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Will Page returns to the show for a “state of the industry” episode. In last year's appearance he correctly called out the slowdown in streaming subscriptions, bubbles in web3, and more.Will believes the value of copyrighted music could hit $45 billion annually when the 2022 numbers are calculated — up $5 billion from 2021, which is already an all-time high for the industry.  Another massive shift is glocalisation”: the trend of local music dominating the domestic charts, as opposed to Western artists. This phenomenon isn't just being felt in music, but across every industry, from film to education.We covered both these trends, plus many more. Here's all our talking points: 1:33 Why the music industry is actually worth $40+ billion annually7:03 Physical music sales on the up and up10:47 How publisher and labels split up copyright value16:59 The rise of “glocalisation” will impact every industry34:39 DSP carnivores vs. herbivores 40:23 Why video vs. music streaming isn't a perfect comparison 46:31 Music as a premium offering in the marketplace 51:38 How to improve streaming royalties  1:06:05 AI music benefits that goes overlooked 1:10:07 Will's latest mix pays homage to Carole KingGlocalisation report: https://www.lse.ac.uk/european-institute/Assets/Documents/LEQS-Discussion-Papers/EIQPaper182.pdfWill Page's 2023 Believe in Humanity:https://www.mixcloud.com/willpagesnc/2023-believe-in-humanity/Listen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuest: Will Page, @willpageauthorThis episode is sponsored by DICE. Learn more about why artists, venues, and promoters love to partner with DICE for their ticketing needs. Visit dice.fmTrapital is home for the business of hip-hop. Gain the latest insights from hip-hop's biggest players by reading Trapital's free weekly memo. TRANSCRIPT[00:00:00] Will Page: I put so much emotional time and effort into making these mixes happen and going out for free.They get your DJ slots, but more importantly, it goes back to what makes me wanna work in music, which was a lyric from Mike G and the Jungle Brothers from that famous album done by the forties of Nature, where he said, it's about getting the music across. It's about getting the message across. It's about getting it across without crossing over.How can I get art across an audience without delegating its integrity? And it's such an honor to have this mixed drop in this Friday I mean, that's, made my year and we're not even into June yet.[00:00:30] 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 executives in music, media, entertainment, and more who are taking hip hop culture to the next level.[00:00:56] Dan Runcie Guest Intro: Today's episode is all about the state of the music industry, and we're joined by the One and Only, Will Page. He is a fellow at the London School of Economics. He's an author of Tarzan Economics and Pivot, and he is the former chief economist at Spotify. Will's second time on the podcast. Now, the first time we talked all about the future of streaming and where things are going in music, and we picked that conversation, backed up.We talked about a bunch of trends including the glocalisation of music, which is from a new report that Will had recently put out. We also talked about why he values the music industry to be close to a 40 billion industry, which is much higher than a lot of the reports about recorded music itself.And we also talk about a bunch of the topics that are happening right now, whether it's ai, how streaming should be priced, the dynamic between record labels and streaming services, and a whole lot more love. This conversation will always brings it with these conversations, so I hope you enjoy it as much as I did. Here's our chat.[00:02:00] Dan Runcie: All right, today we have the one and only Will Page with us who is recording from a beautiful location. I don't know if you're listening to the pod you can't see, but will tell us where you are right now.[00:02:09] Will Page: So great to be back like a boomerang on Trapital. Dan, and I'm coming to you from the Platoon Studios. Part of the Apple Company Platoon is our label services company, which is owned by Apple. They're doing great stuff with the artists like Amapiano music from South Africa. And the best place I can describe to you here, it's like a Tardