 entries from across the globe.Thanks, guys, for letting The Flood be part of your remarkable journey!From the ArchivesBy the way, this wasn't The Flood's first visit with Doug Morris. He and the good Armstrong crew came by from their South Point, Ohio, offices 11 years ago on the late winter evening in 2013 to produce a fun, hour-long video feature on the band.For years afterward, the video still regularly popped up on local cable stations occasionally. Here is Doug's recording of that evening:It was made, incidentally, just days before we went into the studio to begin work on our fifth album, "Cleanup & Recovery." This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

A new law in Colorado is going to change the state's chain laws and will look at adding chain-up areas, parking options in some high-impact locations, left lane restrictions and more. We'll go over what's happening and why it's important with Greg Fulton of the Colorado Motor Carriers Association. And we'll discuss a lawsuit over a truck ban in the commercial areas of the town of Vail, Colo. – and its implications nationally – with Fulton and OOIDA's state affairs expert, Doug Morris. 0:00 – Newscast  10:14 – Colorado changes chain laws, eyes truck parking and more.

An effort in Illinois would put a cap on pain-and-suffering damages in trucking court cases in an attempt to combat “nuclear verdicts.” Also, Lewie Pugh, Doug Morris and Paul Torlina of OOIDA discuss the recent meeting of the Commercial Vehicle Safety Alliance and how it could affect you. Then, “normal” and “stable” are the two words being used to describe current market conditions. We speak with Brent Hutto of Truckstop about the numbers and the top regions and lanes from last week. 0:00 – Newscast 10:22 – CVSA's meeting and how it could affect you 24:59 – Effort in Illinois would cap ‘nuclear verdicts' 40:23 – Freight market: ‘normal and stable'

This episode starts by looking at why involuntary downgrades happen and what to do if you get involuntary downgraded. Andrew then talks to airline captain Doug Morris about aviation weather and how it affects your flight.Nobody likes purchasing a premium cabin ticket and then being downgraded to a worse seat. Why might this happen and what should you do if it does? Find out more in this episode.     Doug Morris joins Andrew to talk about aviation weather, drawing from his experiences and expertise as an airline captain and as a meteorologist. He talks about the most common misconception about weather, the differences between aviation products worldwide, and much more. Extreme and unusual weather phenomenon undoubtedly make passengers nervous. Doug and Andrew talk about some different ones, ranging from thunderstorms to low visibility and winds. Plus, Andrew asks Doug what weather phenomena make pilots nervous. Doug Morris is a Boeing 787 Dreamliner captain for Air Canada. He is also a certified meteorologist and worked as a weather forecaster for four years during his early pilot days. He is a longtime teacher of aviation weather to new and aspiring pilots and is the author of four books and a blog. His latest book, titled This is Your Captain Speaking, draws from his extensive experiences and goes through the A to Z of airline travel with a bit of humor, covering things ranging from whether airliners have keys to what aircrew get up to on layovers to how to become a pilot. Longtime Air Canada flyers will also recognize him as the author of the aviation page in Air Canada's enRoute magazine for over two decades. You can find Doug on his blog and on LinkedIn and Instagram. Enjoying the podcast? Follow us on social media for additional content, updates, sneak peeks, and more! Connect with Flying Smarter: Facebook: Flying Smarter Podcast Instagram: @flyingsmarter X (Twitter): @flying_smarter LinkedIn: Flying SmarterWebsite: www.flyingsmarter.com 

Jay Jay French joins me for an in-depth conversation about Twisted Sister's tumultuous journey in the music industry. From the band's early struggles to acclaim and the challenges along the way, Jay Jay French's candid revelations provide a fascinating insight into the world of rock and roll. Delve into Twisted Sister's rise to stardom and inner turmoil as they conquered the music scene with iconic albums like "Stay Hungry" and "Can't Stop Rock and Roll." Jay Jay French recounts the band's relentless pursuit of success, recounting key moments such as meeting Atlantic Records' Doug Morris and their groundbreaking success on MTV with hits like "We're Not Gonna Take It" and "I Wanna Rock." Experience the gripping accounts of resilience and survival as Jay Jay French shares personal challenges, including the loss of his mother, financial hardships, bankruptcy, and the groundbreaking resurgence of Twisted Sister. Uncover the band's remarkable comeback, including headlining major festivals and releasing the beloved Christmas album "A Twisted Christmas." This engaging episode also explores Jay Jay French's entrepreneurial journey, his battle with health issues, and his transformative experiences in the music industry. Dive into discussions on business insights, talent, and dedication, as he shares his wisdom in his new book, "Twisted Business: Lessons from My Life in Rock and Roll." Unearth the captivating stories behind Twisted Sister's resilience and rise to fame and explore the profound impact of their music on the world. Join the conversation as Jay Jay French discusses Twisted Sister's enduring legacy, their 40th-anniversary celebrations, their new album, and his podcast "JJ French Connection" showcasing insights from record company presidents and industry professionals. Tune in to VRP Rocks as Jay Jay French's engaging anecdotes, resilience, and unparalleled dedication inspire and captivate audiences, delivering an unforgettable journey through the highs and lows of a rock and roll icon. Learn more about your ad choices. Visit megaphone.fm/adchoices

As autonomous vehicle and autonomous technology companies race to get their products on the road, plenty of questions remain unanswered. Also, we'll offer federal lawmakers and regulatory agencies some New Year's resolutions to help truckers have a better 2024. And speed limiters are one of the hottest issues right now in the trucking industry. We'll get an update on where the issue stands from OOIDA's Doug Morris. 0:00 – Newscast  10:07 – Are autonomous vehicle policies missing the mark? 24:49 – Some New Year's resolutions for the government 39:14 – How do we stop the speed limiter mandate?

Happy new episode everybody. This week's guest, Marc Nathan, takes us in to the world of the A&R position at a record company. Marc was the guy who signed artists to labels, the A&R guy. He would scour for new music and new talent and play a role in bringing it all to the public. But the story within this amazing accounting was when Marc went to bat for The Cowsills and paid a dear price. Wait until you hear Marc's recounting of the memorable meeting he had with Doug Morris of Atlantic Records regarding The Cowsills and the songs from "Global". You won't believe it!!!

The pandemic saw a huge number of investors buying equities for the first time. It's no surprise that demand has also risen for smarter ways to track investment portfolios.Doug Morris, CEO of Sharesight, talks to Jennifer Duke about the growth of Sharesight to include more than 400,000 users globally, and the insights this has provided into investor behaviour.This is general information only. You should seek professional advice before making investment decisions. Sharesight is a supporter of Fear and Greed.Find out more: https://fearandgreed.com.auSee omnystudio.com/listener for privacy information.

Doug Morris is the CEO of Sharesight, a tech investing platform with over 300,000 users who use it to track their performance, their tax and more. With so many users and a seemingly endless stream of data, Owen Rask asks Doug about all the interesting -- but often not talked about questions -- such as 'what are investors *actually* doing with their portfolios? In this episode of The Australian Investors Podcast, the topics covered include: The 10 most bought ASX shares & ETFs The 10 most bought US stocks The rise of ETFs, from 10 years ago to now - and which ETFs investors are using How to track your portfolio, from tax to performance The importance of performance reporting and knowing if you're 'any good' at investing Join Sharesight now: https://portfolio.sharesight.com/signup/?utm_source=RASK Sharesight top 20 ASX trades for 2023: https://www.sharesight.com/blog/sharesight-top-20-asx-trades-fy22-23/ Resources Rask Events Roadshow: https://www.rask.com.au/road ASK A QUESTION HERE Join Owen's Rask Core 

Doug Morris is the CEO of Sharesight, a portfolio tracking tool that began as a father-son project in New Zealand. It has grown into a global enterprise with a team of 50. Doug shares the origins of Sharesight and provides insights into the most popular US trades, highlighting the tech companies' dominance. He also shares a fascinating statistic: the top 10 companies make up a third of the S&P 500's market cap, but account for 96% of the return.We explore the importance of benchmarking and how it can help you understand how your money is working for you. Doug explains how Sharesight shows annualized returns net of fees, offering an apples-to-apples comparison to your chosed benchmark. Users can monitor and customize the asset class breakdown of their investments, while automatically tracking dividends and portfolio performance. https://www.stocksforbeginners.net/blog/dougmorrisjuly23Phil's Linktree: https://linktr.ee/phil_muscatelloSharesight automatically track price, performance and dividends from 240,000+ global stocks, crypto, ETFs and funds. Add cash accounts and property to get the full picture of your portfolio – all in one place.Sharesight tracks your trades, shows your true performance, and saves you time and money at tax time. Get 4 months free at https://www.sharesight.com/stocksforbeginners. Get 4 months free on an annual premium plan when you use Sharesight, the award-winning portfolio tracker. Sign up for a free trial today.Stocks for Beginners is a production of Finpods Pty Ltd. The advice shared on Stocks for Beginners is general in nature and does not consider your individual circumstances. Stocks for Beginners exists purely for educational and entertainment purposes and should not be relied upon to make an investment or financial decision. If you do choose to buy a financial product, read the PDS, TMD and obtain appropriate financial advice tailored towards your needs. Philip Muscatello and Finpods Pty Ltd are authorised representatives of Money Sherpa PTY LTD ABN - 321649 27708, AFSL - 451289. Hosted on Acast. See acast.com/privacy for more information.

Jeremy is joined by Doug Morris and Kaitlyn Forks. We have great stories by Corinne Hammer, Johnny Ags, Joe Lancy, and a member of the audience.

In the 1990s, Interscope Records played by its own rules. Most new labels started with big stars, but Interscope had a clean slate. Most labels were scared of rap music, but Interscope leaned in. Co-founded by Jimmy Iovine, a producer, and Ted Field, a film producer, people questioned whether they had the chops to make it.The label has had a hand in some of the most memorable music moments like Death Row Records, the rise of Eminem, and the creation of Beats by Dre headphones. To break down Interscope's success, I brought back Zack O'Malley Greenberg. His book, “Three Kings,” covered Interscope's story. Together, we unpack what's made Interscope such a long-standing player in the music industry.[0:53] The most successful individual label of the past 30 years?[2:40] Key figures in Interscope's come-up story[6:57] Nontraditional way to build a record label [11:07] Death Row Records partnership [16:44] Biggest signing? [19:14] Best business move?[28:07] Darkhorse business move? [33:21] Where will Interscope be in 10 years [36:07] Would Interscope's 90s approach work today?[43:39] Interscope's entrepreneurial challenges today [50:36] Biggest winner in Interscope history?Listen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Zack O'Malley Greenburg, @zogblogThis episode is sponsored by DICE. Learn more about why artists, venues, and promoters love to partner with DICE for their ticketing needs. Visit dice.fmEnjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapitalTrapital is home for the business of music, media and culture. Learn more by reading Trapital's free memo.TRANSCRIPT[00:00:00] Dan Runcie Intro: 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 the executives in music, media, entertainment, and more, who are taking hip hop culture to the next level.[00:00:27] Dan Runcie Guest Intro: Today's episode is all about Interscope Records. It has been one of the most influential record labels since it was started in 1990. This record label has been home to Dr. Dre, Eminem, 50 Cent, Lady Gaga, Olivia, Rodrigo, and countless other names in between. So we talked about what made Death Row records wanna partner with a company like Interscope and what made Interscope succeed time and time again. So we talk about the business model of being able to sell controversy and why that worked well, especially in the 90s. We also talk about leadership and how important it is to have people at the helm that understand what's needed and how that continued to help Interscope time and time again.We also talk about some of the challenges that Interscope has had and how they're able to navigate that too. And in this episode, very similar to the Cash Money one that we did a couple months ago, Zach and I, that's Zach O'Malley Greenberg, you may know him from his work back when he was at Forbes as the entertainment editor there.And from the books he's written like Three Kings and Empire State of Mind. We talked about a number of things and answered several questions that we talked about in the Cash Money episode as well. What was the biggest signing? What were the best business moves that were made? What was the Dark Horse move?What are the missed opportunities? How did this record label handle transitions? And who is the biggest winner overall from the success of Interscope Records, which is now Interscope Geffen A and M today, one of the umbrella labels under Universal Music Group. This is a really fun episode to do, and we're gonna do more of them.So let us also know if you have any suggestions on other ones you want us to do at the end of the episode, and we'll go from there. Here's our breakdown on Interscope Records. Hope you enjoy it.[00:02:13] Dan Runcie: This episode is a breakdown on one of the most storied record labels of the past few decades, Interscope Records and we're back to break it down with my guy, Zach O'Malley Greenberg. Zach, welcome back, man. [00:02:24] Zack Greenburg: Thanks for having me, as always. [00:02:27] Dan Runcie: Yeah, I knew that this was a topic that was near and dear to you, given the work you covered in the spaces.Well, this is one of the more interesting record labels, but following their work for years. And just to just kick things off, this record label starts 1990, right at the beginning of a new wave for music and since it's come out, would you say that this is the most successful record label, individual record label that we've seen in music since then?[00:02:52] Zack Greenburg: I mean, it's certainly hard to think of another one, that's been more reliably at the top, right? I mean, and I think the thing that really sets Interscope apart is it's not like, you know, the label was made off of just one act or two acts or three acts. They just have a, track record of continuing to find, you know, artists that push the envelope, that, you know, break records and that end up at the top of the music scene and, you know, kind of across genres and eras too.So, you know, and really even across, chief executives, which is I think, pretty unusual. So, I think there's some kind of secret sauce in there and, can't wait to dig into it with you.[00:03:27] Dan Runcie: Yeah, I think it. In terms of the longevity, in terms of the phases they've gone through, whether it's dominating in hip hop, dominating in pop, dominating in rock, they've been able to do it across genres across decades. The one record label that I do think could also be worth mentioning in this respect is Republic Records started a few years after 1995, but I think there's a few things there too as well.The consistency and the ability to do consistent deals, win challenging Bit Wars and get some of the top artists. So I do think it would probably have to be one of those two. But from a timeframe perspective, just all of what Interscope was able to do even before things got started at Republic, do give them a edge.If we're talking past 25 years, that's probably another discussion, but past 30, 32 years, I think Interscope is probably there. I think there's also maybe a case to be made for Columbia or a case to be made for Atlantic as well, but I do think that Interscope, especially just with the way that they went about things a little differently, which we'll get into, but I feel like they have a strong advantage there. [00:04:33] Zack Greenburg: Yeah, for sure. And I think, you know, particularly when it comes to the sort of entrepreneurial spirit, you know, and we've talked about Cash Money and Def Jam and you know, Rockefeller certainly, hip hop, specific record labels that have been uniquely, entrepreneurial, you know, especially given some of their leadership, but like, I think for a label that, you know, kind of delves into pop so much.And of course Interscope obviously, you know, huge home for hip hop too. But to have that entrepreneurial streak, outside of it, mostly hip hop label. I think that's pretty unusual too in some of the things they've done around beats, which we can get into. you know, j just, you know, being almost, you know, like a venture fund or an incubator as much as a record label in some ways. I think that's another way that Interscope has been, you know, really different from the rest. [00:05:16] Dan Runcie: Yeah, for sure. That beats thing, we'll get into that one in a minute. I feel there's so much to dive into there but let's start with the quick backstory. I'm sure a lot of folks already know this, but there are three main figures that were involved with. The beginning of this record label. You have PBIV, you have Ted Fields, and you have John McLay so. Let's first start with Jimmy. So as many of you know, this was someone that was a record producer. It started as that worked with legendary artisan music, whether it was John Lennon, Springsteen, and several others. And with that, he was able to carve out a lane, figure out what works for him. And I know that now the jump from producer to executive may not seem like it's that much, but back in 89 ' 90', there were a lot of question marks around whether or not this record producer guy could run a business, could he be an executive, and make the decisions and call the shots?And there were a lot of things that Jimmy did that may seem conventional, but there were a lot that were seen unconventional. But I do think that him having the partnership with others helped craft Interscope to where it is today. And Ted Fields is one of those first, one of those people where the name comes from.So yeah. Zach, tell us a little bit about Ted and some of his [00:06:28] Zack Greenburg: work before. Yeah, I mean, you know, and it was, this was at this point, over 30 years ago, but, you know, I was five years old. But kind of looking back on it now, I mean, it seems to me the way these things go, like Ted Field was kind of the money guy. Jimmy was the industry guy and you know, Ted Field was one of the heirs of the Marshall Field Fortune, he had been involved in film production and like race cars and all kinds of things that heirs to Fortunes are option involved in, which are maybe not as lucrative as Interscope Records turned out to be. but interesting nonetheless, he was a producer on, revenge of the Nerds and some other really interesting films.but yeah. In 1990, he came along, basically thought of Interscope Records as its division of this film company. and he brought on, he teamed up with Jimmy. I think they were actually introduced by the manager of u2. and, David Geffen was sort of involved in negotiations along the way. And, it was like kind of a who's who of the music world, you know, at kind of the cusp of the 1990s there. And so he came in, he brought on John McClain, to run Interscope at first. So John McClain is like one of these people who's incredibly, he might be the most influential person in music who nobody's ever heard of. And, unless you know, you know, John McClain was, critical in Janet Jackson's success.he's also now become the co-executor of the Michael Jackson estate. you know, really since MJ died, along with John Branca, who's sort of the, public face of it, but, you know, John McClain, if you want to like, try to find a picture of John McClain. I mean, this guy is so, under the radar, but he's so deeply in the mix.I don't really know how he manages to avoid the spotlight quite as much as he does. But, you know, obviously contributes a ton, of expertise, and as a true power player behind the scenes in the music business. So, you know, you kind of, you kind of put that dream team together and then you have sort of the ingredients for, you know, the beginning of, what we now know as Interscope records. [00:08:18] Dan Runcie: Yeah, and I'm glad that you brought up Geffen earlier because when this started, a lot of people looked at Geffen as the model for what this could be, but also how Interscope went about things differently. Geffen's whole thing when he had started Geffen Records was who were the established artists that he could go after?Again, whether it was Elton John or a few other folks that they were able to really secure, because at the time, the thought was you wanna have the proven people on your roster because it's so hard to be able to build that from the ground up. So not only is Jimmy and the team already going into this from people that don't traditionally have strong music experience in terms of running a music company, at least in late eighties, early nineties, but you also have them try to do it completely with new artists and going in from a new perspective.And this was part of one of the things that I think helped set them apart because they lead into genres and aspects of genres that other folks avoided. So of course, in the early days of Interscope, they focused more so on rock music. That's what Jimmy was known for. And you had artists, I think their first hit was Ricoh Suave.They had had some stuff with Marky Mark and the Funky Bunch. So you started to see a little bit of more interesting ways to go about stuff. But then they also had Nine Inch Nails and Marilyn Manson. So you got a vibe for the fact that this wasn't just rock music. They were in many ways going after that shock value like what was the thing that was somewhat controversial, but there was the controversial stuff that did sell and was resonating and they were able to take risks that others weren't, and it worked out to their advantage.[00:09:58] Zack Greenburg: Absolutely. And you know, another executive, who deserves mention is Tom Whaley, who came over from, I think it was, he was at Capital and a and r there. And you know, he was the one who had originally signed Tupac, in I think 1991. So that was like way before Tupac was a mainstream success. He was really getting in early, you know, the seed round of Tupac, if you will. and [00:10:18] Dan Runcie: Digital underground era of Tupac. [00:10:21] Zack Greenburg: Yeah, exactly. So, you know, whereas maybe Geffen was more of like a series B kind of fund, you know, looking for series B and C, kind of sure things, you know, I think Interscope was really willing to get in there early and Right. They didn't really care if, somebody was controversial.And I think, I think Jimmy, I think that was part of his genius, was being able to tell like, you know, we shouldn't shy away from controversy. And in fact, you know, as, as long as it's. Not crossing certain lines. controversy can actually be good for a record label because it generates publicity and, you know, certainly as Jimmy got deeper and deeper in, you know, into the hip hop world, you know, I think, he followed that, strategy pretty closely. [00:11:03] Dan Runcie: Yeah. And I think this speaks to something that worked effectively in business in the nineties as well. There was almost this monetization of pearl clutching, if that makes sense. What is gonna make people actually be like, oh, did so-and-so just say that? And that's why MTV was able to reach heights in the late eighties and early nineties that VH1 necessarily didn't at the time.And that's why Interscope was able to do things, other labels weren't. And then I think similarly, you even look at gaming back in the day. You look at a company like Sega and the types of games they were willing to release on a council like the SEGA Genesis, they were taking risks that Nintendo didn't wanna take.And I think we actually saw Sony continue to do that. So I feel like there was this ethos of that in the nineties from the get-go, and Interscope was willing to go there where others weren't.[00:11:50] Zack Greenburg: Yeah, hundred percent. And, you know, I think it's, also just interesting to know that I think a lot of people look at the Tupac saga and they think about, you know, there's this whole, and we can get into this later, the whole Suge Knight and bailing him out of jail and all that.But, he was already in the Interscope, family, you know, years before that. So[00:12:06] Dan Runcie: Right. [00:12:07] Zack Greenburg: It all kind of comes together. [00:12:08] Dan Runcie: Oh, definitely. And I think with that it's time to talk about what are the most important things that does set the stage for this record label. In general, it's the partnership with Death Row records and signing them to the deal that they did. So it's funny because I think that when a lot of people think of hip hop artists signing deals and getting ownership, we often hear about cash money.We often hear about Master P and No Limit, but Death Row was able to do something quite similar and have that type of relationship with Interscope as well. It was a distribution deal, and for as notorious as Suge Knight is for his bully tactics, and that's probably a light way to put it in terms of how he goes about his business.He was very adamant about what they owned and they were able to use a few hundred thousand dollars investment on their end. Largely gotten from some money that, Suge Knight didn't get that he was owed from a vanilla ice steal and that that becomes a start to death row records. And they sat on the chronic for over a year until they found the right company. And the right company ended up being Interscope to partner with.[00:13:14] YT Clip 2: All I remember is that Dre came in, then plays the chronic. I said, who recorded this for you? He said, me. I said, wow. This guy will define Interscope. [00:13:24] Zack Greenburg: Yeah. and you know, I think that, you know, there's the old story of like, when Jimmy first heard Dre and Snoop together on a track, he's like, these guys are like Mick and Keith just, you know, they're just, just different genre but saw it immediately, right? He saw the, like behind the scenes musical guy, you know?and then the sort of like the forward facing storyteller, the performer. And, he saw formula that worked in rock and that would work in hip hop. And, I think in many ways, You know, Jimmy's genre agnostic, right? It didn't really matter that this was hip hop or that was rock.The point was the formula works and it works in whatever genre you put it forward in. So, at one of my other favorite Jimmy Stories was, I don't remember which song this was, what was it? It was, maybe it was off the chronic or doggy style and that he couldn't get the, radio stations to play it, because it was too obscene or whatever.And so, he just bought like 32nd or 62nd slots, or maybe he bought like, full three minute slots on drive time in LA just terrestrial radio and just played the song and people didn't realize that it was an ad, and they just, they loved the song and they started calling the radio stations requesting it, and that's how they rocketed it to the top.Which, do you remember what song it was? it's, not such, of course, the listeners are gonna be like, oh [00:14:41] Dan Runcie: someone's gonna come back and ping us about it. [00:14:44] Zack Greenburg: But I just, I love that story and it's, just like classic Jimmy Iovine, you know, you know, and it works. and I think also, you know, to your earlier point, like monetizing the pearl clutching, the best way to, get somebody to want something is to tell 'em they can't have it, right?I mean, so whoever's mom is like clutching their pearls, but the kid is like, wait a minute, my mom is freaking out and I can't have this record, like, what is this record that I can't have? Even if they didn't know what it was, you know? and I think in a funny way, like that era, you know, the whole parental advisory sticker, I mean, that became like, you know, like almost a badge of honor, [00:15:18] Dan Runcie: Oh yeah, I was a marketing employee at that point. [00:15:21] Zack Greenburg: Yeah, exactly. and you see that, know, obviously throughout music, but even, to draw parallels, with basketball, which as we get into talk about, beats by Dre, you know, I think there are a ton of them. But like one of the reasons that, Eric Jordan did so well early on was because they were like finding Jordan for wearing them.And this was a big story, you know, he was kind of like breaking the rules by wearing, cuz it, you know, the sneakers they had to be like white in the nba, white sneakers. We could only have a certain percentage with color on them. And like the Jordans were 50% red or something. And, this was like a big problem and, you know, resulting in fines.But Nike decided to just pay the fines and take the publicity. And I think that sort of attitude is, the one that was, you know, adopted by Jimmy and, you know, by Interscope more broadly throughout. [00:16:04] Dan Runcie: Yeah, great story. And I think that speaks a lot to both the blessing and to be honest, in some ways the curse of, Jimmy, what Jimmy's great at, and some of Jimmy's challenges as well, because from a leadership perspective and from the risk taken perspective, he was always willing to go there and spend the money to make the things happen, right?Whether it was taking a less lucrative deal to work with Death Row because you're working with Death Row, what you're able to put out, right? Three other first four albums they put out are classics, you have the chronic, you have Doggy Style, you have the above the Rim soundtrack. They just came so strong.And even that moment when they're able to have that cover on vibe, that is just such an infamous cover of, you know, the three main artists and show together. No one else could really do that, and that's why that does stay as strong as it is. But with that, Jimmy also did get a lot of criticism for overspending and not necessarily having as many checks of balances in place.A lot of people felt that, you know Doug Morris, who, this was a little bit later, but Doug Morris, who was leading Universal at the time, pretty much gave him a green light to do a lot of the things he wanted to do. And I remember in the nineties he had side Tom Jones, which was in many ways a bit antithetical to like how he's been running the business so far to spend the money on an act like that.And then even some of the things later on with Apple Music, and I mean, that's a whole nother conversation, but it's the way that the money was spent, worked well when it worked well. But then things don't work out, everyone has, you know, the criticism ready and some, some businesses that can work well, but in other businesses it can be a little bit challenging.[00:17:47] Zack Greenburg: Right. Yeah. absolutely. And, you know, I think as with many businesses though, if you spend a lot of money and you spend it, you know, intelligently or at least you know, in the right direction, maybe you overspend a little bit. If you spend in the right direction, you know, the rewards accrue to you.And, you know, I don't know if I'm getting too ahead of myself here, but. Just while we're on the topic of controversy, you know, just the whole corporate history of Interscope, it had started off as a, or it eventually was a joint venture between, Time Warner and then Field and Iovine.And in 1995, after all this controversy, with some of the lyrics and, you know, Dolores Tucker, you know, and all this T ime Warner divested, sold it's half of the company to field an Ivy for 150 million bucks. And then year later they just turned around and sold that half for 200 million back to Seagram.And, you know, so they made a tidy little $75, 85 million in like a year, you know, after, having their hand force by this controversy. So, it's just kind of funny how that all works out. [00:18:47] Dan Runcie: Yeah, no, I'm glad you brought that up. But I think we could get into some of the categories now cuz some of this probably fits there with that too. At least, I'd say the biggest signing here, I think the biggest signing, there's a number of them in Interscopes, 30 plus year history, but I think it has to be this Death Row deal.[00:19:02] Zack Greenburg: I think the death row deal, because it kind of paves the way for everybody else. But, I would say though, if there were a single artist that, you know, sort of, if you had to pick one artist to define Interscope, I'd probably go with Eminem. I mean, just in terms of like the overall, the controversy, the evolution, the sales.I mean, you know, just, nobody can touch Eminem from a sales perspective. you know, certainly when it comes to hip hop, over the past, you know, couple decades and, you know, just, all of the, kind of, the good and the bad and everything that came together. I mean, you know, but that doesn't happen unless you have Death Row.It doesn't happen unless you have Dr. Dre. I mean, you know, if you say like, what artist was most critical to Interscope overall, like on a broader kind of like holistic spectrum, I'd probably go with Dre. but as far as assigning, I don't know. It'd be hard to top that in my book. [00:19:53] Dan Runcie: Yeah, I think Eminem is a good counter there because this is kind of like the cash money conversation we had then, right? Do you say that it's Lil Wayne or do you say it's Drake and it actually is Drake from a pure numbers perspective, but obviously Drake doesn't happen without Lil Wayne and the same thing as here with Dre and Eminem and then everything else there.And Eminem is specifically because I think even if you looked at the 2010s, he's still probably up there in terms of the most commercially successful artist. He's already number one of the two thousands. He was already pretty high up from the nineties just given the work that he did in the late two thousands and his. In 2022, his greatest Hits album was the most popular rap album in the UK. And this is a album that's 17 years old, a greatest hits album. And then you just look at the streaming numbers. I'm pretty sure he has two of the three most streamed songs of the two thousands being Lose Yourself and Till I Collapse, which wasn't even like a big single at the time, but ended up being a staple on workout playlist.So yeah, [00:20:57] Zack Greenburg: and he has remained relevant in a way. I mean, I think if you walk down the street and you ask the average, you know, 15 year old, they'll know who Eminem is and they might not know who Dr. Dre is. [00:21:08] Dan Runcie: Which is wild to say, right? [00:21:10] Zack Greenburg: I know, [00:21:11] Dan Runcie: Wild. Yeah, [00:21:12] Zack Greenburg: It's crazy, but I think but I think it 's also true, for better or worse, so, [00:21:17] Dan Runcie: What's the best business move in, Interscopes done?[00:21:20] Zack Greenburg: I think it might be cheating a little bit because it was part Interscope and it was also part Universal more broadly. but I would go with beats, right? Just, you know, by way of background for those who don't know the full story, you know, uh, Jimmy Iovine and Dr. Dre founded Beats in, gosh, what was it, 2008? Something like that. [00:21:36] Dan Runcie: Yep, 08' [00:21:37] Zack Greenburg: But like from the very beginning, you know, the story goes that they're like walking down the beach in Malibu and, Dre has some kind of sneaker deal on the table and he says, you know, Jimmy, should I take this sneaker deal?And Jimmy goes, you know, like, F sneakers, let's sell speakers. And so that's how Beats was born. Is that exactly how it went down, you know, we'll never know, but it's a great story. and You know, to kind of tie it back to what we were talking about earlier with Air Jordan, they really did follow the Air Jordan Playbook in a lot of ways.And, when I wrote my book Three Kings, which was about Dre, Diddy and Jay-Z, the Dre section really focused a lot about, you know, beats and sort of how Dre set up this business and everything with Jimmy. And, you know, I actually went to the former CEO of Best Buy and I said, how did you sort of like, get kids to pay 200 bucks for a pair of headphones when like, they had been paying 200 bucks for sneakers before?And he said, well, we very consciously told our salespeople, when somebody walks in, you've gotta tell them like, you know, you're competing with Jordan not Bose, you know, you're gonna tell that kid like you know, this headphones set is like, more interesting for your wardrobe than that pair of sneakers or, you know, like that's how you're gonna really kind of win and create a category, not just sort of become the, best player in an old category. And, I think that was like the brilliant thing that they did. But the way that they got it to happen was they got full buy-in from Interscope and from the parent company, universal.And actually Universal invested a pretty big chunk of money into Beats. so that, you know, I think gosh, I don't remember exactly what it was, but I think when Apple finally bought them out, in 2014, I think Jimmy and Dre had 25 to 30% each. I think Universal had something like 20%. LeBron had a little bit and, will I am, but, you know, the fact that Universal was bought in, the Interscope was bought in, and that Jimmy was able to get them to put, beats headphones in like every single, I don't remember if it was Interscope video or all universal videos. I think it might've just been Interscope. [00:23:33] Dan Runcie: Yeah, they had 'em in Ineterscope cuz like they had 'em in like Gaga videos and like she would wear them and stuff. [00:23:39] Zack Greenburg: Yeah. And it's like, it's brilliant. Like what a brilliant move. So, you know, off of the two, that, whatever they put into it, intermediate, a lot of that was free, right? They just put in, you know, their own free product placement. They have to do anything and they help build this, you know, build beats into this $3 billion company.and so, you know, I, I don't know how the pie sort of divided, but it ended up being, you know, worth hundreds and hundreds of millions of dollars, to the sort of universal Interscope family. And then, you know, also, you know, hundreds and hundreds of millions of dollars for Jimmy and Dre.So, there are a lot of great signings. I'm sure they made a ton of money off of Eminem and all these other artists, but like, it's really hard to top that one. And, they just really knew how to do it. They really knew how to, I mean, Jimmy, you know, yeah. Again, it's a perfect partnership.Dre is this perfectionist artist and Jimmy is the market critter. And I remember, man, it must have been like 2010 or 2011, I got invited to this like launch of some new Beats thing, for New York media only. And, you know, there were like 30 people there and it was Jimmy and Dre and they were kind of like standing around in this, big conference room.And, you know, Jimmy was just like talking and yacking it up and telling stories and he told the story about the walking down the beach and, you know, sneakers or speakers and Dre's just kind of nodding and, you know, chiming in occasionally, but like, that was their deal. you know, Jimmy, Jimmy was the talker and Andre was the, you know, the, the quiet genius artist.and that was a pretty potent formula. [00:25:10] Dan Runcie: Yeah, that was my answer too. Beats has to be the best deal. All the reasons you mentioned as well. They also saw a huge opportunity with speakers as well because at this point, the predominant way that so many people were listening to music were those cheap white iPhone headphones or the iPod headphones, I should say, at the time that people were listening to.And I remember Jimmy was adamant about how poor the sound quality was coming out of them, especially given how much focus there was in the nineties around surround sound and both speakers and all this stuff. And sound shifted to these very cheap plastic headphones that just came for free in the iPod, cases.So them putting a bit more money into the technology there. Granted, there were other companies that did come through and really expand further, and that's how we're able to have products like the AirPod Pro Maxes, which are now several hundred dollars more than beets ever were because beets was considered to be expensive at that point.And now people will buy those like it's nothing the same way that people will buy Yeezys. Like it's nothing. So that other point about category creation, not just building within an existing area was key there.[00:26:20] Zack Greenburg: Yeah. And I think it's also worth noting, you know, Jimmy clearly looked up to Steve Jobs a lot and, you know, took cues from Steve Jobs creating the iPod, right? I mean, that was a very, like, he created the iPod. It was a music thing that helped basically revive apple and, and get it on the track that it is today.And you know, there, I don't think there's an iPhone if there's no iPod, but, you know, how did they get the iPod to be so sexy? It was like, It was those YouTube U2 commercials with the like, hello, hello to place golf to go, you know, and everybody was dancing and, and the crappy white, you know, earbuds with the, you know, chords and everything.you know, that was like, that was a creation of a category. And you know, I think that Jimmy looked at that and he thought, gosh, you know, I could do something like that. And I think he always thought it would be a great fit for Apple but Steve Jobs, you know, while he was alive, I think he kind of thought he could do it all himself, and he didn't really want to be involved in, you know, in that side of the business.So I think it's why, it wasn't until after Steve was gone that, you know, Apple came in and, and bought beats. But yeah, I remember reporting on that deal when it happened and happened at the worst. I was like, I had just gotten on a flight to like go to Italy for vacation with my wife.and I woke up at 7:00 AM and we landed or whatever, and I had like 70 texts and it, you know, it was like be, while I was over the Atlantic Ocean Beats, had gotten sold to Apple. And that, video came out with Dre saying how he was, you know, the new king of the Forbes list.And, [00:27:54] YT Clip 1: The Forbes list just changed. They need, Hey, it came out like two weeks ago. They need to update the Forbes list, shit just changed in a big what? Oh my understand that. Oh my. The first billionaire in hip hop.Right here from the motherfucking West Coast. Believe it. Oh. [00:28:11] Zack Greenburg: and so I just said to my wife, I was like, honey, we're gonna have to hang out in this airport for a little while before we started our vacation. I was like, you know, trying to put together a story and figure out what happened. but I think that one of the things that people talked about, you know, and at the time everybody's like, that's a crazy amount of money, you know how, you know how like Apple never spends money like this, you know, what's the deal? But a lot of the scuttlebutt was that they kind of like viewed Jimmy and Dre as, you know, maybe not like a replacement Steve Jobs, but almost like a piece of the Steve Jobs Voltron that they were gonna try to recreate, you know, like Tim Cook would, you know, the, would be the brain and the like, Dre and Jimmy would be the heart and somebody else would be the, I don't know, like something like that.They would piece it back together and get these little aspects of Steve and that they thought that Jimmy and Dre could really help out on the marketing side of it. and, you know, I don't know, I know that they had kind of like, there was a period of a few years where they were getting paid to hang around and, do stuff.And, you know, they did some, I think they did some more commercials, promotion, that kind of thing. But I never got the sense that they really were like, all right, you know, apple for life. And I think they kind of just, the thing ran its course, and, you know, they, took the last bit of their cash and off they went to do the next thing but it was interesting at least. that a lot of people really thought that that was kind of like part of the reason why, the deal was for such a big number, you know, that it was almost like an acquihire type of situation. [00:29:36] Dan Runcie: Right, and the other big piece of it was the streaming service that they had created at the time. And Apple wanted to get into streaming. They didn't have a streaming service. They were starting to develop one. So Beats music eventually became Apple Music, and then that's how Jimmy became so integral with [00:29:52] Zack Greenburg: And, I think even by that point, beats already had some really interesting people, I think like t Trenton Resner and so forth who were like deeply involved with it. And I think, you know, part of that was appealing to Apple too. that they felt that, you know, not just that the product existed, but that it, you know, that, the people existed who could kind of like grow it within Apple and, you know, eventually turn it into, into, iTunes like, you know, Apple Music and so forth.[00:30:17] Dan Runcie: Right, which speaks to that partnership in Jimmy's connections, right? He had been working with trend since the nine Inch Nails days. So yeah, all comes full circle. what do you think is the dark horse move or the dark horse thing that Interscope has that doesn't get talked about as much? So mine for this, I actually think it's the longevity that they've had with leadership there because I think that other record labels, this gets talked about a fair amount, but, and it's true for auto scope, I feel like it just doesn't get talked about in that same way.So since 1990, there's been two people that have been the head of it. So you had. Jimmy from what, 89 or 90, the founding until 2014, and then John Janick takes over and he's been there for almost a decade. And then if not more, if you just consider, you know, I think the total time working in the organization.So that's like you think about other organizations too, whether. You look at a team like the Pittsburgh Steelers, there've been two head coaches there since the early nineties. You look at the Green Bay Packers, there's been two quarterbacks that they've had as starters since the early nineties, and those teams have been consistently competitive and you rarely see them getting the first round or the number one draft pick.I think like Mike Tomlin hasn't had a losing season, and in some ways I kind of think about Interscope in that way. Yeah, sure. Every record label's had ups and downs, but these teams that have consistency, especially in an industry like music where there's so much turnover, so many of these other labels that are their competitors can be revolving doors in this way, which can lead to a lot of challenges for people to really be able to execute a strategy. This is one thing that I think has helped their longevity quite a bit.[00:32:01] Zack Greenburg: Yeah, I would say for my dark course, I would say John Janick, specifically, and I think people don't really realize, you know, just like how successful he's been cuz everybody talks about Jimmy. But, you know, first of all, at this point John's been there, I mean, he's been running the show for almost 10 years, which is nearly as long as Jimmy was.And, you know, who knows how much of the time before, Jimmy left in 2014, John was actually really, you know, running things on a day-to-day basis. So, you know, the, just like so many times you see a, visionary founder like Jimmy, leave a company and then, you know, the thing just kind of like Peters out, but, you know, I mean, under John Janick, you know, look at, you know, like Billy Eilish for example. I mean, I think Kendrick Lamar was also under his watch, probably Machine Gun kelly must have been under his watch too. [00:32:51] Dan Runcie: Yep. And then even Olivia, Rodrigo more recently. [00:32:54] Zack Greenburg: I mean, what a huge, you know, like, so that's definitely like on the level of, you know, of the biggest acts that Jimmy was able to bring in.And you know, it's like, you know, even with some of them it was really more Dre than it was Jimmy. So I think that's, you know, yeah, I think John deserves a lot of credit too. you know, and we haven't talked about Lady Gaga, so she's not exactly a dark horse. but, you know, lady Gaga is somebody who came in under Jimmy, but like, jimmy should not get credit for Lady Gaga because Lady gaga was kinda like languishing, you know [00:33:23] Dan Runcie: He was on the bench chilling and then like it was like the Akon's, the one that's like, Hey, what about her? What about [00:33:30] Zack Greenburg: And I remember I interviewed him, for Forbes. This was back in, you know, oh nine or 2010 or something like that. And, and I was like, so tell me the Lady Gaga story. And he said, basically I heard her stuff. And I was like, this is amazing. And I called her up, or I called, I think you called maybe Troy Carter, who was managing her at the time and said, you know, I wanna assign you, to my Interscope imprint.And she's like, I'm already on Interscope. So, so they just kind of like moved her around, within Interscope and, you know, they were able to, you know, that first song Just Dance. a lot of people forget that was like, when that came out. Akon was much bigger than Lady Gaga and, you know, that was at the height of Akon's fame.He's not out there as much now, but he is out, you know, he's all over the world making probably even more money than he was, back then. But, you know, yeah. He was hosting or appearing on SNL with Lonely Island and all those guys and, you know, he's kind of like showing up in the back of just dance, you know?Oh, yeah, you know, doing his Akon thing and, you know, and kind of really helped get her off the ground you know, and then just kind of like, pieced out and Lady Gaga became this incrediblesuperstar. So, you know, I think that's, certainly some serendipity for Interscope there, but, yeah, I wouldn't give Jimmy full credit for that one. [00:34:45] Dan Runcie: Yeah, definitely not Interscope, collectively. Sure they had her on the roster, but yeah, that one has to go to Akon on that one by extension, who himself, you know, clearly worked with Interscope and then just given, cuz we didn't even mention him himself, just that whole run he had from like oh four to what, 08', maybe 2010 if you wanna go a little bit longer. He was everywhere. [00:35:05] Zack Greenburg: yeah, yeah. [00:35:06] Dan Runcie: So of course we talked a lot about consistency. We talked a lot about Janet and the role that he's been able to do there, and I think consistency does naturally lead itself going further. So let's flash forward 10 years, let's go to 2030, 2033. Do we still think that Interscope will be at the level that it is now, where if you look at the market share numbers, it's roughly alternating, right? Around 10% of recorded music may be a little bit less, but I feel like it's like them Republic and then Columbia alternating to some extent. And it all kind of depends on who releases when but do you think that changes? Do you think they're more likely to stay there? Or what do you think 10 years from now [00:35:46] Zack Greenburg: Yeah, I think they're gonna stay, I mean, it's not like, one of these situations where their top artists are leaving or, you know, you're really too concerned about it, or they're kind of in the wrong genre mix. I mean, they're really heavy in hip hop. you know, they have some of the biggest stars out right now.I mean, we already talked about Olivia Rodrigo, Kendrick. Billy Eilish obviously is enormous Machine Gun Kelly, but you know, they have Black Pink. That's huge. Like, that could be a big place for growth [00:36:11] Dan Runcie: You got SZA through the TDE deal, right? [00:36:13] Zack Greenburg: Yeah. yeah. I mean, that's a great point, you know, hard to find anybody, who's having like a bigger moment that says it right now, so, You know, there's a lot.let's say that to go back to the sports analogy, it's not like this is a team of like, you know, 38 year olds who are nearing the end, you know, this is, like a win now team, with plenty of talent in the pipeline. and they've proven that they can keep working the farm system or something to continue the sports metaphor.But, and you know, I mean, John himself is not an old guy. I mean, John is, [00:36:40] Dan Runcie: Mid Forties? [00:36:41] Zack Greenburg: You know, I I forget old he is. Exactly. Yeah, you're talking, you know, where are they gonna be in 2030? I mean, you know, he'll be like in his early fifties and, still I think doing what he's doing, and doing it really well.So, you know. Absolutely. Yeah, I don't really see them fading. And if anything, you know, all it takes is like, You know, like another Monster Billy Eilish album in a given year. you know, and they start to gain even a little more market share. So I think they're in a pretty darn good place. [00:37:09] Dan Runcie: And it's arguably one of the best jobs in the recorded music industry because of the amount of leeway that I think Janet and by extension, the Interscope Geffen a and m umbrella is given relative to a lot of the other labels that are either under Universal or even others under the majors in terms of the decision making, the things that you could do, and when you have that much control based on his relationship with Lucian compared to others, it does make a huge difference. [00:37:37] Zack Greenburg: Yeah. And you know, I think another, another guy who's kind of in the background, who's been in the background, you know, for a really long time there is Steve Berman. He's another executive, who doesn't get you know, like a ton of limelight, but, you know, is kind of like quietly, like, like the cons.He's been kind of the cons area type over the years. and, you know, I think that might be part of the, you know, continuation, the connective tissue between Iovine, and, john Jank as well.[00:38:02] Dan Runcie: Right. Good point, especially just given how important lawyers and they are in terms of the influence direction of this industry. Another thing that I think is interesting, just thinking about the future, is also looking at the past of Interscope and how this record label did start and rise because of this controversy, because of the pro clutching business model.Do you think that could work today? Because I have my skepticism, but what are your thoughts?[00:38:31] Zack Greenburg: I think it depends, you know, what sort of pearl clutching is about, right? I think, know, in, in many ways the world is a nicer place than it was in the nineties. Like, you know, things were kind of a little rough and tumble in the nineties and it wasn't as sensitive a time as it is now.you know, I think, I think in general it's, good that, you know, we're like a little nicer, a little more sensitive, but, you know, in other ways, you know, I think, sometimes perhaps too much. But, you know, I think that, you know, certainly when it comes to music, I don't know, in a like this moment, for whatever reason, music isn't at the.Forefront of the culture wars and the way that it was in the nineties. And you know, instead it's like books in Florida, right? I mean, who knew? But, you know, people aren't really like, kind of, this is not a, like a campaign issue in the same way, that it might have been in the 90s, you're not seeing as many politicians sounding off about it.I mean, I think certainly you're hearing stuff, about, you know, can lyrics be used as evidence in court? you know, which is, can be a really troubling topic. But, you know, I think the sort of focus of that argument is, it's not like in the middle of national campaigns in the way that this was in the 1990s.So, yeah, I think, you know, like Interscope certainly as an experience. walking the line and it's maybe a little bit less of a delicate line, that they need to walk these days for just whatever reasons, with the political headwinds. [00:40:00] Dan Runcie: Yeah, I don't think it would work in the same way because I think the people that do try to create shock value were so desensitized to things compared to when we were the way things were in the nineties. Even for people that weren't that threat to society, but because of how they were depicted, it was easier to do that and still release great music, right?The chronic could be a shock value type of work, but it's still something that is critically acclaimed. That is in the National Registry and Library of Congress and all of these other areas. But now the stuff that creates shock value in music, whether it's even someone that's like more on the personality side, like a dj academics or someone like that will literally just say like, you know, the wildest shit just to go viral or partner with right wing organizations in order to create momentum that still has this area where it lives in somewhere like YouTube, where yes, you can get a following and you can make a living and you know, do things for yourself.But I think there's somewhat of a ceiling to that in terms of how much you can like, create, you know, broader impact and truly monetize the bases and the masses. And some of it even extends to artists as well, like those, I think someone like NBA Young Boy is quite popular and has had a bit of a number of transgressions in his track record, but still I think there's a pretty big gap of, you know, him relative to like some of the other names you mentioned just from some of the exposure and opportunities that he's given that doesn't lend itself to that.So, you know, Interscope in the early nineties probably wouldn't have wanted to try to sign Olivia Rodrigo because it didn't make sense. But it makes perfect sense now just given where things are and where things are going. So you can maybe do it on a niche level, but I think it's hard to have shock value sell in mass quantities and for the mainstream in that same way. [00:41:55] Zack Greenburg: Well, I think it's also just harder to shock people now, right? I mean, you know. [00:41:58] Dan Runcie: Or desensitized [00:42:00] Zack Greenburg: Yeah, exactly. I mean, if you were to put out the chronic today, you know, with, the marijuana leaf on the cover of it, it's like, and you know, and like this has been legal in California for like how long, you know?And certainly in terms of like things you could say or do that would be truly shocking. It's like after Donald Trump has been president in the things, you know, that are kind of, came out of that, it's like, you know, I don't really know many things an artists could do that would be more shocking, you know, and in this sort of like, hilarious, I dunno if it's hilarious, but this, let's say, ironic juxtaposition, you know, you had Eminem, the king of shock value Like making a track against Donald Trump when he was in office, you know, you have the rappers protesting against the politicians, instead of the other way around.So I think we're still, as a society, been kind of turned on our head, you know, by some of the developments of the past. you know, let's say eight years, eight years plus the past decade or so. you know, it's, guess in some ways hard for politicians to be complaining so much about music when, a lot of the obscenity is coming from them. So, [00:43:05] Dan Runcie: Right, and I think too, you were mentioning about how what Congress or what the American government can rally against in how so much of the nineties was. I still remember that infamous cover of Snoop Dogg on the cover of Newsweek, and I forget what the title of the magazine was, but it was something, along the lines of, oh, this is the greatest threat to America, or this is the greatest threat to our country, or something like that someone could probably pick me and find it, or maybe you'll link to in the show notes. And that's what people were able to get riled up around, right? Now, the biggest thing in music that has gotten anyone on a congressional level or congress level riled up is ticketmaster and Live Nation and Taylor Swift's tickets, which just shows how different things are, people used to be riled up about the content. Now this is a way to try to get at big business or whatever the exact complaint is. So, such a different time. [00:43:58] Zack Greenburg: Yeah, yeah, No, I Couldn't agree more.[00:44:01] Dan Runcie: Yeah. So we definitely spoke a lot of praise about the current era of where things are with the Interscope and the work that Janet has done the past decade. If you were in his shoes, would you be doing anything differently? And I do think that he's done a few things. So you mentioned black pink earlier.So there's clearly a way to be able to pivot and move more into music that isn't from the United States. It isn't domestic, and you're able to rise there, clearly done different types of deals from a flexibility perspective. Some artists do have, licensing deals like Olivia Rodrigo will own her masters for the long term just based on what she's shared about the nature of her contract moving forward.But for him himself, I mean, I think there's other IP things that could be interesting, but what does the type of things that Jimmy was able to do back in the late 2010 or late two thousands with beats? Like what could that look like or what could that look like for Interscope [00:44:59] Zack Greenburg: Yeah. You know, I think it's a different time. One of the things that's changed so much is over the past few years, I would say it's like, it's not quite as cool to be rich anymore, you know? I think sort of the Bernie Sanders movement, the sort of like this, right? I remember seeing it at Forbes, you know, when I started out it was like, woo, like I wanna be a billionaire and [00:45:20] Dan Runcie: The Forbes Remix [00:45:22] Zack Greenburg: Right. Exactly. Yeah. I mean, you had, Jay-Z, Diddy, and 50 being like, you know, the Forbes, yeah, they put out this Forbes 1, 2, 3 billionaire remix they called it. But you know, even now, even within the past couple years, you know, certainly, I think the Pandemic really crystallized this.But even before that, you know, with sort of like Bernie and, that whole, you know, movement, There was this kind of questioning of like, should there even be billionaires? And you know, I remember starting to see, people who you had thought, you would've thought would be, you know, jumping to be on the cover of Forbes.Just say like, eh, you know, like, I don't want to be seen as crowing about my wealth. so, you know, I think that's a big cultural change. And that's post beats, right? That's post, you know, Dr. Dre's situation. And, you know, I think that there's certainly a lot of leeway for Interscope still, to be entrepreneurial and they've always done that. But I think the challenge for Interscope or for anyone really is like, how can you be entrepreneurial in a way that is sort of like, you know, not necessarily charitable per se, but has some kind of impact, you know, like some kind of impact investing sort of thing. how can you, like, make money but, you know, drive change at the same time?I think that's sort of like, as we look going forward into the, you know, celebrity earning, you know, celebrity business sphere, I think that's gonna be the big question because it's no longer the thing that's just, it's cool to make a bunch of money on some random app or, you know, selling, some crypto thing as we've seen.And you know, you can get a lot of blowback, people think you're selling out. People think you're greedy people don't think you're selling outta greedy just cause you're doing something business related. But, you know, I think, over the past couple years it's become a lot more like, well, you know, is this something that really helps the world are using your money for good?and so I think whatever it is, if it's gonna be public facing and, you know, and I think. That's the value when you have a stable of celebrities, right, is to do something public facing. It's like, what is this doing, to help the world. So, you know, I think there are a lot of ways to take that, but certainly, you know, I think that's a bigger, bigger and bigger component going forward. [00:47:22] Dan Runcie: This is something that has changed in a relatively quick time span. You even think back to the Obama era and just the Obama presidency and just how music was and how people interacted and thought about music. You look at a album like Watch the Throne In, which I do think was one of the more popular albums from that decade.Granted, I don't think JayZ or Ye are even on the terms or desire to put something like, like that out again. But if they put that out about now, it would not get the same reception. There would be all these think pieces about, oh, here are these two men talking about, you know, their, you know, Hugo watches and there other, other bends and all this stuff.And people would be complaining about that in a way where just as recent as 2011, they were celebrated, like people, like revered so many of the songs. And just the talk about black excellence and wealth and even some of the conversations around Jay-Z himself as a figure, I know you know this well as probably some of the responses you've gotten over the years when you've talked about Empire State of mind and how people react to him, statements he's said and stuff like that.And yeah, we're just in a very different spot and now we're kind of in this space where, Yes, people can have commercial success. People, businesses can do it too. But I think it's especially difficult for companies in music because of so much historical context of how people view the record label as the enemy.People view the record label as this, and then even when the topic of the prices potentially raising for some of these streaming services, the number one thing you often hear from fans is, well, I hope that extra dollar or $2 for a potential raise in the streaming service goes back to the artist. And it's like, yes, you, you do eventually want those things, but we're losing the opportunity to talk about the value that these record labels create because of how media disseminates, right?If you talk about, oh, Olivia Rodrigo has a very favorable record deal. No one wants to hear that. But if there's ever a report, oh, Olivia Rodrigo's upset about, you know, Interscope, that thing would be a news topic for five days. Cuz that's where we are right now.[00:49:27] Zack Greenburg: Yeah. Yeah, for sure. And you know, so to to your point, I mean, you mentioned my book, empire State of Mind, which was this business focused biography I wrote of Jay-Z. it came out in 2011. but you know, It was such a different world back then. And when it came out, you know, their response was basically like, whoa, awesome. Like, this is Jay-Z's blueprint for how to, you know, be a centi millionaire. And this is so cool because now I can apply this to my career, or I can, you know, learn some lessons from him. And, you know, and there was just definitely like a sentiment of people rooting for Jay-Z to become a billionaire, race to a billion, and who's gonna get there first?Is it Jay-Z or Diddy or, you know, whoever. And, you know, and then it happened and Jay-Z you know, crossed the threshold in, I think it was 20, early 2020, something like that. I think late 2019, early 2020 was when we put him in the magazine as a billionaire for Forbes. but even when that, like, by the time that happened, you know, about 10 years later, I put out the billionaire edition of the book. after, you know, let's say, what was it, in 2021, this was 10 years later. It was a totally different story, right? people were like, why is this guy, you know, like, who cares? Like, you know, like he should be giving it all of it back, you know? Why are there billionaires in our society? Something's wrong in society that has billionaires. So, you know, and I think it has gone, that narrative has gone even faster than Jay-Z has kind of evolved into this, like very socially aware, you know, type of philanthropic mogul, you know, people are not even that into the idea of like, oh, I'll make a lot of money so I can give it back, people are like, just, you know, do the good, like do philanthropic stuff, do impact stuff the whole way through and like, don't even try to become a billionaire. So, it really is such a different world, and it's, been fascinating to write about this stuff as these attitudes have changed on a broader societal level for sure. [00:51:25] Dan Runcie: Did you hesitate naming it the Billionaire Edition, knowing like this would change and seeing things over the years?[00:51:32] Zack Greenburg: Well, I had it in mind that it would be a cool thing to do whenever he did become a billionaire, because it was like, it was almost like the realization of a prophecy. It's like, you know, in, in 2011, I sort of like, I'm telling you he's gonna be billionaire and he's telling you, you know, and it's like, okay, here it is.He's a billionaire, you know, and I actually wanted to get like a, gilded cover and do the kind of watch the throne type of thing and you know, like embossed gold and all that stuff. But, it's not the right era. I mean, like, you're saying, it's just not, it's that era anymore.So yeah, I did wonder, like, should I kind of like back off of that narrative. But, you know, to go back to the Jimmy Iovine Interscope conversation, it's like, whether it's good or bad, it starts a conversation and you want the conversation to start, so that people will read the book, you know? And it's not like, a bad thing for me if people think it's bad that Jay-Z's a billionaire, it's just a fact. And even since I put out the Billionaire edition, he's like, more than doubled his net worth, you know, again. So that's just, that's just how he operates. And, you know, that's Jay-Z. [00:52:34] Dan Runcie: Yeah, you had to put out something. So much had changed since when you first put that book out. And this is how, in many ways the. Business model of books works when there is something to be able to add, that's a refresher new forward based on this one. you had to do it. So, yeah. I think it made sense.But to bring this all full circle with Interscope in this conversation, the last thing we'll dive into is who is the biggest winner, artist, executive producer, so on from everything that has happened with Interscope in the past 33 years. [00:53:09] Zack Greenburg: Hmm. it's a great question. I mean, to me it's between Jimmy and Dre. but I would probably go with Jimmy because, you know, Dre was gonna be centimillionaire, you know, music legend no matter what. And although Jimmy had done a lot of great work, you know, in the rock world before then, and I'm sure, you know, was, very adequately compensated.You know, he wasn't sort of like a, an international business superstar in the way that he became as a result of, Interscope. And, you know, Jimmy and Dre both got a lot of money out of it. but I think Jimmy really got a lot more than he would've otherwise. in his, prior iteration of his career and Dre, you know, I mean, Dre has founded a bunch of things, right? And Interscope, you know, obviously he wasn't the founder of Interscope, but, you know, I kind of tied B to Interscope and that whole thing together. So it, Dre had lots of different paths to wealth. and so did Jimmy, but I think Dre had more, and, Jimmy kind of like ultimately got more out of it. [00:54:07] Dan Runcie: Yeah, I think between the two of them, even if Interscope had said no back in 92 or 91, whenever the initial deal was made, I do think that Dre would've likely found a home. Dre and Suge would've found a home. It's still been able to do something similar elsewhere. Maybe it would've made the Tupac thing a little bit more challenging, but I think they still would've figured that out too. [00:54:30] Zack Greenburg: Yeah. [00:54:31] Dan Runcie: I don't think the same would necessarily be true for Jimmy though, because if you don't have them, you don't have this. And a lot of this, I'm sure a lot of people listening to this unlikely watch the Defiant ones or maybe you've seen should do a few interviews. I don't know if a lot of that would work. But I think I'll actually take a different approach. I think the person that probably won the most, just from a situation perspective, I know we've talked about him a fair amount, but I'll say Janet with this one because he didn't build this company himself. But the fact that when it's your time to come up, you have this opportunity to be able to step into, you have this much leeway, this much assets that already work in your favor because we just know how valuable the bat catalogs are.You walk into that position and then that has you then. Then that just makes it much more easy for you to have things set up because we know how a lot of this stuff is, right? People leave record labels all the time, espe

In 1990, a landmark case about "obscenity" in rap music sparked decades of discourse. 30 years later, hundreds of black artists have been prosecuted based on lyrics and their music. Part three of "Pop Music That F*cks", The Long War on Rap, is out now! Links:  Obscenity or Art? Trial on Rap Lyrics Opens [NYT] The state of obscenity in rap (June 29, 1990) [EW] 2 Live Crew's Obscenity Trial, Remembered by Luther Campbell and Doug Morris, 30 Years Later [Variety] For Rap Singer, Rags to Riches Through Music [NYT] [June 1990] H.R.8531 - Restoring Artistic Protection Act of 2022 T.I., Bun B, and Ari Melber Speak on the Hypocrisy of Using Rap Lyrics as Evidence in YSL RICO Case at ComplexCon [Complex] [Nov 2022] When rap lyrics are used against you in court: ‘They silenced me for 21 years' [The Guardian] [Sept 2022] Meek Mill, Too Short, E-40, YG, and More Join Gavin Newsom for Signing of California's Rap Lyrics Bill [Complex] [Sept 2022] THE LONG RUSH TO JUDGMENT (Feb 2, 1994)  [Washington Post] How Young Thug's RICO Charges Set A New Precedent For Rap Lyrics Used As Evidence [OkayPlayer] About: Hosted by journalists Joan Summers and Matthew Lawson, Eating For Free is a weekly podcast that explores gossip and power in the pop culture landscape: Where it comes from, who wields it, and who suffers at the hands of it. Find out the stories behind the stories, as together they look beyond the headlines of troublesome YouTubers or scandal-ridden A-Listers, and delve deep into the inner workings of Hollywood's favorite pastime. The truth, they've found, is definitely stranger than any gossip. You can also find us on our website, Twitter, and Instagram. Or buy our merch! Any personal, business, or general inquires can be sent to eatingforfreepodcast@gmail.com  Joan Summers: Twitter: @laracroftbarbie Matthew Lawson: Twitter: @_matthewlawson

I had a great time chatting with Doug from Sharesight. He's a nice guy and I love using Sharesight myself. It may sound boring but record-keeping is important in share investing and it also gives you insights that can make you a more profitable investor. We cover a range of topics including:The history of Sharesight and how it worksOld School open-cry markets trading commodities in ChicagoHis previous career at Morningstar and an insight into analysisBenchmarking your portfolio against a broader market indexThe tax treatment of ETFS and those gnarly statementsReducing costsAnnualised performance and how this can help your investingHere's a link to the blog post: https://www.stocksforbeginners.net/blog/dougmorrisPortfolio tracker Sharesight tracks your trades, shows your true performance, and saves you time and money at tax time. Get 4 months free at https://www.sharesight.com/stocksforbeginnersGet 4 months free on an annual premium plan when you use Sharesight, the award-winning portfolio tracker. Sign up for a free trial today.Sharesight automatically track price, performance and dividends from 240,000+ global stocks, crypto, ETFs and funds. Add cash accounts and property to get the full picture of your portfolio – all in one place.Phil's Linktree: https://linktr.ee/phil_muscatelloStocks for Beginners is a production of Finpods Pty Ltd. The advice shared on Stocks for Beginners is general in nature and does not consider your individual circumstances. Stocks for Beginners exists purely for educational and entertainment purposes and should not be relied upon to make an investment or financial decision. If you do choose to buy a financial product, read the PDS, TMD and obtain appropriate financial advice tailored towards your needs. Philip Muscatello and Finpods Pty Ltd are authorised representatives of Money Sherpa PTY LTD ABN - 321649 27708, AFSL - 451289. Hosted on Acast. See acast.com/privacy for more information.

Everybody's got something to say about Cash Money Records and the brothers who co-founded the label —Bryan “Birdman” Williams and Ronald “Slim” Williams. To paint the full Cash Money full picture, good and bad, I brought on Zack O'Malley Greenberg who has interviewed the brothers at-length while working at Forbes.Cash Money has one of the deepest catalogs in the game with several classics. And unlike some other upstart hip-hop labels, Birdman and Slim maintained control as they rose up. Their 1998 distribution deal with Universal is hip-hop's Louisiana Purchase.But we can't ignore Cash Money's lows either. There is a long, long list of artists who claim they were not compensated fairly by Birdman and Slim.Zack and I go through 30 years of Cash Money as a business, its competitive advantage, and what comes next now that Drake and Wayne are gone from the label. [1:44] Is Cash Money the greatest hip-hop record label of all time?[7:34] What people sleep on about Cash Money[11:01] Cash Money's history of not paying artists [16:52] Did Cash Money succeed because of Birdman and Slim or despite them? [19:29] Biggest signing? [20:29] The 1998 Universal-Cash Money deal [25:31] Lil' Wayne's mixtape run[29:03] The benefit of partnering with Republic Records[31:49] Bidding wars for Lil Wayne, Drake, and Nicki Minaj[33:21] Connection with New Jack City [40:56] Cash Money catalog valuation ?[43:00] Lil Wayne's beef with Birdman [45:48] Can Cash Money strike platinum again? [50:44] Birdman's love for music [56:08] Hopes for a Cash Money reunion tour and biopic [58:24] Who “won” the most in Cash Money's history?Listen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Zack O'Malley Greenburg, @zogblogEnjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapitalTrapital is home for the business of music, media and culture. Learn more by reading Trapital's free memo.Transcription[00:00:00] Zack: You know, some of the subsequent deals that they worked out with Universal, you know, maybe some of the deals where they were able to get universal to, to tackle some of the back office stuff. I mean, it's very unsexy, but you know, that's clearly an area where they needed to improve. So, let's say,to give some cash in terms of like higher distribution fee in order to have Universal, you know, cover some of this stuff. It's kinda like a boring, dark horse candidate, but you know, I mean, you could say that, that's probably useful in terms of buttoning things up.[00:00:37] Dan Intro: 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 the executives in music, media, entertainment, and more who are taking hip hop culture to the next level.[00:00:57] Dan: All right. Today's episode is all about the one, the only cash money records. I got the one and only Zack Greenberg here who has reported on this company many times before we ran to this company and the business moves they did in our Top 10 Revolutionary list last year. So Zack, welcome back. I'm excited for this one.[00:01:18] Zack: Always good to be here with you, Dan. [00:01:19] Dan: Yeah. So for the folks listening, we are gonna do this in a few ways. We got a bunch of categories here that we're gonna run through, just evaluating Cash Money as a business, some of the highs, some of the lows, and just where they stand overall. But I think it'll be great to kick it off with the question that we often hear from folks is Cash Money, the greatest hip hop record label of all time? What's your point? What's your take?[00:01:44] Zack: How, man, you know, I mean, I think it's sort of like, any of these greatest ever are you talking about, overall body of work or sort of like, you know, The label at its peak. But you know, I think you gotta take it in an overall body of work, you know, type of thing. You know, it's hard to top Def Jam, I think, you know, if you were gonna go with an overall body of work, hip hop, legacy. But, you know, I don't know other than that, I mean, it's hard to say that there's anybody who you'd put above cash money, I'd say. Especially something that is, you know, really artist founded in that same way. I mean, you could talk about Bad Boy, you could talk about Rockefeller. But I think that, you know, Cash Money has staying power. You know, through Drake and Nikki and Lil Wayne and so forth, you know, in a way that, you know, I would argue that a lot of these other labels haven't, and, you know, who else can say that they've had Drake for that long? And I guess he's not there anymore. But man, that was pretty recent development and it's been a pretty great run. So, you know, to go all the way from the early nineties, you know, through basically now being relevant, stacking up all that catalog, you know, it's certainly, if not number one, it's, you know, gotta be top three, if not top two.[00:03:00] Dan: Yeah. So my answer is Def Jam as well, and we'll get to Def Jam in a minute. But, the case for Cash Money is this, and I know a few people have said it. Irv Gotti recently said it. Russell Simmons himself said that Cash Money was the greatest hip hop company that has come through. But the case for cash money, you mentioned it earlier, the fact that they did it while owning the core asset and the music and still doing that moving forward says a lot. Not something that can be said about Def Jam, many of the others that would be even in the conversation. I think even with a newer label at Quality Control, they've still done it while owning it. Well, at least up to this point from some rumors that are happening. But I think that's one case for Def Jam. But then I think of the continued run of success from everything that happened in the nineties from I guess we could start with like juvenile drop in HA in 98 and then pretty much everything from Drake's last Cash Money album, which I believe was Scorpion. So if you're looking just at like that run from everything there, that is such a strong hit rate. And I think that's the thing too that I would give them over Def Jam is the hit rate of who were the artists we signed and what was their likelihood of success and they were just able to do it. Even with the imprints, I mean, I think major record labels. So wrong with so many imprints. I just never worked out and for them to have, whether it's Young Money or even the smaller moments with the best music or with Rich Gain, there was always something there. And even though there was some conflict, and we'll get to that, I think that's the Cash Money case. The Def Jam case though, I think this is where I think of course Def Jam did end up becoming a major record label, so it's a little bit nuanced there, but I do think you have that eighties run Beasties LL Public Enemy. You got the nineties run with all those artists too. Especially looking at what Red Band met the man DMX. I feel like they had New York on Locke and then two thousands, the Rockefeller partner. Murder Inc. The video games, I mean, it's, I know the last decade hasn't been there, but it would be tough to not put Def Jam up top, but I understand if some people would consider Def Jam a major as opposed to, you know, an independent. So, I get the nuance there. [00:05:10] Zack: right, right. And, and being, you know, fully owned by a major as opposed to Cash Money, which really has distribution agreement. You know, and you could look at, you know, I guess Def Jam was sold in chunks, but the total amount that sold for, you'd have to adjust for inflation and stuff. But I wonder how that would stack up against the current value of cash money today, which, you know, it's incredibly driven by the copyrights that they still control and, you know, definitely hundreds of millions of dollars. You know, if you look at, Lil Wayne kind of quietly sold his The Young Money, Cash Money Partnership for a hundred million bucks a couple years ago, that was before the catalog boom, got really crazy and then kind of died down again. So, you know that that's valuing what Birdman and Slim Own, you know, just on the Young Money, Cash Money side of the business, you know, at nine figures. So there's, you know, there's a lot more to the company than that, although that's, you know, that's kind of the gold line. But still, you gotta think that, you know, this is still, you know, sent a million dollar business and, you know, I'd be curious to see what a proper valuation, you know, what it would look like against the total value that Def Jam got, you know, in terms of dollars over the years. But, you know, when you think about who was hottest and what record label was hottest at any particular point, Yeah, I think probably the peak was there was that year that Def Jam was, you know, getting sold or the second half of it was getting sold. And, Lyor basically said to Jay and D M X, like, let's have two albums this year. And, you know, because the valuation is gonna be based on revenues, not earnings. And like, the more you can sell, the more we get. And so, you know, that moment at D M X at his peak, and you know, Jay, I think, I'd say at least at his commercial, you know, record Sales Peak, you know, as an individual artist, you know, that was about as hot as, as it could ever get for, for any record label, I think. [00:07:08] Dan: That's a good point. So I guess if we were to compare Def Jams 98 and 99, like that run to Yeah. Cash Money, and I know there's a few runs you could put in there, but from an overall commercial perspective, it would have to be 0 8, 0 9 20 10, I would probably assume, because you get. Carter three, and then you get, you know, Drake's debut, Nikki's debut. I feel like it would probably be somewhere in there. [00:07:34] Zack: Yeah, that's probably pretty close. I mean, that was a lot, you know, that was a lot of concentration within a couple year period as well. You know, and I think the other thing about Cash Money, that maybe people sleep on to some extent is, you know, just like the efficiency of the label, especially in the early days. And, you know, of course we can get into some of the issues with paying producers and so forth, but, you know, they really had a system and you know, it was going and finding artists that were bubbling up, you know, first in the New Orleans area. I mean, this is in the nineties, and, you know, and then kind of just plugging them into the machine. Right. You know, put them with stable producers in-house, get Manny Fresh on there and, you know, it was not like a, you know, high expense kinda situation. Like maybe you would've seen with Def Jam or, you know, some of the New York, LA labels, it was just like, you know, you know, probably low, low cost, high output. You know, like there's a high margin business, low overhead, you know, it's lean and mean. So I think from, in that regard, Cash Money, you know, it might have been, it might have been the best business, you know, out of any record label. Right. In terms of sort of like efficiency and profitability and stuff like that.[00:08:47] Dan: That's a great point because if you look at that vibe, I think that was the vibe for the South overall. We saw that with no Limit as well, just with in-house production sheep, that production does almost everything and the music videos aren't flashy and the fact that I think they stuck with what they do and what they work with well, and eventually I think collaborations came, but that was something that they were hesitant about as well. Just thinking about juvenile dropping 400 degrees, and I'm going back to that just because that's the first album that comes after that 1998 Universal deal, which we'll talk about soon, but, that album, I'm pretty sure the entire production value for those music videos probably costs less than one of the suits that Puffy and Mace wore in the music videos. or, yeah, Jay-Z's Sunshine Music video, which I know has been talked about for years on end, but that's what the vibe was. There were no Hype Williams music videos coming through Cash Money. Right. At least at that point. I know they came later when Wayne blew up further, but that's what they did. They stuck to what they did and it worked. It worked so well. [00:09:55] Zack: Warren Buffet would love Cash Money. [00:09:59] Dan: Oh yeah. He loves little cost.[00:09:59] Zack: Cash Value. Value, cash value investor. Right. Early cash money would be the Warren Buffet play.[00:10:06] Dan: Yeah, absolutely. Definitely. And the thing is too, you talked about it earlier, just some of this things leading up to the big deal that they had, but even back in those early days, even before the Universal deal, Birdman and Slim, the co-founders of Cash Money Records had a history of legal issues with artists and not paying artists on time. And I actually have a list here, and it's probably an incomplete list, but artists that have had some type of dispute or issue with Cash Money records when it comes to payments. So I have Lil Wayne, Pharrell, Clipse, David Banner, Bangladesh, the producer, at least five or six artists before 1998, Wendy Day, who's not an artist, but one of the attorneys and people that helped make this deal happen. Behi Turk and Shal and Jazz Prince, of course himself. Tiger, Manny Fresh, and I'm sure I'm missing people from that list. [00:11:01] Zack: Yeah, absolutely. I mean, it's a long and storied list of people to have disputes with and, you know, it really is something that goes, you know, hand in hand with success.You can't ignore that history. So, you know, I think it is important to remember some of the context. You know, these guys were coming out of a completely different world. You know, and they were hustlers. They were legit hustlers in New Orleans. And, you know, in doing some reporting, you know, I verified it. I mean, you know, they were the real deal. They moved things over. They went legit. They became record moguls and Bird Man's Case became a rapper himself. And, you know, they were not people who had dealt with, you know, sets of books, right? There was not really necessarily like bookkeeping apparatus in their form of business. So, you know, I think there was an adjustment period that, you know, let's say perhaps went on for too long in terms of, you know, getting things papered up and straightened out. But, you know, I wrote a big story on them in 2019 for Forbes, where I went down to Miami and spent some time with Birdman and Slim. I talked to their lawyers a lot. I talked to Wendy Day. Spend some time in the studio with them and you know, I mean, everybody of course has, if you ask people in the Cash Money camp, they're gonna have their side of the story. If you ask whoever they're having the dispute with, you know, they're gonna have their side of the story too. And you know, obviously when there's smoke, there's fire, there's a hell of a lot of smoke when it comes to not getting paid on time. But… [00:12:29] Dan: What would you say is the Cash Money side of the story, though? The Cash Money is this it?[00:12:33] Zack: They, you know, started out as people who had not had formal training in business, doing business with a lot of other people who had not had formal training in business, who were represented by people who had not had formal training in business. And so when you go back to some of these early documents, it was not properly papered over on either side. And so there's a lot of question over, you know, who owns what, you know, I don't know that anybody who was involved in some of those early deals really, you know, had a full grasp of sort of, you know, music copyright and publishing and, and master recordings and all that. I mean, you know, it's not like an intuitive business, you know, it's like, wait, what? There's two writes to every song. They've like, there's a publishing and a recorded music. It's separate. How does that work? So I think a lot of that was, you know, kind of like if you go back the nineties and early nineties, especially when they're getting started, you know, before the Universal deal there was just really like, you know, I would imagine a lot of handshake deals, a lot of just, you know, kind of like, let's see how, how it goes sort of stuff. A lot of, you know, here we're gonna give you a bag of cash and you do you give us this beat or you give us a verse or whatever. So, you know, it makes sense to me that it might not be papered up properly. But, you know, the fact that that's continued, you know, so far into the future, you know, that's another story. So, you know, what they did say was that, you know, after, and we can talk more about this Universal deal, but after the Universal deal started and then, you know, as it continued to evolve, you know, to where Universal got an even bigger cut of, you know, distribution fee or like an even bigger distribution fee than it had signed up for in the beginning. Universal took on more and more of sort of the back office function. And so, you know, some of the more recent stuff is, you know, a little bit more papered up properly. So that's the Cash Money side. But, you know, it's funny, I mean, when I did this story and I reached out to all these folks, you know, what I got was like a no comment, which says to me that, you know, things have been settled up and they kind of don't want to get into it anymore. Right. Or maybe there was an NDA involved. But yeah, a lot, a lot of smoke. A lot of smoke in that area, for sure. [00:14:42] Dan: Yeah, the NDAs are key. I remember there was one of the people that I had mentioned earlier that I was going to have on the podcast of Trapital, the interview timing didn't work out, but that was one of the first things they said. If you have any questions for us about Birdman and his relationship with this artist or anything like that. No, we're not answering it. And I was just like, all right, noted. Like, and I feel like that's kind of RANE with a lot of this, but I think they and Birdman and Slim specifically in an odd way. It wasn't even just to them alone. I feel like there was this ethos of, you could almost put Suge Knight into this same category as well, but these people that were cut throat with business folks that they were doing major deals with, whether it was Suge Knight with the folks at Interscope or Birdman with Universal, I'm like, Hey, I'm gonna take what's mine. And rightfully so. They kept ownership over what worked for them and they did that, but they kept that same energy with a lot of the people that like worked with them on the other side too. And that's the piece of it that while it was frustrating to see there are actually some other sides of this too, because even the fact that I think we can get into it in a little bit, but just some of the artists, they were able to sign how they went about that. As frustrating as it was about them not paying artists, like there not every aspect of the business was and is predatory. So that's one thing that you know started to come up more and more as once you get past the salacious parts of the details and stuff, you're like, okay, no and no different than why you went down there to report them. Right. There is nuance and there are a number of things to dive into. For sure, for sure. So shifting here, one of the other things that I've thought about, we talked a little bit about what set Cash Money apart. We talked a bunch about the backstory and the bad rep, but the next thing up here is about Cash Money itself and whether or not you think that it succeeded cause of Birdman and Slim or it succeeded despite them. So thinking about this hypothetical world, if it even is possible, other folks that would've had this label in their hands and what things would've looked like, what's your take there? If we're really isolating them as business leaders.[00:16:52] Zack: I absolutely think it succeeded because of them. I mean, did they get in their own way some of the time? Absolutely. But I think, you know, anybody who can run a business that goes from like the early nineties in an informal economy, you know, in like the Louisiana area to being this global thing, to this day that is still, you know, very much at the forefront of an industry. I mean, you know, like they gotta be doing something right. You know, 30 plus years on the staying relevant and, you know, from like the early days Hot Boys to like the late nineties and, you know, remember Big Timers and Oh yeah. Still flying, all that, you know, heyday as we were alluding to, and sort of like the late s apparently, you know, 2010s, you know, of Cash Money, Young Money with Nikki and Drake and Wayne. Even coming through to, you know, to you to say Scorp. I mean, that's a really long run of relevance and you know, have that, I mean, yeah, like I said, they gotta be doing something [00:17:53] Dan: Right. Yeah. I think it's because of them too. I will. Because as much as there are issues, and we've talked about a lot of them here, There's so much of this that would've succeeded with folks, other folks in charge, because there are a lot of record labels from the South that tried to do what Cash Money did as well. And a lot of them came and then most of them went. And the fact that we're having this conversation and not having it about them is part of it. And a lot of those record labels had talented people as well, but things just didn't carry over. They may have taken, you know, a bigger deal to get more money upfront, but then the hypothetical is, let's say it was in the hands of someone else that wouldn't have been able to push it forward, then it becomes part of the Island Def Jam conglomerate and then just kind of gets mixed and mixed. And then it becomes one of the many labels that you hear about where it's like, oh yeah, whatever happened to this one or that one. And I think it took what could have been easily, because there would've been enough meat on the bone if we just talked about Cash Money from the early nineties up until, let's say the mid two thousands. Right. And I think that's, inflection point that we can talk about in a little bit. Even that itself was a great run itself. And then you look at the second half of the career from like the mid two thousands on, that's a whole other historic record label. They have two of those under the same house. I think it's because of them and as much as it can be frustrating to hear and see and, you know, unlikely there's some critical things. But let's jump into that now though, because I think one of the questions we have here is the biggest signing that this record label has had. What do you think is the biggest signing for Cash Money?[00:19:29] Zack: Oh man. You know, I think probably easy answer is Drake, but you know, I would actually say Lil Wayne because if you don't have Wayne, I don't think the Drake thing happens, you know, and really Lil Wayne from such a young age going all the way back to the hot boys and, and you know, coming through. All those Carter albums, you know, like he's the backbone of this whole operation, you know, musically, sonically. And I think without him you don't get everything else that comes along. What do you think?[00:19:58] Dan: Yeah, it's Wayne too. That's who I have. I know that Drake is the highest commercial artist. If you were to look at all of the numbers and I think without him, the past decade would've looked very different. But we would still be having this conversation in some form. Likely if it wasn't for the past decade of Drake, it may be a bit more truncated. But we may not be having this conversation at all if it wasn't for Wayne. So I think it has to be Wayne there. What do you think is the best business move for Cash Money?[00:20:29] Zack: You know, I'm gonna go back to that first deal that they struck with Universal. I was in the early nineties at Wendy Day, who he mentioned earlier. It was sort of like a go be who helped, you know, really get them, you know, kind of set up properly with this deal. But you know, they negotiated it and they wouldn't take anything less than something that they felt was an incredible deal. And, I remember the story that Slim told me as they went in, they sat down some mid-level executive at Universal and low-balled them to straight up buy half the company. And so he and Birdman just got up to leave. Then Doug Morris walks in and he was the head of Universal at the time. Comes in with another colleague, Mel Lo winter and Slim members, you know, Doug saying, Hey, if I were you, I wouldn't sell my company. He comes in and offers him 30 million advance just for the privilege of doing business. And, what does Universal get a 7% distribution fee, which is not a lot. So kind of almost doesn't make sense from Universal's perspective unless you think about it in terms of market share. Market share is so important when you're the biggest record label because there are all these great things that happen when you have the most market share. There are all kinds of rights that are assigned based on market share. Like anytime there's, you know, a mislabeled song that gets played or gets spun,and this happens a lot, the metadata in music is a disaster. So if, you know, there are these huge pops of sort of like unresolved money and you know, what they eventually do is they get resolved down by market sharing. So if you're Universal, you know, you get the land share of that and there's a lot of other things, a lot of other places where calculations are done based on market share. You can also brag and say that you're the biggest stuff like that. So, you know, certainly it was worth it for Universal to come in and especially, you know, you think about at the time, You know, hip hop was still at a nascent stage and particularly hip hop in the South was like, not even really on the map for Universal to be able to come in and have this connection was really great for them. But, yeah, I mean, what a great deal. 30 million bucks. You don't have to give up anything. You just give, you know, just give a distribution fee and frankly, you would want your stuff to be distributed by this, you know, enormous record label anyway, so that you could expand and get bigger and better. So I think hands down, that's it. You know, that didn't stop, that there were rumors, you know, that they were even bootlegging their own music, like out the back or wherever, so that they didn't have to pay the 7%. But I, you know, I don't know. I mean, that's that talk about, you know, efficient business. But, you know, I think you go back to that deal that kind of laid the groundwork. Cause if they had given up half of their company way back then, I mean, you see what happened, Jay-Z he up, you know, a huge chunk of Rockefeller early on and. And I think was never really that incentivized, you know, to make that his main thing anymore because, you know, he'd given up such a big chunk early on.[00:23:29] Dan: Yeah, it's one of the best deals we've seen in music and one of the best deals we've seen in hip hop over the past 30 years without question. And the fact that they were able to get everything you mentioned, plus 2 million advance for three years. They kept ownership of the Masters too. And that's the thing that, as we talked about, Birdman and Slim are still collecting on that year after year. So it's up there. It's incredible. And I know that there were other labels that tried to do the same, but just couldn't. I think part of the reason is that this goes back to them focusing odd, what works for them. They had a unique sound. Universal saw this as their entryway to the south in an authentic way because back then, you know, the south was still vying for dominance. And I know that, you know, things were happening at LaFace, but this was different. The New Orleans sound was different from what was happening in Atlanta at the moment. And this gave you an entry path into that. So it was big time. [00:24:27] Zack: Yeah, yeah, yeah. And, I think, you know, also 30 million back then, I mean, probably more like 50, 60 million when you talk about inflation. But you know, I would, to our earlier point, you know, did Cash Money succeed? You know, or despite Slim and Birdman, you know, that's situation where, you know, obviously I wasn't there and there wasn't a video of it, but, you know, when you sit down with Slim and Birdman, like you can get the sense that it would be tough to negotiate with that.You know? I mean, Slim's sitting there, he's like 10 feet tall. He doesn't really talk very much, you know, and Birdman, he can get pretty loquacious, but like, uh, he, you know, when he wants to, you know, be kind of stone based, you know, I mean, he can, he can have a great poker face. So I think, you know, if you're some executive, you're going in and you're trying to get them to sell, and they have really no incentive to sell, and they're sitting. Just like, Nope, we're good. You know? I think that that leads you to offer them some crazy deal, like the one that Universal offered and so I really would chocolate up to some very good negotiating, on their part as well. [00:25:31] Dan: Yeah. You need to be able to negotiate to pull off hip hop's Louisiana purchase. Got to at least one half. Absolutely. At least one half of it. Yeah. So, yeah. The other thing that I did have was a dark horse move and a move that doesn't get talked about as much, and as much as that move does get focused on the one dark horse that I did have is the, well, I guess too, but let me focus on this one. I would say that the mixtape strategy that they had with Lil Wayne in the mid to late two thousands, even though cash money had ownership of the music, even though this, I think that worked so well. One of the questions that we have is just how well did this company record label transition from different stages of music, whether it was from the CD era, ringtones or ringtones, to streaming it, Cash Money knocked it out of the park. With each of their albums sold, especially when they did this deal at the height of the CD era, when the music industry was struggling in the mid two thousands and they were trying to get people to buy CDs. They were just like, Hey, let's give away the music for free. And Wayne was rapping over other beats. He was in his bag more than anyone, and from dedications to Drought, all of those, just so many classics in there that I think real Hip Hop fans and folks that were following Wayne were following even more so than the next album. So all of that speaks. Lil Wayne being able to sell over a million albums in the first week when the Carter three drops in 2008, which is still a very tough time for CD sales to even happen. So that whole run and just the thought to do that. And granted, I think some of this may have been a bit more on Lil Wayne's push himself, especially because at that point he had his own young money imprint. But all of this is happening and you know, Birdman and Slim had a problem with it. They could have said no. But I think the fact that they leaned into the change that was happening, you already saw what 50 Cent did with his mixtapes in the mid two thousands. You get drama, you get the other folks in the south to be able to help make this happen. And I think it worked out well for them.[00:27:34] Zack: Yeah, absolutely. That's a really good point too. So, you know, I mean, I guess when you have a label that has been that successful, that long, Yeah, there should be a couple different options for what the best move was. Yeah, I like that as a sleeper pick. [00:27:47] Dan: Yeah. And Lollipop is the best selling ringtone of all time too. over 5 million ringtones sold, and I mean, ringtones, were selling for like three bucks each to that point. So I mean 15 million just from folks wanting to, you know, have, you know, that little jingle on there, Motorola razors or whatever the hell people were using at that point. But, what was your dark horse? Oh [00:28:10] Zack: Oh man, that's a really good question. I don't know. I mean, I guess it was just so clearly the Universal deal to me. But, you know, and Drake wouldn't really be considered a dark horse candidate, I guess you could say. As time went on, you know, some of the subsequent deals that they worked out with Universal, you know, maybe some of the deals where they were able to get Universal to tackle some of the back office stuff. I mean, it's very unsexy, but you know, that's clearly an area where they needed to improve. So, let's say,to give us some cash in terms of like higher distribution fee in order to have Universal, you know, cover some of this stuff. It's kinda like a boring, dark horse candidate. But you know, I mean, you could say that that's probably useful in terms of buttoning things up and you know, there was a lot of smoke, like we said, but you know, nothing ever, like the house never burned down. So, you know, maybe, maybe those kinds of arrangements really kind of help prevent something like that from happening.[00:29:03] Dan: And I think that back office piece also just makes me think about the broader partnership and the expertise that they were able to lean on. And a question that I actually didn't explore, but now I'm thinking more about it, is how different do we think that the Universal partnership would've been, let's say Cash Money had partnered with another label under the Universal umbrella? Because obviously part of this is very close. There was Universal Republic at the time and they've been hand in hand working with Monte and Avery Lipman ever since, and they are two of the most highly regarded executives in the game that have now being, year after year after year, the label with the number one market share. And part of that is because of Cash Money itself, but it's also because of all the other stars, even outside of that label, they have been able to bring it to, as opposed to many of the other labels in the Universal Umbrella or the umbrella of Universal Music group labels that have not had that consistency. So I also think there's a dynamic there where, let's say there's another world where cash money was under capital or cash money was under some of these other labels that have struggled to stay relevant, what that would've looked like.[00:30:10] Zack: Yeah. I mean, I think if you, if you kind of need to go back to Def Jam, you know, some of the back and forth that Def Jam has had over the years. It gives you an idea of, or even as like a top label, the kind of trials and tribulations you might go under. But you know, when you're coming in, you know, going directly to Doug Morris, you know that that gives you a lot of leeway, a lot of leverage. You got that line straight to the top. And, you know, even with somebody like Jay, it took him, it wasn't until, you know, I don't know, when he was dealing directly with Doug Morris, when Doug, this is, I think around the time of Blueprint three, and Jay had that line. I gave Doug a grip. I lost the flip for five stacks. He could have the album. They bet 10 million on a coin flip and like, you know, one way or the other. So, you know, but Birdman we're doing that like, you know, 15 years earlier, having that kind of direct line. So, you know, again, I think going straight to serve them incredibly well.[00:31:09] Dan: Definitely. Yeah. Another, another piece too. So, two other, like sonically three other dark horse candidates, I'll bring 'em, but they're all under the same thing, was Bird Man's ability to win bid wars and win huge bidding wars, I think is an underrated piece of this record label. So I'll bring up three of them. First one, go back to 2004. So this is around the time thatCarter came out and Wayne was considering to leave Def Jam, and this was around the time that Jay-Z had just became president and Jay-Z pushed hard, make that happen and couldn't leave cash money for Def Jam. That was the thought, right?[00:31:43] Zack: Yeah. Yeah. Carter boys, and there were all these, you know, kind of …[00:31:49] Dan: Yeah, they're trying to push the whole Carter board thing and yeah, Birdman was like, all right, come through. I'll give you your own imprint and you are the president of that imprint and let's continue this thing. And that obviously sets up young money and then the next 15 years after that, right. So he does that. Yeah. And I think that's huge because then that sets the stage for the bidding war for Drake, because Drake drops so far gone beginning of 2009. And this is like, you know, everyone is trying to, it's like when Yaba sweepstakes we're seeing in the NBA right now everyone wants this person and everyone is going after them. I mean, truly Greenwall Lior, everyone was trying to get 'em. And it was that connection that Drake had with Cortez, Brian and Jay Prince Ja Prince and that whole crew that I think eventually helped keep him on the cash money roster there. So that was a huge one. And I think we saw something similar with Nicki Minaj as well. A couple months later. Everyone wanted her to beat me up. Scotty the mixtapes were hot and he and Wayne, Wayne was like, no, I want her to be the, the first lady of the label. That was the whole thing in the two thousands, right? Everyone wanted to have the first lady. You saw it in the nineties, right? But like everyone wanted to declare and elevate this person and rightfully so, but like that's who we had. And then we obviously saw the beginning and the middle part of that next decade. Just go on one of the all-time runs. So Bird Band's ability to win against the biggest people in the industry for record label that his men, you know, his brother own is really impressive for sure.[00:33:21] Zack: And you know, it served Lil Wayne well in the end because Young Money became something that he was able to sell for, you know, about a hundred million dollars for his stake later on too. So, you know, keeping that ownership as opposed to just chasing the biggest advance time and time again we see in hip hop. You know, it's so important. But, you know, I was thinking the other night, it is funny, like everyone has watched New Jack City, and it had been ages, ages, ages. And if they reminded me, I mean, how much of the whole Young Money, Cash Money situation is modeled after elements of that movie. I mean, even just like, The name Cash Money or C M B Y M C M B. The shirts, like the shirts, are incredibly similar that, you know, a lot of the lines, even the Carter, you know, the albums are named. I mean, the Carter was the building, you know, where Wesley Stein's character was like running this whole operation you know, that's kind of like another interesting element to the whole, you know, to the whole narrative. Like, you know, these guys coming out of Louisiana, you know, had their eyes up on this very New York kind of, you know, almost role model, for a business. And, you know, they had been hustlers. They were kind of modeling themselves after these, you know, fictional hustlers in New York and, you know, and then in a way out hustled sort of like the New York record label establishment. So I thought that was kind of an interesting, you know, little side bit of color to the whole story. And, like a bit of irony as well, you know, when you talk about, South versus, New York kind of situation too. [00:34:59] Dan: And I think that also speaks to some of that mentality too, because here you have Birdman that was getting inspiration from a black crime movie. And I think a lot of the ways of him doing business are very much central on, okay, I wanna support and uplift the black community, do what I can here and grid. And I think, you know, part of how he was able to do that has, you know, been quite controversial just with certain artists he's had on. Yeah. But still, I think that ethos stems back from ownership in trying to keep things in-house as much as you can. And it took them a lot to even partner with other artists from other parts of the countries and stuff like that, that I think you saw with Dino Brown and how he was in that movie and how he carried versus I think someone like Jay-Z who record label Rockefeller named after one of the great white business magnets that you had in this country. Right. And so many Jay-Z bars, whether it's Black Axl, Rose Black, Kirk Cobain called me this. I feel like, you know, people always get on Kanye for some of that. Like always trying to like be okay. I'm, you know, the black version of whatever X person. But I think Jay-Z, you know, also had a lot of that too. And then I think also looking at his business mentality, a lot of his success came from his huge and lucrative partnerships with established companies in this space. So the inspiration I think also became kind of telltale sign for the type of businesses these types of folks ended up creating too. [00:36:23] Zack: Yeah. And you know, I mean, you know, brown was a really ruthless character. And you know, I think there's like the money and the success that's glamorized. But you know, it's a gritty movie. I mean it seems like he is not a likable guy in the end. You know, without giving too much of the plot, I'm sure everybody's seen it, but like, I was like, wow. Yeah. I don't know if I'd be wanting to model myself after this dude. You know, he's pretty brutal. But, you know, even on the, you know, kind of the lighter side, there's a scene where he's like giving out turkeys at Thanksgiving. Yep. And you know, the Cash Money guys always give out turkeys in New Orleans at Thanksgiving and I wonder if they got that directly from the movie. You know, cuz so many of you know, from the Carter. You know, the c n b kind of, kind of like whole, you know, ethos there. I wonder how much of that they just pulled directly from the movie, so…[00:37:16] Dan: Oh, yeah. I could definitely see that mentality too. And speaking about it, you know, full circle. I could also see Birdman having a bit of that cancel that bitch mentality too, in short situations.[00:37:28] Zack: Right, right, right, right. Exactly. So, yeah, I mean, and they won't talk about that part of it, the interviews maybe, but you kind of get the sense of like that's where the negotiation and the cash element of the Cash Money comes in. Yeah. [00:37:42] Dan: The aita literally held people over the balcony of a building to get what he wanted. Right. Yeah. Yeah. A lot of that came through to fruition. But next category up here. So missed opportunity. Is there anything that you look at that you're like, man, obviously it's an overall successful company. Is there anything you look back on about what if they did this differently or what if they did that differently?[00:38:02] Zack: I think the number one thing I wonder is what if they had sold the whole thing, you know? A year and a half ago, could they have gotten just an insane multiple? I mean, you know, you're seeing like Springsteen staying and all these guys getting hundreds of millions of dollars for their catalogs. So, you know, I get it. And there's, you know, catalogs, hip hop catalogs are valued differently from rock catalogs. And also one of the benefits of rock catalogs is they're usually, you know, written and owned by, you know, all the rights are with the band. There's not like a million different producers coming in. It's not as complicated. So like, you know, they can sell the whole thing, you know, a hundred percent of the rights and you don't have to, you know, it's not like you're just buying like, you know, I don't know, 30% of this and 50% of that and whatever. It's, it's not this complex web, let's say there may not be as many things that haven't been papered over as there were with Cash Money, but man, you know, there were some pretty insane, numbers flying around and I really wonder if, you know, if they had, been applying some of, you know, 20 or 30 x multiple. To whatever they were pulling in, you know, which is, you know, they can just sit there and make, you know, tens of millions of dollars a year, just off of this catalog. I mean, so what would the market have been if they had went and sold the whole thing at the peak of the catalog? Boom. That's what I really wonder. [00:39:21] Dan: That's a good one. So I guess some high level back of the envelope math on that. So let's say that the peak of the catalog boom was like December, 2020 maybe, and then like, you know, into the spring of 2021 and we definitely saw some 30 x multiples there and at least the last public number I saw, and I think you had this in one of your latest articles as well, but that Cash Money's Masters generated around 30 million annually, or 20 to 30 million. Was that the number?[00:39:49] Zack: Yeah, I think it was at least 30. And you know, cuz Bird, like most of hey Birdman, you know, has been making like close to 20 million a year, for a while, give or take. And you know, most of that is just, you know, the catalog. So yeah, I mean that's just his cut. And then if you figure you double that for Slim, yeah, probably, you know, it was around 30, 35, something like that, so, you know. Yeah. I mean, are they gonna get a 30 x value even at the peak? I don't think so because just hip hop wasn't getting that kind of valuation. I don't really understand that because everybody's like, oh, rock and roll music gonna stand the test of time. It's like if you ask the average 20 year old who Bruce Springsteen is, they're not gonna know. I mean, so I would argue that hip hop is actually gonna be more valuable down the line. But just the valuation, you know, that's not what people have been paying for. So even at the peak, you know, I, I don't know that I saw any valuations anywhere near 30. I think Kanye was shopping his catalog at one point and wanted a 30 x multiple, but, you know, didn't get any bites. So I think it comes down to like, yeah, what kind of multiple could they actually have gotten? [00:40:56] Dan: Yeah, because even more recently, so yeah, we're recording this now. January, 2023, there was a report that just came out about Dr. Dre selling a collection of music assets that I believe are worth different multiples. But the number that I heard from that was, They generate around 10 million per year and that he wanted 250 and he's getting just over 200 million or somewhere between that. So that's around a 20 x multiple for a deal. That sounds like it was still coming underway in 2022. So if you were to put that multiple on, let's call it 35 million for maybe what Birdman and Slim have collectively, then that is you're talking $700 million. So that's a pretty sizable number, not a billion. But maybe if there are some concerns about, maybe there's a bit more of a split of who owns what. We didn't even talk about publishing right now, but there may be a split too, especially if everything was captured. and even thinking about quality control, for instance, and I think they got around 400 million, 300, got 400 million, but this was last year. So I would assume that 500 to 750 sounds, if I heard a number there, I would be like, sounds about right. If I heard a number lower than that or higher than that, I would probably be surprised one way or the other. [00:42:15] Zack: Yeah. Yeah, I mean I think that makes sense. And it's not just one artist, you know, obviously it's a whole bunch of artists and a bunch of pieces of different artists. But I think another thing, and this is maybe one of the reasons why the hip-hop valuations are lower, is like when you have all those producers, it might not be as easy to get, you know, to get clearances for using stuff in commercials and that sort of thing. Whereas if you buy a hundred percent of the rights, there's no question. Right. And so I'm not even sure if somebody owned 1% of, of something, whatever. Like I don't think they would have some, like, veto right. About the song being played in a commercial. But, you know, when you start to have so many different parties owning bigger stakes, a particular song, it can get a little convoluted and, you know, I do wonder if that's a big part of it as well.[00:43:00] Dan: Yeah, no, that's a good point. Yeah. Cuz I think sampling also is a huge piece of that as well. The missed opportunity for me, this is a bit more of a specific one from like a timeframe, not like a specific move, but Birdman and Little Wayne not settling and squashing the beef, the issues that they had in the mid 2010s. I think we lost out on Wayne. I know Wayne was in prison during part of this, but we lost out on his momentum. We lost out on a lot there because I feel like a lot happened from the Carter four coming out in 2011 to the Carter five coming out in 2018. I believe. There was so much back and forth. There was so much drama. You know, Drake was going on his all time run at that point. Nicki was doing the same. And the fact that the signature biggest artist is literally tweeting out, I want off this label, but it's not that easy. Or sending these messages out in the middle of Wayne and Drake having their tours and him still being on albums and trying to figure out how to drop things.I think it was obviously a great decade in run, but I think it could have been even greater if they were able to solve some of that stuff and figure it out. [00:44:11] Zack: Yeah, a hundred percent, you know, that that was like, it's a long time to be going between, proper albums, you know, so, and I think that was a really interesting time in the music business. And, I mean, the music business changed completely right from, from 2011 to 2018 from being, you know, oh, this new streaming thing is gonna be important to like, you know, it is the entire business basically. So, you know, and I think that an artist like Wayne, you know, as somebody whose music translates really well to, you know, to that medium. And, you know, as we know, hip hop is a monster on streaming and, you know, tends to do really well. So I would've been really curious to see if he had been able to continue that momentum, you know, just how much bigger he could have gotten in that period of time too.[00:44:57] Dan: Yeah, definitely. The next piece we add too, I think we talked a little bit about this just in terms of how did the label handle the transitions? And I think you just mentioned it there. They were able to do a lot of it well, especially the mixed day piece and the ring toes. And then I think a lot of it laid the work for streaming and Drake is streaming, did a lot of that, the Cash Money labels. So I think that worked. But this next question is interesting though, because it's been around three years, I think it's been at least three years since you did your deep story, the Forbes cover story on Cash Money, where you went down and interviewed them. And then I know it's been four years since I had written a piece around the time that Drake had completed Scorpion and we knew that it was going to be, or at least I thought the future may be bleak. And I think the question that you pose into the piece was, can they strike platinum again? It's been three years since now. What do you think? [00:45:48] Zack: You know, I don't know. I mean, the rules for platinum, like what constitutes platinum have changed so much that, you know, all it takes is, you get, you know, one hot signing and they do really well on streaming and suddenly you have a platinum whatever. And, you know, it's like, okay, I think that, you know, Drake is gone. Wayne is gone. When I went down there, they were really big on blue face and Jack Reese, you know, I don't know what either of them are turning out to be like, I mean anywhere near Drake, Nikki, Wayne, et cetera. Jack Reese is the king of R&B though, right? That was the whole thing too. So what I'm gonna go with, no, I don't think they will begin Drake Platinum. But I would caveat that by saying it doesn't matter because they can just sit back, and collect these checks. And that's gonna happen. That'll happen even if, you know Drake and Nikki and Wayne retire. I mean, their back catalog stuff is still gonna be a gold mine. And you know, when I was down there, what they said was that they're forever in business with Drake. But they wouldn't get more specific. And so what I took that to mean was, you know, at the time, you know, he was kind of an ex extra kidding himself. But even once he's gone, they're still sitting on these, you know, their share of the copyrights that will be, you know, Drake is a streaming king and they have a big piece of that. So, yeah. Do I think they'll strike platinum again? You know, probably not, but I don't really think it matters. I don't think so, what are they gonna do? Like what are they gonna do? They're gonna sit back and collect those checks. Yeah. [00:47:26] Dan: Yeah. I came to the same spot as well. I guess platinum in the purest sense of having a chart hit. Sure. There could be a legacy hit that gets, you know, some viral thing on TikTok and then that becomes a hit. Like, I don't know, I don't know if I like slow motion singles, like juvenile when platinum, but I feel like that's the type of song I could see go viral and some TikTok thing and then bring new, that's one of my cat favorite Cash Money songs. And I feel like I could see something like that happen. But I feel like you were kind of posing it more so in the moment of looking at these runs of like late two thousand, late nineties, early two thousands, that Cash Money is like a platinum moment or mid two thousands. Wayne's mixtape ran late two thousands, early 2010 or to mid 2010s. Young Money rises to the highest of heights. I don't think we'll see that moment again. And it's crazy cuz I think there's times where maybe things could have happened. You had the rich gang moment where he looked like he was so close with Young Thug. And I feel like especially in 2014, people expected Thug to go on to that superstar level and still be very successful. But I think that the stock for Thug at that moment was a little higher than it may be actually reached. And I think some of Thug's proteges kind of reached the heights that we thought Thug would've reached at one point, just in terms of a commercial success perspective. But it just never quite happened. But again, they own this. It's not like they missed some opportunity. This is something that is literally generating tens of millions per year and that's not changing anytime soon.[00:48:54] Zack: Yeah, yeah. Absolutely. So, you know, it's funny, they have, I guess just to sort of like switch gears a tiny bit, but you know, last moment when they said when Birdman and some said they're forever in business with Drake. It wasn't in Miami, but I met with them for some follow-up questions in New York. and they have, like within Universal's building in Midtown, they have a Cash Money conference route. Like there are actually these, I mean I don't think it's diamond play, but the door handles are giant dollar signs, like the Cash Money logo. And, and it looks like they're diamonds in the dollar sign and whatever it is. But, you open up the thing and you go in and there's like all these plaques on the wall and it's just a conference room that's always there. And it's sort of like their designated conference room when they, when they cut the tat. And I remember, yeah, we sat down in that conference room and I really tried to press them on the Drake thing. And I mean, if you dig up the Forbes story, we did a video too. And there's this great kind of tense moment where I'm like really kind of pushing them about it and they're like, we're forever in this with Drake. And like, that's it. And it's clear that's all you're gonna get out of that. But, you know, so, in terms of striking platinum again, yeah, I mean, I could almost envision a scenario where Drake like does the Super Bowl and he plays some, you know, catalog hit that never went platinum. And just purely by the exposure of people hearing it be like, oh man, listen that again, it just suddenly goes platinum again. You know, or for the first time. But yeah, short of that, I know I'm gonna agree with you. I think probably not again, but that it doesn't matter anyway. [00:50:32] Dan: Yeah. So we have a couple questions left here. This one, and I think it's maybe similar to the fourth you're bringing up, but if you were in Birdman and Slim's shoes today, is there anything that you would be doing differently?[00:50:44] Zack: You know what, I think I go back to that question of like, would you sell the whole thing? Especially if the prospects are kind of dimming a bit and, you know, it's like, I don't know though. I mean, you know, it's like if you're getting up there in age, like would you sell you, you know, you got this great house that you bought, you know, you got this great penthouse apartment in New York that you bought. For like, you know, a hundred thousand dollars in, you know, 1982. And, you could probably get, you know, I don't know, 10 million bucks for it. And then you could just like rent and do whatever you want and you know, for the rest of your life. But like, you don't really need the money. Like, you're fine as it is, like you sell it. Like what would you even do with the money that you got? You really love living in that apartment. Maybe you just stay. And I think that's kind of the point. Like, just remember being in the studio with Birdman and he doesn't need to be doing this. Like, he doesn't need to be running around with Jack in Miami trying to make him the, the king of r&b or whatever. But he truly loves it. Like you, you can tell that he's passionate about it and. After the interview was over, and I wish I had this on tape, but we're just like a dozen of us sitting there in the room. And, Birdman, he goes, Zack, why do people think I'm scary? And I remember he said, he was like, really pointy moment. He's like, I'm respectful. You know, I'm not a clown. I don't turn tables over. I don't scream and yell. I'm respectful. Why are people so afraid of me? And I thought for a minute and I said, you know, as like, look man, like, to be honest, I think the base tattoos really are kind of like off putting some people who are not used to that sort of thing. And, he was like, yeah, I've been thinking of getting them removed. You know, I think it'd be better for business. So, you know, it's like there's still this element of, you know, even though he's made it and he's got everything he wants, there's still this part of him that came from a different world. That, you know, he's kind of like still stuck between two worlds, between the world that he came up in and the world that he can afford to live in. And, I think, you know, where he feels at his best is in the studio. So why would you sell that whole thing? Why would you, you know, I mean, why would you kind of give that up? And I think Slim likes it too. And you know, they have this really funny relationship and, you know, Birdman's in the studio and Slim does live the business. And that's kind of the breakdown of it. And I just remember, like after this interview, you know, after leaving the studio, I went and we were all supposed to have dinner together and I went off with Slim and we waited for like a half an hour in the parking lot for Birdman. And he just never showed up. And then we went to dinner and he just never showed up. And it's cuz he wanted to stay in.He just stayed in the studio all freaking night. Cuz that's what he really loves. So, yeah, I guess it's a long way of saying, what would I do if I were them? I mean, you know, probably like the financial advisor advice would be. Sell this big thing and then you're totally set for the rest of your life. But you know, if it's throwing off enough, more than enough money, tens of millions of dollars every year for you to live on, what's the point? You know, why not just do that and do what makes you happy?[00:53:59] Dan: I think that's a piece that often gets for guys and understands what some of this stuff is, that some people really just love the craft. It makes me think too about someone like Martin Scorsese or Steven Spielberg and these directors that are now in their seventies or eighties, they're not doing these movies to try to make more money. Well, granted, yes, I think they're bought into the financial success. They want fair terms. But this is what they enjoy doing. They've been doing it since they were kids and they wanna just find outlets to be able to do this in the best way possible. And I think the same could be said about Birdman of wanting to be in the studio and just wanting to have that energy. And if you sell that, then what do you do? I think especially for someone like him that's stuck to the thing that he does well. And you know, like he isn't out here like Jay-Z trying to be mogul in the sense of having different things. I mean, there's a mogul aspect in terms of media ownership, but not in the sense of like, yes, I own this, I do this, I do that as well. Sure. Maybe there's some smaller things that are in the, you know, new Orleans or, or the Louisiana area, but not in that same way. So I do think that speaks a lot to that. [00:55:06] Zack: Yeah. And I think they have dabbled in other stuff for sure. And you know, real estate, and I think there was some period of time where they had like some oil rigs or something like that.They had a vodka called G T V. They were trying to really build up Y M C M B as like, as a clothing line type of thing, rather than just merch. But, you know, none of that really kind of like ever went viral in the way that any of their artists did. So, you know, and maybe because it was that they just didn't have the passion for it that they have for music. Like that example of Birdman. So, you know, Jay clearly has the passion for the business. He clearly has the passion for, you know, doing the champagne thing or, you know, doing the VC thing. And you can tell cuz he's out there doing it. He's doing it cuz he loves it, and he makes money. But, I think it's hard for something to do well if you aren't truly passionate. Because consumers can kind of see through that. And also, you're not gonna go the extra mile for something if you don't truly care about it either. Definitely. [00:56:08] Dan: Definitely. And mine is a little different. And this may be more so from a selfish perspective of what I would do, but that's part of the question, right? Yeah. As someone that is such a fan of the vibe and the culture that they were able to create, I want to be able to relive that in different ways. I wish that Birdman and the team could patch things up and there could be a true Cash Money reunion tour that goes across the country. I know there's been different things here or there, but the same way that Didat did the Big Bad Boy Arena tour in 2016. I wanna be able to see that. I'd love to be able to do that. And I also wanna see a music biopic and the same style and the same budget and energy of Straight Outta Compton. I would love to see that about the Cash Money story. And to be honest, I feel like, I know there's a lot of energy around these biopics, but like I may be biased because it's the genre I like since Street Outta Compton came out, I just haven't seen one that's, you know, as good as that. And sometimes it's a bit frustrating when I see movies like Bohemian Rhapsody or Elvis, which I think they're fine, but I don't think they're as good as Straight Outta Compton and they're getting all these awards and stuff. And it makes me think that okay, I don&#

As a former meteorologist and a 25,000-hour airline captain, Doug Morris loves to talk about weather—but he's worried most other pilots don't share his love. He talks about the most misunderstood weather concept, whether forecasts are getting better, and why pilots might actually have too many weather tools. He also shares stories from his days flying in Atlantic Canada's famously bad weather, and weighs in on the Boeing vs. Airbus debate (he has logged a lot of time in both). In the "Ready to Copy" segment, Doug talks about the most underrated weather tool, the most interesting airport in Canada, and what it's like to see the Northern Lights from an airplane. SHOW LINKS: Doug's weather book: https://www.pilotweatherbook.com/product-page/pilot-weather This Is Your Captain Speaking: https://www.amazon.com/This-Your-Captain-Speaking-Stories/dp/1770415858 Sporty's Pilot Training app: http://sportys.com/discover

LLN (11/23/22) – As FMCSA considers a mandate on unique electronic identifiers, we bring in someone with a unique perspective on the matter. Doug Morris of OOIDA says a mandate would create major problems on the state enforcement level. Also, for the past 50 years the province of Nova Scotia has gifted the tree to the people of Boston as a thank you for aiding them after the Halifax Explosion in 1917. We'll hear from the truck driver who's hauling the tree. And big events make an impact on the spot market – some natural, some man-made. We've got both this week. Robert Rouse of DAT fills us in on how both are affecting the market. 0:00 – Newscast.  10:05 – A tree and a gift. 24:29 – Big events and the spot market. 39:23 – Unique electronic identifiers.

LLN (11/21/22) – The OOIDA Board of Directors met last week to discuss the issues the Association will pursue in the coming months. And the highlight was a discussion with two top federal trucking regulators. Also, it was a record year for the annual Women in Trucking Accelerate conference and expo. The event took place last week in Dallas. We'll take a look back at the event. And the work that OOIDA's Washington, D.C., office does on the federal level often gets the headlines, but the work they do on the state level is just as important. Doug Morris tells us how they do it – and what truckers can do. 0:00 – Newscast.  10:05 – Women in Trucking. 24:29 – FMCSA officials meet OOIDA board. 39:23 – State legislative action.

Doug Morris has been an Air Canada pilot for 26 years, and currently flies 787s. If his name sounds familiar, it's because we ran extracts from his fantastic new book — called This is Your Captain Speaking — in our last issue of Australian Aviation's print magazine. In it, he spills the trade secrets of flying long haul — everything you wanted to know, but were too afraid to ask. In this episode, Morris talks to host Adam Thorn about his passion for flying, navigating COVID, and what's in store for the industry in a post-pandemic world.

A common problem for many of us as investors, is how do we track how well we are actually doing? We might have assets with multiple brokers, and keeping tabs on our returns and income streams across multiple asset classes can not only be time consuming but often leaves us without the full picture. Today Dale sits down with Doug Morris the CEO of Sharesight which aims to help us track, report on and benchmark our portfolios and has over 300,000 users worldwide Links and ways to contact us

Episode Summary Bob Sonnenberg grew up as what most people would call a “normal individual”. He went to school, had a good home life and after college he went to work. However, several years ago, his “normal” life changed when in an instant he lost almost all of his eyesight and entered a whole new world. However, Bob internally rejected the typical view held by most people toward losing their sight. Bob moved forward and demonstrated that he truly has an unstoppable mindset. Today I invite you to meet this strong and confident individual. Learn how he not only has survived but how he thrives and gives back to all of us in so many ways. Bob Sonnenberg has mostly been an unsung hero, but today we put his song out there for everyone to hear and celebrate. Some directories do not show full show notes. For the complete transcription please visit https://michaelhingson.com/podcast About the Guest: Bob Sonnenberg, CEO Bob is a native of Marin County and a fifth generation Californian. He has more than 30 years of experience in finance, development, and investments, including operating his own brokerage and insurance business and manufacturing business. Prior to joining EBC, he served for more than 10 years as Associate Director of Planned Giving and Major Donor Officer for Guide Dogs for the Blind. Bob earned his MBA from Golden Gate University. Devoted to his community, Bob is an advocate for quality of life for older adults and people living with disabilities. He serves on the board of Whistlestop and Marin County Estate Planning Council and is a past Mill Valley Rotary member as well as having served on the Board of the Community Institute of Psychotherapy (CIP) for over 10 years. Bob leads an active and independent lifestyle and enjoys hiking, gardening and tandem bike riding. He lives with his wife Cindy and guide dog, Langley, in San Rafael, CA. About the Host: Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog. Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards. https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/ accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/ Thanks for listening! Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below! Subscribe to the podcast If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can also subscribe in your favorite podcast app. Leave us an Apple Podcasts review Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts. Transcription Notes UM Intro/Outro 00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us. Ad 01:28 On April the 16th at 2pm North American instant time, blind musicians from across the globe are getting together for an online benefit concert for Ukraine. It's called we're with you. And all money raised goes to the World Blind unions unity fund for Ukraine. To learn more, including how to listen and how to perform it. We're with you. Visit mushroom fm.com/with you. That's mushroom fm.com/with you. Michael Hingson 01:58 Hi, and thanks for dropping by Welcome to unstoppable mindset where inclusion, diversity and the unexpected meet least that's what we say. And I'm glad that you're able to be here and hope that you enjoy our session today. We have a person that I regard as a special guest. He's been a very close friend for oh my gosh, 16 years or more. Bob Sonnenberg and I met at Guide Dogs for the Blind. And he was looking at getting a job and looking at the concept of having a guide dog and I was working at Guide Dogs for the Blind and we had a chance to meet and talk and friendship has grown from there. It's kind of all turned around a couple of years ago, he drafted me to serve on a board for an organization of which he is the executive director of the Erlbaum center of the blind. In Santa Rosa, California. Bob, welcome to unstoppable mindset. Bob Sonnenberg 02:51 Well, thank you so much, Michael, for for having me for inviting me and it has been quite a journey over the last 16 years, that's for sure. Michael Hingson 03:02 Well, I would love to hear about the journey, that's a good place to start. So tell us a little about you in general, you know, you grew up I know as a as a sighted person and so on. And then things change but tell us about your life and your journey. Bob Sonnenberg 03:19 So, well, where do you start? Okay, so one of the things is that that is probably unique to me maybe in being a native Californian and a seventh or eighth generation Californian but dating back to the 1820s here in the state of California. So somewhat unique and and there's not a lot of us in that in that club. But I grew up here in the San Francisco Bay Area, spent most of my childhood in and Marin County, California just north of San Francisco been happily married for 40 years and that's been a journey and have have two young young boys real proud of that both married and live really close by to me. So on a personal level, it's been a it's been pretty terrific to have be surrounded by not only great friends but also great family. And my background, it's while the childhood years were spent here in the North Bay in Northern California. I've also had a lot of experience in one of my lifes I was a cowboy and was on the junior rodeo circuit years ago so pretty fearless as far as my adventures experiences and love sports and I love the concept of unstoppable because I think it's just a great not to have any upper limits with your life. And like Michael said, I 16 years ago I was I just kind of share how my my world is really changed dramatically as far as being fully sighted to the not so fully sighted or the low vision world. And I was driving up to Sacramento and all of a sudden outside the city limits, my retinas kind of shut down. And all of a sudden, I couldn't see the couldn't see the freeway signs. And so that was my quick entry into vision loss. And that transition really wasn't, it wasn't a gentle transition, it was really an abrupt transition. But it took me a while to really absorb and figure out how to deal with it. And even from the point of telling people that I've lost my lost a significant amount of my sight. And I still think that was one of the hardest things I had to do. When I first lost my sight is telling, acknowledging that I had a disability. But once I got over, that fear that that, that issue, I was able to start moving forward. It took me a while to embrace using a cane and and once I figured out that it was a great tool to be able to use a cane and navigate safely. It was easy, you know, and it's pretty, it's really second nature now. And I think one of the things that has served me well, maybe from a work experience level is prior to being involved in the nonprofit world prior to being involved with Earl balm center prior to being involved with guide dogs was I was in the, in the financial world, and life insurance business, and also the investment, retirement planning business and, and having that expertise of 30 plus years is has been pretty terrific. As far as being able to meet an incredible array of people. It's all people oriented. My whole work experience has been people oriented and connecting with people and, and building relationships with people. And so that's really helped me in in entering the new world of low vision. And I want to go ahead, right, well, Michael Hingson 07:21 I want to get into that. But But I have to ask you a couple questions. First, you said something early on that I'm really concerned about. They're married, but you still call them young boys? Hmm. Bob Sonnenberg 07:32 Well, you're younger than me much younger than me, like, you know, early 30s, mid 30s. So Michael Hingson 07:41 young boys. Well, that that's great. I remember them when they were a lot younger. Of course, we've been down here now for a while I haven't seen them. So we'll we've got to work that out. But you know, we we continue the circle of life as it were. So that that is really cool, though. But tell me about your time on the on the rodeo circuit, what did you do? Bob Sonnenberg 08:05 So not only race, race ponies roll out years. And, you know, I had this vision when I was a kid that I would grow up and have some connection with a four legged animal and a harness, okay, or not a harness, but a halter. Okay, some leather type, you know, like a, a bridle. So I think it's really important. And I've kind of shared this in sometimes in talking with with groups of young kids, and you got to be really clear on what your goals are, what your vision is. And so I have a guide dog, my second guide dog and so I am connected with a four legged animal, not the dog that is not the four legged animal that I envisioned when I was 1012 years old. And I've connected with having not a bridle but a harness. So I was there was a missing piece in my vision of when I grew up to be a grown well, I'm still growing up, but Michael Hingson 09:12 this is this sort of God's way of saying, Be careful what you wish for. Bob Sonnenberg 09:16 Yeah, exactly. You can be a little bit more clear, okay, and concise and focused. And but, you know, it's even to this day, I know that I mentally and mechanically, I could probably go out and easily ride a horse again and also probably even rope again. Michael Hingson 09:34 I was just gonna ask if you've done any ride, you know, not rodeo necessarily, but have you done any writing or anything in the last little while? Bob Sonnenberg 09:43 Not in the last little while. It's it's definitely on my my, my bucket list once again. Somehow, someway get involved in horseback riding again because I love doing it. It's just it's wonderful. Michael Hingson 09:59 It's been a while since I've had that opportunity, we'd love to do it again. There's nothing like the, the feeling of communicating within and riding a horse and interacting with them. Yeah, last time last time, I think we interacted with a horse was in New York City. And it was Roselle. Actually, um, we were at the, I think, walking by the Plaza Hotel right across from Central Park. And Roselle saw these dogs across the street. At least she thought they were and and somebody somebody had told me that it was the carriage horses for the carriages and all that that, that drive around anyway. I said was hey, you want to go meet them and she was wagging her tail and the closer we got the slower she walked. As they kept getting bigger and bigger and bigger. She figured out they're not dogs. I don't know about this anymore. Anyway, we went up to one. And I started talking to the guy whose horse it was the horse's name was Charlie and he said, Well, Charlie isn't necessarily the most friendly horse so you might be careful. But Charlie and Roselle struck up a relationship and they talked to each other and Charlie was very friendly and sniffed Roselle. Roselle got to sniff Charlie and we stayed there about 10 minutes and Roselle was quite happy and comfortable. She made a new friend. Bob Sonnenberg 11:22 That's great. Yeah. Michael Hingson 11:24 But there's nothing like riding a horse. I hope you get to do it. Someone I hope we can do it down here sometime soon or else up there. Bob Sonnenberg 11:32 Yep, yep, it's definitely on my list of things to do. Michael Hingson 11:37 So what happened when your retina shut down? You're on the freeway, how did you deal with that immediately? What did you do a Bob Sonnenberg 11:44 lot of emotions. You know, unfortunately, I could see I was very familiar with Sacramento and driving into Sacramento and I just kind of I was able to turn off to the roadway safely and, and actually was up there was early in the morning, I went to an all day conference, really not knowing what was going on rather than I couldn't see very well and went to the conference and made a decision. At the end of the day, probably about five o'clock, it was this saint January of 2004. So it was dark, getting dark, about five o'clock or so. And I didn't want to call and worry my wife that I I'd be late or whatever. And we had plans to meet in the city that night in San Francisco and there was about a 80 mile drive south to San Francisco and Sacramento. And so I made the decision to get in the car not necessarily the necessarily the best decision I've ever made. But I got in the car. And California was kind enough to put in those what I refer was referred to that time. Boy bumps in the freeway. So yeah, that but that's whatever. Anyhow, I just got in the slow lane and use that as kind of my guideline and safely drove to San Francisco. And that was a last evening I drove a car and I made it successfully. So Michael Hingson 13:14 safely. I don't know. But you made it which safely I Bob Sonnenberg 13:17 made it. Yeah, didn't hit anything and hurt anybody. And and I arrived. And Michael Hingson 13:22 so what did you then do what then? What happened? First of all, what? When did you learn what cost you're? Bob Sonnenberg 13:30 So it was really interesting. Just happened on a Saturday morning and Monday morning, I made arrangements to come up and see a retinal specialist in actually ironically in Santa Rosa. And I met with her and she gave me the diagnosis that it was myopic degeneration. So similar to macular degeneration, it's really high, high level nearsightedness. So I just, I don't have any dark spots, black spots, I can just the visual acuity is just not as sharp as it was and it's not correctable. So from that perspective, the fact that I don't have any dark spots, black spots, that's really account that is a blessing every day. But when I we arrived home, and I sat down with each one of my sons and told them what the diagnosis was and was just, you know, slowly processing it, but I love to share this one story with my oldest son I sat down with him and he said, Dad, you know how I can help you we'll help you and if you need a ride someplace, give me a ride and but I have a question for you and and the question was, well, God when you when you lose one of your senses, I've heard that another one is supposed to get better. I said, Yeah, I've heard that too. But, Bob, this just happened two days ago. So what are you asking me? He said, Well, when are you going to get a sense of humor. So he's much bigger than me. And I just gave him a big hug. But I, I love sharing that because, you know, that's kind of what it's all about just looking at things in a different lens and looking at it joyfully, as opposed to what was me. So having that attitude of positivity is really probably really helped me in this journey. Michael Hingson 15:38 So what was your work at the time? Bob Sonnenberg 15:41 So at that time, I was working for the triple A organization in Marion County, and our my role and responsibility was really marketing developing selling there. While everyone knows about their travel business, or their property casualty, their auto insurance and homeowners insurance, not a lot of folks knew about their life insurance business, and that was part of my background. So I was embarking on marketing for them the life insurance business in marine County. And so right in my backyard, it was a great, you know, I lived a couple miles away from where I worked. So it was pretty cool. And a triple eight, at the time really didn't know what to do with somebody that couldn't see the computer, they had no tools, no preparation for someone that was, couldn't really see. And they tried a lot of different things to try. And as far as job accommodations for me, and I will never forget the one of the first things that they tried to have me suggested I embrace as far as a position, not in the life insurance business, but in another role, another responsibility within the organization, they said, Bob, we'd like you to answer the phone. And I'm sure my reaction was it was a stunned silence, because it was not something that I really cherish doing. And fortunately, for me, I only lasted in with that responsibility for about two or three hours. And then they, they, they tried to multiple things, and I was able to work and get support, get help from the Department of Rehabilitation, get some job accommodation type tools, magnification tools, and, and I really, I, I didn't stop working the whole time. And I were, we get a ride there every day to work for one of my either my wife or my kids. And it just, it helped me having that, that work ethic, it helped me having a day, every day something to do something to work at and just kind of it helped me adjust to the sight loss and doing different things. And I you know, not only did things in interacting with people every day at the AAA organization, but also different having different roles there and using the tools and being out there where I could, I had a video magnifier, a big desktop so it just kind of accentuated the fact that hey, this guy has special tools, there's got to be someone with him and I got a you know, it took me a while to process that and but having that ability to work every day and work at it every day and embrace that connected connectivity with other people every day really helped me transfer and my fear of not having full sight anymore. And I just learned how to adjust and it was a you know, it takes time and it's kind of maybe even a lifelong thing because you still have maybe for myself and I'm not sure I really haven't talked a lot about it with other folks that have lost their sight later in life but it's a transition period and you know the interceptor really have the internal maybe attitude fortitude that you want to keep being successful you still want to be engaged in life and that that's probably been the one of the big motor freight motivators for me, you know, having been curious being fearless. constantly wanting to move forward. So Michael Hingson 19:46 What job did you ended up settling on? Or did you did you end up with a sort of a regular job for a while at triple A? Bob Sonnenberg 19:55 They had, I not only gave handed out maps gave directions to people because I knew that the area that I was living in serving in, I sold the work to the cashier, as a cashier is selling travel equipment within this store, I did inventory, they, they had me doing a little bit of everything and a lot of everything so, but I made some great connections with the people that I worked with. And that's kind of always been my Hallmark. I mean, as far as you can't do anything you do in life, I don't think you can't do it alone. And so you need to be able to have the ability to work with people and get support from other people. And, and it gave me the opportunity to do that. And really, you know, in hindsight, it really, it was a pretty low stress responsibilities that I had, looking back at it, it was it was definitely something I hadn't done in my sales, so called sales, production type career. So, you know, it was a learning experience. And I ultimately, when I, when I got learned how to use these new tools, this video magnifier or whatever their technology that might be out there, one of the trainers I will never forget, he said, he told me about people that I should connect with. And I'll never forget who he was. And when it was and who he told me I should reach out to her. So he was uh, he gave us a training and like, a new piece of equipment to my house. So I could use a video magnifier big desktop video magnifier, my house and you set it up for me and see the same, you know, Bob, you should you should connect with this guy. You may have heard of him. And they said, he said, Sam is Michael Hinkson. And so, being fearless perhaps, and not bashful about reaching out, picking up the phone and calling a stranger. That's what I did. And that's how I that's how I connect with you, Mike and, you know, ultimately connected getting a guide dog, you know, the first time I got was even considering getting a guide dog guide. They took me on a came in interviewed me did a lifestyle assessment. And then they wanted to test my cane skills. Well, this was six months into losing my sight. And I never even touched the cane. So they told me or with guide dogs told me where I was supposed to walk to. And I knew the area and I knew the routine. And I could see well enough to navigate what I thought was safely and not bump into people. So I went on the test walk that guide walked and didn't bring the cane and that was probably a bad example that I set for the guide dog instructor and but after doing that journey, or after doing that test, I got back to my house and said to the guide dog trainer, I said you know, Jim, I really don't think I need a guide dog. Okay. And my attitude was that, you know, I wasn't ready mentally to get a guide dog. But he said, Bob, what you should do just, you know, thing, your life can change. Your attitudes can change. So don't give up the thought but but wait six months, wait a year, whatever. And that's what I did. And so slowly I got I figured I had to figure out how to use a cane. So once I once I adopted and embrace using the cane. I practice every day, I was working at triple A every break I had, every lunchtime I had if I had to wait for a ride to get picked up. I'd be out there practicing using the cane until I felt really comfortable doing it. And it just became part of my life. So to answer your question or not my Michael Hingson 24:12 it does. It does and yeah. So you you eventually got to the point where you decided to to go out and get a guide dog is is your eye condition a degenerative one is it stable? I'm not asking you whether you are stable, but just your eye condition. Bob Sonnenberg 24:32 Yeah. Okay. Fortunately, my my eye condition has been really really stable. For the last really, almost since the beginning I initially I used to get a lot of on a regular basis shots of evason which were to help ward off perhaps the macular degeneration portion or and really, it got to the point where I I haven't had a shot for a least a dozen years as far as shots in the eye to to deal with a myopic degeneration. I get it. I get it tested regularly. And I can I know what the difference is as far as if there's any significant change. Well, let Michael Hingson 25:18 me ask a nice question. Oh, go ahead. Yeah, no, I Bob Sonnenberg 25:21 was gonna say one of the things and I, I've always had maybe some eye issue, one of my one of my eyes is, has never been had really good functional vision. Growing up, I played a lot of sports. But I really just saw out of one eye and my left eye was always been known as a as a so called lazy eye. So I really had no really has no functional vision, he I can see maybe two fingers, two feet in front of me if I'm lucky. But so and my left eye tends to wander quite a bit. So to keep people that I interact with on a regular basis, and on a daily basis, I wear a patch over my left eye to make the person I'm interacting with feel feel more comfortable. Michael Hingson 26:11 Interesting way to, to deal with it and to look at it. Well, I'm curious, although the condition is not necessarily one that will change a lot over time. What would you do? Or how would you react? Because you obviously do still depend on eyesight to at least a degree, if not a significant degree? What would would happen to you? What would your attitude be? If you lost the rest of your eyesight? Bob Sonnenberg 26:40 You know, I think I could, I don't like to think about it, number one, but if I did, I could make the adjustment. And, you know, and I think having made the adjustment from fully sighted to low vision, that's helpful to have in my background. But I connect with folks, you know, Michael, like, you know, sight, have a master's in physics. And so I, I really tried to be inspired by people that have that I think are very accomplished in what they do that have either no site or a site similar to mine. And it gave kind of the service or, for me a role model and inspiration that, you know, it gives maybe some degree of comfort that they're successful, they're moving forward with their life. I can do the same thing. Michael Hingson 27:43 Well, you've you and I have you and I have chatted a lot about this. But yeah, let me let me pose this question. So the National Federation of the Blind is an organization of over 50,000 blind people that has been around since 1940. And its second major president, Dr. Kenneth Jernigan, wrote an article called a definition of blindness. That was published in the 1960s. At the time, he was the director of the Iowa Commission for the Blind, as well as being the president of the Federation. And one of the the premise of the article was that you are blind or you ought to think of yourself as blind if your eyesight diminishes to the point where you have to use alternatives to full eyesight, in order to function. And when you start to have to use large print or magnifiers, or whatever, you should learn the techniques of blindness, and recognize that that you are in fact a blind person that blindness is not a total lack of eyesight. But blindness is a a characteristic that defines well, well defined is probably the wrong word, but a characteristic that you acquire, where you've lost enough eyesight that you have to do things differently. What do you think about that? Bob Sonnenberg 29:10 I think about it probably every day. And and one of the things I've realized that it takes me more time to prepare for things to practice. It takes me more time to practice things and I still trying to do everything I did in the sighted world. And one of the things I took up a few years back was that I like like sports and and so I took up tandem bike riding, okay, and know that I do not ride in the front. I'm not the pilot on the bike. But I got a guy that used to used to be a real pilot and he flew off aircraft carrier so I've been really fortunate to connect with some amazing people in my life and and having that having an attitude You'd have no fear or not. And no fear, I think is maybe a good way to describe it. But I've had a chance to throw out a couple of first pitch, first pitches in baseball games and threw out a first pitch in, in the American League and also the nationally and I know that from an athletic standpoint, I probably wouldn't have had that experience. If I was fully sighted. There'd be no, no reason for me to get that opportunity. So, you know, I like to just throw strikes, three strikes, and it's validated. Okay, just so you know, you feel free to do a Google search Bob Sonnenberg first pitch, it's actually memorialize and, and the announcer who put it up there on YouTube initially is a kid that I, I coach in little league baseball. So it's amazing how full circle things, things are in life. But I guess our strike, Michael Hingson 31:04 let's just point out that there's this other this other guy named Fauci, who threw out a pitch at the nationals baseball game, and he didn't throw a strike, you know, so yeah, I mean, you, you are welcome to say that he should keep his day job. Yeah, yeah. But you know, what is exciting? Bob Sonnenberg 31:23 A lot of things are, you know, that, that I'm able to do a lot of his his mental and mechanics. And so if you keep that in perspective, that's, that's how I kind of look at things and know that if I keep the mental and mechanics up, because I've done it before, I can do it again, type thing. And I could probably throw a strike with my eyes close to. But isn't Michael Hingson 31:49 that what it's really about? It's yeah, oh, it's really all mental. Yeah, it is. Yeah. And oftentimes, we allow ourselves to get distracted, or we allow ourselves to become fearful. And as an I call it blinded by fear, because things happen to us. And we don't learn how to adjust or as some people would say, roll with the punches, and we just allow ourselves to be overcome by things that aren't truly relevant, and that we allow ourselves to not adapt and grow when things come along to give us that opportunity. Bob Sonnenberg 32:34 That's absolutely true. I think it's it's one of the amazing things and that I get to see at their Obama center every day to connect with people that are going through that transition. A really neat thing happened, actually, just this morning, Mike, that maybe about a month ago, I did a presentation to a group of folks, actually in Marin County, via zoom. Folks, it was a vision support group. And they asked me to after the first year, they asked me if I'd like to say a few words in this group. And so I had a good Zoom meeting with him and some of the people in the group I had known from another chapter in my life. And so having that familiarity was really pretty cool. And one of the individuals I met as a result of doing that, he called me afterwards and said, Bob, I'd like to come to their obame Center. And but I, I've never and I understand that you take the smart Train, I've never taken the smart train. So I met him at the train depot when seven o'clock one morning and we took the smart train together. He came up here, I introduced him to my coffee place and I introduce them to the My driver that I get a ride from at the from the train station to their Obama's center every day. And he got some instruction here at the Obama center that day. Well, this morning, he's coming back for another training session. He's sitting in the lobby here at their obame Center. And he done made the smart train journey all by himself gotten here all by himself, it was just, it was kind of full circle to see that, you know, and he wasn't afraid of doing that he'd never taken the train before, prior to joining me on the train that one day just 30 days ago. So to see that transformation, pretty phenomenal. Michael Hingson 34:41 It's, again, all about mindset. And it's all about Yeah, the creator of your own mental attitude. And I've heard so many stories like that. It's it's great to hear so exciting and yeah, hopefully he will continue to grow in growing up myself, I've heard a number of stories like that. There is a guy he has since passed, he passed last year. His name is Doug Morris, a longtime friend of mine, through the National Federation of blind I met him when I first went to Iowa to work on the Kurzweil project back in 1976 or early 77. And Dunn was a type type one diabetic, he lost his eyesight, or literally, almost overnight, totally lost his eyesight due to diabetic retinopathy. And he happened to go to the Iowa Commission for the Blind for services. He lived in Iowa, the Commission at the time in the 60s was the lead agency, as much as anything because of the attitude that Dr. Jernigan instilled in the agency, which is the blindness isn't the problem. It's our attitude. And that blind people, although we use alternative techniques, blind again, being not just totally blind, but we use alternative techniques to what sighted people do. So Don went to the center before he lost his eyesight. He had worked for Iowa Bell, before the breakup part of the telephone company, he was the number one sales guy, he had sold more than twice what everyone else had sold, when he went to the commission, and then went back to doing the same job. And because of what he learned, and because of his attitude and mindset, he was able to continue to do the job. And oh, by the way, continue to sell like twice as much as anyone else. But then an opportunity came along, where they were looking for someone to teach people to sell. And he applied, and they would not let him apply for the job. They kept saying things like we would rather you be where you are, because you're you're bringing so much in forest. And he said, but this is a promotion, and I gotta have the right for a promotion and all that. And they said, but you're doing so well. So he finally called the National Federation of blind and the Iowa commission got resources from both to help sat down with the bell people and learned that the real issue was that they didn't think that a blind person could teach didn't matter what he had done didn't matter what his track record was, they didn't think that a blind person could teach, which is, of course, what we run into all the time, people's perceptions of what blind people can do and not do. So Don quit, he left the Iowa Bell company, and kind of had his customer database with him. Another great connector, by the way, I would say, and for those who are listening and think about it, Bob is one of the greatest connectors that I know, period, you you connect with people and you emphasize that in our time today, but anyway, so don, quit, started his own company. And he I think I may have told this story before, but he told people that he went to his customers and others go off and get your best quote from Iowa Belle, and then come to us. And we will charge you only half of what we save you over a three year period. And I said, How did that work out for you? And he said, Generally, it worked out really well given the prices they charge. I said, but did you ever have a situation where you didn't save anyone anything? And he said I had one customer who only owed me a nickel for three years worth of work. And that's all he gave me. He said and he said, I thought that was great. That's fair. That's what I that's what I committed to when he quit when he retired from that job and retired from him because he started the company when he retired and left the company. He said I paid more in taxes the last year than I made as a salesperson working for Iowa Bell. But it's all unstoppable mindset. And he learned that you've learned that. And that's really what it's all about, isn't it? Bob Sonnenberg 39:00 It really said, yeah, yeah. And it's got to come from within you within the individual, you know, you it's really easy to, to maybe share that story but to be able to demonstrate from a living standpoint, that's that's what makes a difference. Michael Hingson 39:21 And it is all about practicing what you preach and not just talk down. It's so easy for people to talk about it. But there are many unstoppable mind people, mindset people I know and you prove it every day, you've demonstrated what what can be done. And you are great at building relationships. And so you join Guide Dogs for the Blind. When did you join guide dogs Bob Sonnenberg 39:47 in 2006? And it was really Yeah. But one of the things in joining guide dogs it opened up a whole new chapter Army as far as you know, a bigger world and working in a retail shop and, uh, you know, Mark one solo marketplace at AAA, so because it gave me a chance to. I've worked in the development arena. And so my job was connecting with people, which was great. But it also gave me a chance to travel. Not only the greater barrier, but really, ultimately all over the country. And to meet people that supported an organization that dealt with blindness was is pretty empowering. Empowering in so many different levels and such a unique opportunity for many times, and many different groups of people, many different places with people. But traveling independently like that, that's really helped me having that experience, getting on a plane, getting on a train, getting on a bus, whatever the case may be. And doing it sometimes not doing it alone, sometimes, but also doing it as part of a group sometimes so so. Well, and of course, I made a difference. Michael Hingson 41:18 And development of for those who don't know, in the nonprofit world is, is fundraising is helping to acquire the funds to support the organization. Bob Sonnenberg 41:30 And one of the benefits of not seen when you do that type of work, Michael and and the audience is that you can you can picture what people's reaction might be when you talk to people about providing friends providing support for organization, you always think I've always kind of picture that it's, it's mentally, they're really, they're thrilled to talk about it. And I know many times they're very uncomfortable talking about money stuff, but you know, having that background that I get in the insurance business and the investment business, money was a pretty easy skill set to be able to talk about communicate about so I always looked at it as as a great tool to be able to kind of mentally picture that people were, you know, they'd like what they heard from you. Okay, what, but I couldn't really see their reactions, but that's what I pictured. So. Michael Hingson 42:33 So then you worked at Guide Dogs for a while. And eventually, you left? How did you get connected with a robot home. Bob Sonnenberg 42:45 So I was a guide, I worked for guide dogs for 10 years. And in develop in the development arena. And an opportunity came up with Earl balm, which is just just up the road 30 miles up the road from where I was learning where I was working at guide dogs. And they were looking to maybe formalize their their friend way in their development department. And so they needed someone with development experience and, and having this combination sight loss and development experience it, it was a really natural transition for me and a friend a great opportunity for me to be able to do that. And I've been here at the Obama center for five years. And I initially, I oversaw the development and have made some inroads relative to that, but then an opportunity. Three years ago, I had an opportunity to be become the CEO of the organization. So, you know, once again, you know, being fearless, utilizing maybe all the tools, all the stuff that I had experienced prior to losing my sight. To demonstrate it in the world of low vision now is a exciting opportunity, challenging opportunity every day. It's it's challenging, but it's definitely allowed me to the opportunity to develop a more improved and it's a constant work in progress but improve my skill set my ability to do more things, to try new things and and to be around to be kind of the springboard for people in North Bay here who have lost their sight to come to be part of this organization to see people flourish. You know, to to know that there's, there's hope. Give them joy, give them hope. Give them tools, provide the training, provide the community support, to be successful with their life to enjoy their life once again and not dwell on the negativity Last night, so Michael Hingson 45:01 tell us a little bit. Tell us a little bit more about Erlbaum. What what the center is, how long it's been around, kind of her vision going forward, because it's, it has been considered a pretty small agency up in the Santa Rosa area. And you are definitely growing it. You drafted me to be on the board, so I'm prejudiced, but just in looking at it objectively and looking at what you've done, but tell us more about the center. Bob Sonnenberg 45:28 You know, I think it's, it's, you know, we we serve four different counties. So we serve Sonoma County, Napa Lake Mendocino counties, and and there's a tremendous number of people, as far as maybe older adults that have issues with sight loss and, and different degrees. But, but when you so we, we work with, and and get clients through the Department of Rehabilitation Blind Services Group, we get clients, folks with sight loss from the Veterans Administration. And then we get clients from the the community of ophthalmologists here in the in the county that we serve. And so when you lose your sight, it's it's a lot and it's, it's it's scary. And we we try and promote ourselves and and as a place where you can maybe transform your life once again, maybe we energize your life once again. But one of the things that is key to the Earl balm Center as a vision rehabilitation organization is we have 1616 employees and incredible passionate folks, staff that that really love helping other people and and love seeing success in other people and Trent that transformation thing. So when you come to their Obama Center, one of the first kind of door openers for folks is that a majority of folks to have some site we may need. So we will go through a what's known as a low vision clinic process where a trained, licensed, professional optometrist will review analyze someone's remaining site and perhaps recommend tools that might help and give them hope that they can use some of their remaining site to kind of move on with their life. And so when you as a client, hear that you can come to a place and maybe get some hope, or maybe get some joy back to your life. That's a great inspiring thing to have out there. It's a it's a, you need hope. You need something to look forward to. And and we provide that hope we provide that joy, we provide not only the tools that are relatively available to folks with low vision, but we train people on how to use our tools, whether it be assistive technology, we have assistive technology and services, we have orientation and mobility. And that's basically not basically but one of the pieces is that how to travel safely with a cane. So we provide incredible training relative to that. And then all types of living experiences. You know, when you can't see how do you get dressed in the morning? How do you match up your clothes? How do you women, how do you put on your makeup and all of that. So it's we provide all those tools, and we provide training with all those tools. So that's what we do every day and incredibly gifted people that do that instruction every day. It's great to be part of it. Michael Hingson 49:00 That's cool. How many Not to put you on the spot. How many blind people work at Earl balm today? Bob Sonnenberg 49:08 We have our we have one. We have to me being one of that group so that I've got the low vision experience. And then we have a lady by the name of Dr. Denise Bansal, who is actually the longest tenure, she'd been here for the organization, 20 years and so we've been in business 20 plus years, so and she has no sight whatsoever and just a remarkable individual woman, mother of two and married and incredible, inspirational person. So Michael Hingson 49:44 that's cool. And yeah, and hopefully more blind people. If you hear this, we'll explore and consider possible job opportunities that are obame Because you you certainly as the CEO do hire from time The time, but it's more important to let people know that the center exists both people who could use the services and also people who might be looking for a job as job opportunities come along. Bob Sonnenberg 50:12 We definitely, you know, we had one time we had for folks with sight loss. Actually two other totally blind folks that were instructors and they both went on to new different opportunities, but but their talents and their skill set were incredible. And the the potential growth opportunities for their Obama Center. This is the demographics as such, not only here locally, but also in the whole state of California, the populations getting older. And so with older, older adults come help issues, and obviously one of them very well could be sight loss. So the marketplace is is definitely in need of talented, great communicators, great teachers. And really, you know, having me do what I do from, you know, commuting up here, taking the smart train every day, public transportation, you know, just, there's really we need folks that are willing to inspire others. And that's kind of what a great way to do it. By demonstrating and using this skill set, folks with sight loss, Michael Hingson 51:35 role models. Yeah. So I want to turn I want to turn a little bit to something we've talked about it, it is something that all of us deal with from time to time. And that's just the whole concept of accessibility and inclusion. And as you know, I work for accessiBe, which is all about internet inclusion. But we face we all face the same things that that you faced as a fully sighted person and have now learned to view it from a different perspective. And that's the whole concept of inclusion, and accessibility. How do we get people in general to start to maybe change their views about persons with disabilities, and I don't know of a better term to use disabilities as what, what we're all categorized as, although I think that whether that's right or wrong, we can certainly change the definition of disability, it doesn't nearly need to be one where we don't have ability. And so maybe we need a new word. But the reality is, as you've pointed out, we all have different gifts. And so you are a person who doesn't have one particular gift that is the gift of eyesight, you have other gifts that people with eyesight don't have whoever you are, how do we start to really get people overall to change their view about persons who are different than they, Bob Sonnenberg 53:11 maybe education. And I pick one word education, and making people feel comfortable and understand. You know, I mean, the the world today is, education is such a big piece of anyone's success. And in one of the things that I maybe deal with is on an everyday basis is is when you do have a disability, getting comfortable with situations, like one of the things that I always think about is when I go to big gatherings, and I can't see who who's they're different. It takes me a while to, to navigate to feel comfortable. You know, and the more it's like anything, the more you get in you're in a position where we do go get involved with different groups, different crowds, you feel more comfortable, and you the more you do it, the it's like practice. So I try and always look for opportunities like that. And and I get that by traveling by, you know, whether it be the conductors or the clerk at the coffee store, whatever the case may be, it's just, you know, just having them connected at a individual personal basis, you know, building a relationship with people and it's it's tough to do it in and you can really just do it one person at a time, but But you sometimes you get it's frustrating that you can't do it. 20 people at Michael Hingson 54:58 the same time, but Sometimes you can. Sometimes you can't. Yeah, yeah. But it but it's true. It is all about education, you know. And for me, I deal with internet access every day. But I also do recognize that words matter. And I think one of my stories that that I think about and something that I didn't used to think about a lot, but now I do is how you and I are described, people tend to describe us as visually impaired. I think it was Brian Bashan, who we both know who is the CEO of the San Francisco Lighthouse for the Blind. At least, this is where I first heard the concept of, we're not visually impaired because we don't necessarily look different simply because we're blind. We're not less looking, if you will, because we're blind. It's more appropriate to say vision impaired. And although I think I got lots of vision, I don't have eyesight, but I'll accept that eyesight and vision are somewhat synonymous. But I think it's appropriate to discuss vision impairment, but not visually impaired because we're not visually impaired simply because we go blind or lose our eyesight, to some degree. agree with that. Yep. And it is a, it is something that that we face. And of course, people talk about visually impaired, and that is a negative cue for people in a lot of ways, and it is part of what we need to change. And the the concept of vision impairment. Boy, if I look at a lot of people in Washington, DC today, who have fully functional eyesight from a vision standpoint, they're incredibly impaired, you know. And it is an issue, but, but the fact is that we are and and I think it's better to look at us as persons with a vision impairment. And I and I also try to educate people, as we've discussed about blind, which isn't necessarily totally blind. And but I've heard educators, I've literally been in a room with an educator who talked about two students, one who was totally blind, and another one who was partially blind. And they said, the partially blind one can still reprint and gets to reprint the totally blind, one has to read Braille. And look at the difference in what the terminology is. It's that kind of subtle terminology that plagues us everywhere we go, because the reality is that the person who is partially blind and uses large print and magnifiers will never read at the speed of a totally blind student who grows up learning Braille and learning it well. And I'm sure you can attest to it, although you're not a braille reader, but you can attest to how much of a challenge it is to read printed material. Bob Sonnenberg 58:03 Yeah, absolutely. And I marvel at people they read Braille, it was when I for one of the great stories that that it's a guide dogs related story, but I had never, when I first got my first guide dog in 2006, I had never been around two people or three people that had word, either blind, totally blind, or low vision, and to be in a group surrounded for 30 days or so, with 22 dozen people that had different levels of sight loss. That was the most incredibly educational experience that I ever had, have had. Because I got to, you know, like you talked about, understand I get to be educated that, you know, the CVC how people other people navigated with sight loss and have that real world experience was, you know, it's something that you never forget, it's, it's really made all the difference to have that, that groundwork, that experience and so that kind of having that same community experience, like I had that during that getting that first guide dog is really kind of what rural bomb center does it we provide a safe community where people can experience sight loss and make that get the first toe in the water so to speak. That you know, you can do this. It's it's not the worst thing in the world. You're, you're living breathing and live in life. So you only get to do this live thing once. You may as well have fun doing it. You may as well enjoy it and really easy to say but it takes work like it's like life, I mean, you got to put one foot in front of the other constantly so Michael Hingson 1:00:05 and you move forward if you learn to move forward. So what is in summary, we've been doing this a while, and I really appreciate it. I know you've got things to do. But in summary, what would you say to people who come to you and say, I'm losing eyesight? Or I'm facing something different in my life? I can't do it. How would you respond to that sort of thing? How would you advise people to go Bob Sonnenberg 1:00:30 look for people that will inspire you? You know, I've had in the last couple of months I've had, there's a guy that I knew he's been dealing with sight loss for 10 years as a result from glaucoma, and has been very, very reclusive. And he is a guy that I knew 20 years ago, father of a son, my kids age, and he was a, we just connected and I probably have spent more time with him in the last month than I had 20 years prior to that. But if given him some hope, and and that, you know, he, he doesn't have to do this step alone. There are solutions, there are answers. There's opportunities out there. So, you know, embrace the opportunities, embrace, embrace sight loss, because without embracing it, you're not going to move forward, you're not going to be unstoppable. You you're going to be you're just going to go back in your shirt, and a shell to sort of speak and not to that's bad for some people. That's what they want. But you know, I think it's, it's, I've been really blessed to have a constant move forward attitude. Michael Hingson 1:01:52 And that is a great way to summarize it all because it's made you unstoppable in a lot of different ways. And we we all find challenges, but we can move forward and I'm really glad and blessed to know you and to hear your story again today. And I really think that you epitomize what we talked about when we talk about unstoppable Bob Sonnenberg 1:02:16 Yeah, well thank you again for you know, Michael for for doing what you do and and thank you for being there the frame that you are appreciate it. Michael Hingson 1:02:26 Well thank you in return for the same thing. So if people want to reach out to you and meet you, or they want to learn about Earl balm, and want to get your advice in words of wisdom, how do they do that? Bob Sonnenberg 1:02:39 You know, it's really easy. We're happy to say I have a website Earlebaum. And that's E A R L E B A U M .org. Santa Rosa, California. We're here to help and we'd love to help people move forward with their life. Michael Hingson 1:02:58 Well, I hope people will reach out and you have certainly been an inspiration and you have certainly given us a lot of advice and a lot to think about. And you are unstoppable and I know I use that word a lot but that's what the podcast is about and right ourselves. So thank you Bob for for being with us. My pleasure. If people want to learn more about unstoppable mindset if you just discovered us we are available wherever Podcasts can be reached. You can also search on www.MichaelHingson.com/podcast and Michael Hingson is M I C H A E L H I N G S O N so MichaelHingson.com/podcast. You can also email me if you'd like to reach out we love to hear from people. I've gotten requests from people who have said I know someone who should be on your podcast or I like what I hear or I'd like to see you do more of this and we love input. You can email me at Michaelhi M I C H A E L H I at accessiBe A C C S S I B E.com. Michaelhi@accessibe.com and we did mention it but are Earle Baum an accessiBe user and we thank you for that, Bob. Bob Sonnenberg 1:04:17 You bet. Our pleasure. Michael Hingson 1:04:20 Well, everyone, athanks for dropping by. We hope that you'll tune in again next week for another unstoppable mindset podcast. And in the meanwhile, have a good week and stay blessed and stay positive and unstoppable. Bob Sonnenberg 1:04:34 Thank you, Michael. Michael Hingson 1:04:36 Thank you Bob. Michael Hingson 1:04:44 You have been listening to the Unstoppable Mindset podcast. Thanks for dropping by. I hope that you'll join us again next week, and in future weeks for upcoming episodes. To subscribe to our podcast and to learn about upcoming episodes, please visit www dot Michael hingson.com slash podcast. Michael Hingson is spelled m i c h a e l h i n g s o n. While you're on the site., please use the form there to recommend people who we ought to interview in upcoming editions of the show. And also, we ask you and urge you to invite your friends to join us in the future. If you know of any one or any organization needing a speaker for an event, please email me at speaker at Michael hingson.com. I appreciate it very much. To learn more about the concept of blinded by fear, please visit www dot Michael hingson.com forward slash blinded by fear and while you're there, feel free to pick up a copy of my free eBook entitled blinded by fear. The unstoppable mindset podcast is provided by access cast an initiative of accessiBe and is sponsored by accessiBe. Please visit www.accessibe.com. accessiBe is spelled a c c e s s i b e. There you can learn all about how you can make your website inclusive for all persons with disabilities and how you can help make the internet fully inclusive by 2025. Thanks again for listening. Please come back and visit us again next week.

Jim and Mike talk to Holly Hutchison about being  an early champion for such artists as Blink 182, Alanis Morissette, Muse and many others.   We talk about her career as an A&R person and her work with promoting and guiding new artists with her own company "AnR Girl".  Believe it or not Mike, Jim and Holly all graduated from the same High School! ABOUT HOLLY: Holly Hutchison Weinman is a business executive with over 34 years experience in the music and entertainment industry. She is a visionary with a passion for new ideas, branding and cultivating identity.   Her professional experience, A Level Repertoire, and deal making abilities draw largely from major recording corporation environments and highly successful mentors in New York City (Atlantic Records – a Time Warner Company) and Los Angeles (Capitol Records/EMI) where she held top ranking executive positions before venturing out on her own as a well respected, detail oriented and creative business owner. As an independent she has closed deals with Jason Flom Lava/Republic, Doug Morris former CEO Sony Music Entertainment and more.   Holly built her credibility through a consistent track record of identifying artists who have proven to be successful – some being Skid Row, Deftones, Alanis Morissette, Blink 182, Slipknot, Muse, Saliva, Bosson and Vega 4.   In Fall 2016, Holly took on management of the multi-platinum hard rock group SALIVA. She has enjoyed a long standing friendship with the group after being a first champion of SALIVA in 1998 while she was an A&R Executive at Capitol Records and the band were looking for a major label home. Unfortunately, Capitol Records did not sign SALIVA but the rockers went on to have a successful career at Island Records under music experts Rob Stevenson, Jeff Fenster and Lyor Cohen. Holly would remain a friend, business ally and mentor over the course of the next 18 years. In the two years of management, she doubled the group's gross income, released an independent single that has accumulated over 14 million streams through her marketing and landed Saliva a deal with Megaforce/Orchard/Sony Music Entertainment.   The recording studio is a second home to Holly. She has extensive A&R experience that covers all aspects of album production and song selection for pop, rock and rap genres. She has worked with top multi platinum and Grammy award winning producers, mixers and songwriters such as Timbaland, Bob Marlette (Shinedown, Red Sun Rising), Jimmy Douglas, Peter Mokran, Ron Aniello, Josh Abraham, Al Sutton (Greta Van Fleet, Kid Rock), Michael Brauer (Coldplay), Dave Way (Christina Aguilera), Diane Warren, Billy Steinberg, Monty Powell (Keith Urban, Rascal Flatts), Jack Kugell, Kirsti Manna (“Austin” Blake Shelton) and Steve Kipner, just to name a few.   Jim and Mike Talk Music can be found on Podbean (host site), Spotify, Apple Podcasts, Iheart Radio, Pandora and almost anywhere you listen to podcasts.   You can also view a couple portions of our video interview with Holly on YouTube (search Jim and MIke Talk Music to find our channel) Thank you for listening!

I had a great time chatting with Doug from Sharesight. He's a nice guy and I love using Sharesight myself. It may sound boring but record-keeping is important in share investing and it also gives you insights that can make you a more profitable investor. We cover a range of topics including:The history of Sharesight and how it worksOld School open-cry markets trading commodities in ChicagoHis previous career at Morningstar and an insight into analysisBenchmarking your portfolio against a broader market indexThe tax treatment of ETFS and those gnarly statementsReducing costsAnnualised performance and how this can help your investingHere's a link to the blog post: https://www.stocksforbeginners.net/blog/dougmorrisPortfolio tracker Sharesight tracks your trades, shows your true performance, and saves you time and money at tax time. Get 4 months free at https://www.sharesight.com/au/sharesforbeginnersDisclosure: The links provided are affiliate links. I will be paid a commission if you use this link to make a purchase. You will also usually receive a discount by using these links/coupon codes. I only recommend products and services that I use and trust myself or where I have interviewed and/or met the founders and have assured myself that they're offering something of value. Stocks for Beginners is for information and educational purposes only. It isn't financial advice, and you shouldn't buy or sell any investments based on what you've heard here. Any opinion or commentary is the view of the speaker only not Stocks for Beginners. This podcast doesn't replace professional advice regarding your personal financial needs, circumstances or current situation. See acast.com/privacy for privacy and opt-out information.

Westside Stories returns!  We start this new season off with a former Westsider from back in the '80s and '90s, Doug Morris.

Compre o livro pelo link e ajude o crescimento do podcast: https://amzn.to/3xR8cqh Inscreva-se no nosso Canal com podcasts exclusivos: https://bityli.com/rNaff E-mail: contatoelitemicrobook@gmail.com O que acontece quando uma geração inteira comete o mesmo crime? Uma trama impressionante envolvendo música, crime, dinheiro e obsessão, cujos protagonistas são magnatas, pesquisadores respeitados, criminosos e adolescentes nerds fissurados em tecnologia. Em Como a música ficou grátis , o jornalista Stephen Witt investiga a fundo a história secreta da pirataria de músicas na internet, partindo dos engenheiros alemães criadores do mp3, passando por uma fábrica de CDs na Carolina do Norte da qual um funcionário chamado Dell Glover vazou cerca de dois mil álbuns ao longo de uma década e também pelo centro de Manhattan, onde o executivo Doug Morris dominou o mercado mundial do rap, e depois se aprofundando pelos redutos mais obscuros da web até um site ilegal quatro vezes maior que a loja do iTunes. --- Support this podcast: https://anchor.fm/elitemicrobooks/support

Doug Morris, el hombre que colocó Bob Morgado a compartir la presidencia y dirección ejecutiva junto a Ahmet Ertegun en Atlantic, fundó Big Tree. Con José Manuel Corrales.

Happy NYC Pride! Post-COVID anxiety is real, but we are living our best lives and getting back into the swing of things! With the premier of All Stars season six and a new episode of España, keeping up with all this Drag Race is like a full-time job! Luckily, we've got some incredible guests to help us out. This week, we're joined by Joel Correa, a fabulous makeup artist, and Doug Morris, director of PR and marketing at 5equals10, an amazing queer-owned business selling underwear and athleisure (for 50% off new arrival merchandise, use code HUNTYS50). Joel talks about his favorite queer spaces in Philedelphia: Woody's, Voyeur, and Tabu; and Mijon and Doug sing praises for the Gotham Volleyball League. On the pod: Rupaul's Drag Race All Stars season 6, episode 1, “All Star Variety Extravaganza” Wait...what are the rules of All Stars again? Jan's year-long blackout We are loving Ra'Jah O'Hara's new peaceful and joyful aura Drag Race doesn't have to be mean-spirited! Yara Sofia is so fun, we would watch her do anything Rupaul's Drag Race All Stars season 6, episode 2, “The Blue Ball” Scarlet Envy is killing it on every runway Can we talk about how perfect Sonique Kylie Love's denim look was? Yara's plummet to the bottom Serena ChaCha needs to humble herself! Jiggly Caliente has touched hearts and minds with her story Drag Race España episode 4, “Snatch Game” The queens look like they are having so much fun! Dovima is finally opening up Pupi Poisson is hilarious and absolutely slayed the reading challenge Supremme is so kind and loving to the queens Are Hugáceo's days numbered? Why we're team Carmen Farala Killer Queen does it all! Pupi Poisson is a star!! About our guests:Joel Correa is a Queer Creative hailing from Philadelphia, PA. He fuses his passion and love for music, fashion, comedy, and makeup to deliver uplifting and empowering messages to his audience. He has worked with the likes of Milk Makeup, Colourpop, and Morphe just to name a few! Doug Morris is the director of PR and marketing at 5=TEN. Their story is quite simple: Five individuals started this company with the sole purpose of creating better underwear for all men and they now expanded to women's athleisure. They also want to make a difference in the world, so every purchase earns at least a 10% donation for the charity of your choice, at no extra cost to you. Combining premium products with philanthropy is in our DNA and how 5=TEN was created.Try out 5=TEN today with our exclusive Hunty discount: HUNTYS50Receive 50% off New Arrival Merchandise only.Valid through July 31, 2021FOLLOW JOEL:Instagram: @itsmejoelcFacebook: Joel CorreaTikTok: @itsmejoelcTwitter: @itsmejoelcYoutube: Joel CorreaFOLLOW 5=TEN:Website: 5equals10.com Instagram: @5equals10Facebook: 5=10Youtube: Five Equals TenFOLLOW NICKInstagram: neprobst and grow_withnickTwitter: neprobst  FOLLOW MIJONInstagram:majorzu FOLLOW THE HUNTYSInstagram: whisperinghuntysFacebook: whisperinghuntysTiktok: whisperinghuntysTwitter: huntywhisperingWhispering Huntys Website  Whispering Huntys is an Apocalypse Podcast Network Podcast. Sign up to our Listserv: http://eepurl.com/hfnySr

Doug Morris is the CEO of Sharesight, a portfolio tracking tool for managing your investments and making tax reporting simpler and easier. In this Quick Tip Doug explains ETFs and their importance in any portfolio. He holds a Bachelor's degree in Psychology from the Southern Methodist University in Dallas. After graduating, Doug joined Morningstar Research but before that was running trade orders at the Chicago Board of Exchange.Portfolio tracker Sharesight tracks your trades, shows your true performance, and saves you time and money at tax time. Get 4 months free at https://www.sharesight.com/au/sharesforbeginnersDisclosure: The links provided are affiliate links. I will be paid a commission if you use these link to make a purchase. You will also usually receive a discount by using these links/coupon codes. I only recommend products and services that I use and trust myself or where I have interviewed and/or met the founders and have assured myself that they're offering something of value.Stocks for Beginners is for information and educational purposes only. It isn't financial advice, and you shouldn't buy or sell any investments based on what you've heard here. Any opinion or commentary is the view of the speaker only not Stocks for Beginners. This podcast doesn't replace professional advice regarding your personal financial needs, circumstances or current situation. See acast.com/privacy for privacy and opt-out information.

Welcome to another special episode of ‘On the Couch’ with myself Henry Jennings from Marcus Today. This week I am talking to Doug Morris, the CEO of Sharesight. Some members will be familiar with this portfolio tracking platform and Doug runs through some of its features. We talk, Bitcoin, NFTs and the rise of fintechs and some of the trends that he sees with his unique view on a wide range of client portfolios.Doug is a leading voice in the Australasian FinTech and SaaS industries. He began his career with Morningstar, Inc. in Chicago, IL, where he served in a project management role within the investment management business. He served as Product Manager for Morningstar Adviser Research Center, a platform serving financial advisers and then Global Product & Marketing Manager, Equity & Credit Research, overseeing international research distribution. Doug joined Sharesight as General Manager in 2013, before becoming CEO in 2015. 

Welcome to another special episode of ‘On the Couch' with myself Henry Jennings from Marcus Today. This week I am talking to Doug Morris, the CEO of Sharesight. Some members will be familiar with this portfolio tracking platform and Doug runs through some of its features. We talk, Bitcoin, NFTs and the rise of fintechs and some of the trends that he sees with his unique view on a wide range of client portfolios.Doug is a leading voice in the Australasian FinTech and SaaS industries. He began his career with Morningstar, Inc. in Chicago, IL, where he served in a project management role within the investment management business. He served as Product Manager for Morningstar Adviser Research Center, a platform serving financial advisers and then Global Product & Marketing Manager, Equity & Credit Research, overseeing international research distribution. Doug joined Sharesight as General Manager in 2013, before becoming CEO in 2015. 

A Quick Tip from Doug Morris from Sharesight about making your first share purchase and using it as part of your learning experience. Only invest a small amount and then read everything you can about the company. The companies he mentions are all US stocks but the same lessons go for companies on the ASX."Look for a company you're familiar with, that you use on a daily basis. Is there a statement from a trained analyst saying the value of this company is x and the shares ought to be trading at y? That might be a company you should consider investing in."Portfolio tracker Sharesight tracks your trades, shows your true performance, and saves you time and money at tax time. Get 4 months free at https://www.sharesight.com/au/sharesforbeginnersDisclosure: The links provided are affiliate links. I will be paid a commission if you use these link to make a purchase. You will also usually receive a discount by using these links/coupon codes. I only recommend products and services that I use and trust myself or where I have interviewed and/or met the founders and have assured myself that they're offering something of value. Shares for Beginners is for information and educational purposes only. It isn't financial advice, and you shouldn't buy or sell any investments based on what you've heard here. Any opinion or commentary is the view of the speaker only not Shares for Beginners. This podcast doesn't replace professional advice regarding your personal financial needs, circumstances or current situation. See acast.com/privacy for privacy and opt-out information.

How do you choose your first stock market investment? Doug Morris the CEO of Sharesight offers some tips about making that first stock purchase.Find a company that you know wellA well established company that has been around for a long timeHave a look at analyst reports of the company and see if they are pointing to a higher price in the futurePurchase the minimum amount and never any amount that you can't afford to loseOnce you own it read and research everything you can as a way of learning how companies are valuedBe prepared for the stock to drop after you purchase it. It will prepare you for losses and handling the psychology of investingKeep learningPortfolio tracker Sharesight tracks your trades, shows your true performance, and saves you time and money at tax time. Get 4 months free at https://www.sharesight.com/au/sharesforbeginnersDisclosure: The links provided are affiliate links. I will be paid a commission if you use these link to make a purchase. You will also usually receive a discount by using these links/coupon codes. I only recommend products and services that I use and trust myself or where I have interviewed and/or met the founders and have assured myself that they're offering something of value.Stocks for Beginners is for information and educational purposes only. It isn't financial advice, and you shouldn't buy or sell any investments based on what you've heard here. Any opinion or commentary is the view of the speaker only not Stocks for Beginners. This podcast doesn't replace professional advice regarding your personal financial needs, circumstances or current situation. See acast.com/privacy for privacy and opt-out information.

Our guest is Doug Morris, CEO of Sharesight, the online stock portfolio tracker & reporting tool. We talk about his background, the vision behind Sharesight and how it can simplify investor's lives. Tony is a convert!

Dexter Cousins is joined by Doug Morris CEO of Sharesight.They're an award-winning portfolio tracker used by over 150,000 investors around the world to accurately track their performance, dividends, and tax. Coming from humble beginnings (an excel spreadsheet!) Sharesight is a privately (family) owned Fintech. Sharesight are now partners to Morningstar, ASX and CMC Markets. Started by Kiwis Tony and Scott Ryburn (father and son) Sharesight is a business you can't help but admire. Doug talks through his experiences of being a CEO in a family owned Fintech, Sharesights plans for growth and his thoughts on hiring for startups.----------------------This podcast is produced by Tier One People, leaders in FinTech Executive SearchYour Host, Dexter Cousins is Founder and CEO of Tier One PeopleThe Finnies, are coming. Our Partners FinTech Australia along with the Victorian Government, Vocus and BPAY, are are bringing you Australia’s largest and most prestigious Fintech Awards, yet!And we would love for you to tune in and celebrate the winners.This year you can join virtually, in person or host your own office party!So wherever you are, let's come together and recognise the amazing people, innovations and resilience Aussie Fintech is renowned for. Registration for the event is now open. But be fast, the first 15 companies to host a Finnies party will receive an exclusive goodie bag full of fun gifts.https://thefinnies.org.au/If you would like to sponsor the FinTech Australia Podcast show please contact info@tieronepeople.comThanks To Our Partners FinTech Australia We share a mission to build a strong Fintech community, foster connections and support innovation.Celebrate at the Finnies! Vic Gov, Vocus and BPAY bring you Australia’s largest and most prestigious Fintech Awards, yet!Get the latest Fintech Chatter Sign up to my newsletter for the latest in what's happening in Fintech

Welcome to No Need to Ask Podcast! My name is Amani Duncan and I will be your host on this journey. I recently launched a new series for No Need to Ask entitled "CEO Talk". On this episode, I have the pleasure of speaking to one of the music industry's greats - Madeline Nelson, CEO of Heads Music. Madeline is a seasoned music executive with years of experience, ranging from her work as manager of R&B supergroup Blackstreet to her A&R work with Michael Jackson, Marketing work for J. Cole and current management of Wyclef Jean.After holding the role of Senior Vice President of A&R / Artist Relations across all 3 of the Major labels at Sony Music, where she served as a direct report to CEO Doug Morris, Madeline shifted back to artist management and also founded an indie label staffed entirely by Women. The experience at such a high level at Sony Music gave her a keen understanding of what products should go to market and best practices for organic entry of those products. It also fueled her determination to work towards equality for Women in the music industry.Madeline’s business is an independent, boutique-style music company based in New York City, that focuses on services within management, brand strategy, record label, and publishing.Madeline firmly believes in exploring new technology as a strong way forward for the music business and embraces digital streaming services as an opportunity for artists to take more control of their careers and be paid more fairly.Learn more about Madeline Nelson at www.headsmusic.com. If you enjoy No Need to Ask podcast, please leave a review here: apple.co/3drgU57.Thank you and until we meet again, be safe and be well.

In this episode, we have the opportunity to speak with Captain Doug Morris. Capt. Doug is arguably Air Canada's most famous pilot as his column "Taking Off With Captain Doug" has been running in the airline's inflight magazine for over 22 years. We talk about Doug's books and his take on the aviation industry and how he became an Author, Meteorologist and Airline Captain. Support the Cardinal Aviation Audio Briefings Podcast by picking up some Cardinal Gear or Buying us a coffee! http://www.cardinalaviation.ca/storeDoug's Books:Canadian Aviation WeatherFrom The Flight DeckPilot Weather From Solo to Airlines

I had a great time chatting with Doug from Sharesight. He's a nice guy and I love using Sharesight myself. It may sound boring but record-keeping is important in share investing and it also gives you insights that can make you a more profitable investor. We cover a range of topics including:The history of Sharesight and how it worksHis previous career at Morningstar and an insight into analysisBenchmarking your portfolio against a broader market indexThe tax treatment of ETFS and those gnarly statementsReducing costsAnnualised performance and how this can help your investingSharesight is the best portfolio tracking tool in the known universe - and they are pleased to extend a SPECIAL OFFER to listeners of this podcast: 4 months free on an annual premium plan! Click here and sign up now for a 7 day free trial.Stocks for Beginners is for information and educational purposes only. It isn’t financial advice, and you shouldn’t buy or sell any investments based on what you’ve heard here. Any opinion or commentary is the view of the speaker only not Stocks for Beginners. This podcast doesn’t replace professional advice regarding your personal financial needs, circumstances or current situation.Thanks to Christopher Soulos for music production out of Garlic Breath Studio https://www.facebook.com/GarlicBreathStudio. Remember music flows when the money don’t.

This is a new and special format of the Mile after Mile podcast. Instead of just one interview we have FOUR.  Here’s the story behind the story for you. Sometimes over at AmySaysSo.com I put together a collaborative article where I go out and source answers to one question or a group of questions from other coaches. I put them all together in one big article and it’s very popular with my readers.  As I was putting this latest article together I thought that this might also be a great format for a podcast. At the very end I threw out a casual invite the participants and said - hey if you want to be on the podcast to talk about this - let me know. Lucky for all of us they said yes.   This episode features Doug Morris of Palm Trees Ahead Coaching, Dr. Elaina Biechler of E-Fitness Coaching, Brian Stover of Accelerate 3 and Jennifer Harrison of JHC Coaching. You can find these coaches at their websites here: https://www.palmtreesahead.com/  https://www.efitnesscoaching.com/ https://accelerate3.com/ https://www.msmjhccoaching.com/ Here is the link to the full article with all 17 coaches. https://www.amysaysso.com/triathlon-coaching-questions-how-you-can-adjust-your-training-during-the-covid-19-pandemic/ You can find a link to the full article at in the show notes at www.mileaftermilepodcast.com.  

Given the recent state of the markets, now may not be the time you want a deeper insight into your investing portfolio. However, when you're ready to look, today's guest thinks he can show you a better way. We sat down with Doug Morris, the CEO of portfolio-tracking service Sharesight, to learn about his personal investing journey and the work he is doing at Sharesight. After starting his career in the US and spending 5 years at stock research giant Morningstar, Doug joined Sharesight in 2013 and was promoted to CEO in 2015, where he has served ever since. We were actually introduced to Sharesight by the Equity Mates community, and in this interview we unpack what Sharesight offers over tracking your portfolio through your brokerage account or in a spreadsheet. We also get Doug's view on the current state of the market and unpack some of the lessons he's learnt through his career in finance. For Equity Mates listeners, Sharesight is offering the first two months free when you purchase an annual subscription. So if you're ready to gain a deeper insight into your portfolio, and discover an easier way to manage tax reporting, sign up today at: https://www.sharesight.com/au/equitymates/ Want more? Subscribe to Equity Mates Investing Podcast, social media channels, Thought Starters mailing list and more here. Equity Mates is a part of the Diamantina Media Network – the home of Australia’s favourite podcasts. For more information, visit http://diamantina.com.au/

Samantha Cole is a multi-talented singer, songwriter and performer turned vocal coachand talent manager. Cole was discovered by Universal Music’s Doug Morris and Daniel Glass,and promptly signed to Universal Records. She co-wrote eight of the songs for her self-titleddebut album, produced by an all-star team of hit-makers: David Foster, Nile Rodgers, RichardMarx and Rhett Lawrence. The album spawned the Top 40 single “Happy With You.” The follow-up single, “Without You” (written by Cole and Foster), soared to #1 in Asia and was later coveredby “American Idol” stars Kimberly Locke and Clay Aiken. She is also known for her top 5 globalhit, “Luv Me Luv Me,” in which she is featured with international superstar Shaggy. Cole hastoured with Backstreet Boys, Shaggy and 98 Degrees and has collaborated with Boyz II Men,Robin Thicke, Diane Warren, Bon Jovi and Aerosmith songwriting teams, and more. We talk about her career and discuss her current workshop tour with 13-time Emmy Award-winning musician/producer A.J. Gundell for music artists who wish to learn about performing, vocal technique, proper mic use, songwriting, recording, licensing, + tips on marketing & promotional secrets from music industry insiders.

It was my great pleasure to be invited by the wonderful people at Sharesight (the fabulous on-line portfolio tracking tool) and Finimize to moderate a panel discussion with Doug Morris the CEO of Sharesight, Claude Walker from Ethical Equities, Ted Richards from Six Park and Kylie Parker from Lotus Accountants about common investing mistakes and how to avoid them.We talk about:Memorable MistakesThe Dunning-Kreuger effectETFsWhat the panellists kids investedIs Google the ultimate diversified investment?Doug's tech heavy family investmentsTed watching his highly-paid team mates blowing big moneyWhen it's time to sell a stock that's gone badThe Pre-mortemCompany reports read them unless you're an accountant and don't read them and much more.Sharesight are pleased to extend a SPECIAL OFFER to listeners of this podcast: 2 months free on an annual premium plan! There’s a 7 day free trial where you can experience the full power of the Sharesight portfolio management. And it’s not just for Australia, I know some of you are listening in countries not lucky enough to be Australia but Sharesight supports 30 of the world’s great exchanges.Go to sharesight.com/sharesforbeginners and sign up now for a free trial before taking advantage of 2 free months.Disclaimer: Shares for Beginners is for information and educational purposes only. It is not financial advice, and you should not buy or sell any investment based on information provided. Any opinion or commentary is the view of the guest and does not reflect the views of Shares for Beginners. This podcast does not replace professional advice regarding your personal financial needs, circumstances or current situation.

Block and Lot with Brian Meier.What percentage of properties actually succeeded in selling last year?When your clients are in contract in a new development and prices drop, what are your options?Does an owner have to warn a potential buyer if the house is haunted?We love to support our clients, especially when they create an empire for luxury products that give back actual profits from each purchase to charities! Our guests this week Michael Yang and Doug Morris are the incredibly talented co-founders of 5=Ten, a luxury athletic wear and underwear for Men.

LLN (4/16/19) –A group says there are 10 Freeways in America that have outlived their usefulness. Plus, OOIDA’s Director of Security Operations, Doug Morris will be part of a new committee on Surface Transportation Security. Multiple states are considering changes with speed differentials. Some are adding and some are eliminating them. News you need to know on today’s Bulletin Board. And a spring infrastructure package that may have financially fizzled. 0:00-9:57 – Newscast 9:57-24:43 – OOIDA’s Director of Security Operations Doug Morris is part of a new committee on Surface Transportation Security. Plus 10 Freeways that may have outlived their usefulness. 24:43-39:38 – Multiple states may add speed differentials – two are considering eliminating them. 39:38-49:25 –Thousands of structurally-deficient bridges in America – where do they fit in a spring infrastructure bill or do they?

What do you use to track your portfolio's performance? Does your reporting software take into consideration things like franking credits, DRP and currency conversion? Today I have the pleasure of speaking to Doug Morris, the CEO of Sharesight, the best share portfolio tracker for Aussie investors. But Sharesight does a lot more than simply telling you the true performance of your portfolio. There’s a bunch of other useful tools and features available and some of which we are going to cover today. In today's episode we chat about: - How Sharesight can help show your true performance - Tax reports to making lodging your tax return a breeze - Historic share data to quickly see how a theoretical portfolio would have done in the previous decade or two and much more

OOIDA’s Jay Grimes shares what the FMCSA has heard so far at their listening sessions on hours of service and autonomous vehicles. Not home on Election Day? You can still vote. Keith Goble tells us how. And OOIDA’s Doug Morris has an update to some possible changes with the CSA program.   00.00 -10:09 - Newscast 10:09- 24:48 - What the FMCSA is hearing about HO 24:48 - 40:11  Not home on Election Day? You can still vote 40:11- 50:24  The latest on possible CSA changes

During our second podcast, you can hear the co-chairs of the All-Party Parliamentary Group (APPG) for Children Who Need Palliative Care, the MPs Catherine McKinnell and Dr Caroline Johnson, hear evidence from Doug Morris, a father of a young man who has a life-limiting condition, and Stephanie Nimmo and Carly and Paul Hadman, who are all bereaved parents of children who died as a result of life-limiting conditions. This evidence session, recorded on 7 February 2018, is one of several which the APPG held as part of its inquiry. If you would like to know more about Together for Short Lives, or how you can support our vital work, please visit our website at www.togetherforshortlives.org.uk  

The Food Safety Modernization Act has gone into full effect for motor carriers. So what does that mean to you? Mark Reddig finds out from OOIDA’s Director of Safety and Security Operations, Doug Morris.

During our second podcast, you can hear the co-chairs of the All-Party Parliamentary Group (APPG) for Children Who Need Palliative Care, the MPs Catherine McKinnell and Dr Caroline Johnson, hear evidence from Doug Morris, a father of a young man who has a life-limiting condition, and Stephanie Nimmo and Carly and Paul Hadman, who are all bereaved parents of children who died as a result of life-limiting conditions. This evidence session, recorded on 7 February 2018, is one of several which the APPG held as part of its inquiry. If you would like to know more about Together for Short Lives, or how you can support our vital work, please visit our website at www.togetherforshortlives.org.uk

It’s no exaggeration to say the ELD mandate has been a disaster. Terry Scruton talks about just how bad the problems have been with Trevor Williams of OOIDA’s Business Services Department and OODIA’s director of safety and security operation Doug Morris. And he gets some advice on what you can do about those problems from Dale Watkins of OODIA’s Business Services Department.

Rhode Island has received federal approval for tolling trucks only. Mark Reddig discusses what’s happened and what the implications are with Doug Morris of OOIDA’s Washington, D.C., office. They also discussed the current troubles with the recent ELD mandate.

One of the nagging things about the CSA system for most truckers is that if a crash happens, it goes on the trucker’s record, no matter who’s to blame. Now, the FMCSA has started a program to look at whether those crashes were preventable or not. Mark Reddig talks with OOIDA’s Director of Security Operations, Doug Morris.

The Transportation Security Administration is considering a plan to track certain trucks as they move across the country. So why are they doing that, and is it a good idea? Mark Reddig discusses that and more with OOIDA’s Director of Security Operations, Doug Morris.

The Secretary of Transportation has offered more details of the president’s 1 trillion dollar infrastructure plan – including how much federal tax money will be used with other private funds to make it happen. Mark Reddig gets the details on that and more from OOIDA’s Doug Morris.

Several companies are about to unveil electric-powered semis. Mark Reddig discusses what they’re intended for, how practical they are and more with OOIDA’s Doug Morris.

As we get closer to the effective date of the ELD mandate, law enforcement officials are trying to answer some questions they have about how the regulation will work on the ground. Mark Reddig discusses that and more with OOIDA’s director of security operations, Doug Morris.

Marking the death of the brilliant James Dewitt Yancey - better known to music fans as J Dilla. Spinning of Dilla's music and speaking with Old Soul's Doug Morris about this a Dilla tribute at The HI-FI. The second half of the show Mat Davis returns for his monthly Localmotion segment. Guest is vocalist Jo Universal.

Episode 21 of 99% Perspiration Jam-packed episode for you this week.  On the 7th October, the Student Radio Association held training days around the country, inviting various radio professionals to give talks about their work, share their stories, and offer advice to tomorrow's radio professionals. And that's exactly what 99% Perspiration is all about!  We're were lucky enough to be invited to the North East & Yorkshire training day.  So if you're interested in heading into radio/audio work - whether it's presenting, producing, journalism, or voice over - then listen on.  This is the podcast for you. ---------- This Week's Guests: Steve and Karen, Breakfast Presenters on Metro Radio. Doug Morris, Managing Editor at BBC News, Newcastle. Anna Harding, Regional News Editor for Global Radio. Tom Campbell, Drive presenter of Heart Radio. Emma Snook, producer/presenter at Amazing Radio. Kyle Wilkinson, the voice of BBC Radio 1. ---------- A little aside: I'm pretty excited to announce that my radio drama, SeaBurn, has been nominated for "Best Speech" at the Student Radio Awards 2015.  This nomination is one of 8 from Spark FM in Sunderland, the community radio station I volunteer with.  So, wish us luck! ---------- More ways to get in touch with 99% Perspiration: Join our growing creative network on Facebook Follow us on Twitter for all the latest updates - @99Podcast We post extra content on our official website - 99Podcast.com ---------- About 99% Perspiration: Weekly advice from today's creative and artistic professionals - FOR tomorrow's. We're here to help you gain the confidence and the know-how to make your creative calling into a career. If you're interested in radio, presenting, producing, promoting, music, bands, artists, networking, marketing, content, TV, film, social media, writing, acting, directing, production, website, graphic design, advertising, theatre, literature.......  Then this is the podcast for you!

In his letter to Apple today, Carl Icahn lists a litany of reasons why Apple’s stock is undervalued and how to get it up closer to what he thinks is fair value right now. I’d like to welcome Carl Icahn, once again, to the “Apple’s undervalued” camp. But I think he’s missing the main reason that Apple isn’t at $200 right now — and that is because it is and always now will be, Steve Jobs-less. I’ve proudly owned Apple since it was trading for less than the cash on its balance sheet, back $1 per share back in March 2003, in large part because I thought that with Steve Jobs having returned as CEO that Apple was poised to become a great Revolution Investment. One of Steve’s greatest attributes was that he was willing to take huge risks and develop crazy new products (like an MP3 player with a scroll wheel on it or a tablet computer called iPad) and platforms (like iTunes or iOS). The biggest (only?) risk that Tim Cook’s had Apple undertake is the upcoming Apple Watch. If Steve Jobs were running Apple today, the Apple Watch would definitely have been called iWatch (remember how Apple had to pay up to buy the iPhone name from Cisco?). And the Apple iWatch would have been out last year or the year before. If Steve Jobs were alive today, I bet the iPhone wouldn’t have changed the size of its screen as Steve Jobs famously thought he’d found the perfect size for the iPhone screen. Rather, we’d now be closer to a credit card thin iPhone running an iOS that would already include live widgets. Steve Jobs would have been pushing innovation in the iOS rather than playing catch up with Android as Tim Cook has done. Finally, if Steve Jobs were alive today, I don’t think that Apple would be paying a dividend. And ask Warren Buffett about trying to advise Steve Jobs to buy back Apple stock. Rather, Steve loved his cash hoard. Scutify Factoid of the day for you: If Apple had never paid a dividend or bought back any shares, it would likely have another $130 billion in net cash on its balance sheet — or more than $40 per share, or twice its current cash balance under Tim Cook. Clearly, nobody knows exactly what left turns and changes and other products and ideas the late, great Steve Jobs would be working on right now. But having owned the stock throughout the greatest run in its history, from March 2003 to October 2011 when he passed, I remember a lot of lessons and insights that Steve Jobs provided us over the years. In the 2006 interview below, I was totally channeling my inner (wannabe) Steve Jobs. As for Carl Icahn’s $203 price target? Here’s an article from back in 2010 called when $AAPL was at $35 called “How Apple could get to $1500 by 2015.” That $1500 price target is actually a $214 price target (factoring in the 7-to-1 stock split since then). Icahn’s late! Apple is cheap by many metrics, that’s for sure. At a similar multiple to, say, $GOOG, $AAPL would over $200. If Steve Jobs were still running Apple and the company had $40 per share in net cash plus the higher sales from more innovative product rollouts over the last few years that I just outlined, the stock would probably be over $200 a share. So call it the Tim Cook discount, and tell Carl Icahn all of us Apple shareholders, even us long-termers, feel his frustration. I’d also bet that Carl Icahn would not be going activist on Apple if Steve Jobs still ran Apple. As I told Sony’s Doug Morris when I met him a few weeks ago and we talked about technology ”I’ve been riding the Apple train for more than a decade.” He said to me, “That’s a great train to have been on.” It still is, even with the Tim Cook discount. Stick with Apple.

  June 24, 2008: Jane Van Ryan talks with Doug Morris, API’s group director of Upstream and Industry Operations to answer questions submitted to EnergyTomorrow.org about the exploration and production of oil and natural gas. 

News, an interview with Jammin' Dave Jackson, Crosstalk, mixing tips, we tweak the Stupid Knob and Viewer Mail with a disturbing lava lamp update. News: Listen To PSN On Your Phone! (408) 538-2175 Double Freebies!   Spline-Time   NuGen's Line-up reFuse Software's Lowender New Pianoteq Models Available Win A SSL Duende! Jammin' DaveJacksonCelebrity Interview:: Where do musicians go to trade advice? Why they go to the Musician's Cooler with Jammin' Dave Jackson! Dave's got his own gear conundrum going on as he contemplates his first DAW. He also has some great ideas on promoting your studio and recording projects with podcasting. Crosstalk: World-class drummer Brian Stephens Will Play Drums On Your Project For Just $75.00 Per Song! Brian StephensContact Brian Through His Web Site: BonzoTunes.com Mark Rufino's Links To Affordable Ribbon Mics:   Ribbon Mic #1   Ribbon Mic #2 The mixing book Mark referred to: Mixing With Your Mind The Stupid Knob: iPod owners are "thieves", according to Universal Music CEO, Doug Morris. MacWorld Link Billboard Link Viewer Mail: 1) Can you help Zach with foreign power conversion? 2) Dave Criddle On Using Drum Loops 3) SUPER LAVA LAMP REPORT: Shane Hendricks: Mac Screensaver Ed Bradshaw: Touch Screen Video Ed Kachajian: The diagram from Getting Started in Computer Music by Mark Nelson, a book for recording beginners: Adam Unser: Tube Warm Up Indicator Caleb Hawkins: GIANT LAVA LAMP! Answer To Last Week's Trivia Question: Q: Where is the Rock And Roll Hall Of Fame located and when did it open? A: The Rock and Roll Hall of Fame is in Cleveland, Ohio. The Rock and Roll Hall of Fame Foundation came together in 1983. Groundbreaking for the building took place on June 7, 1993 and the building opened to the public on September 2, 1995. Congratulations to Rich Masling, this week's winner of a copy of Guitar and Drum Trainer, courtesy of Ryan Smith over at GuitarAndDrumTrainer.com. Although just a bit late, the correct answer was also given by T-Bush and Jim Farley. Good job folks! See you next week! Tags: music recording studio home studio project studio mixing protools plugin digidesign frappr creative commons digidesign guitar and drum trainer ssl solid state logic vst lava lamp jammin dave jackson refuse software pianteq ssl duende musicians cooler cooler podcats school of podcasting building a better dave brian stephens ocean street bonzo tunes ipod macworld billboard giant lava lamp rock and roll hall of fame cleaveland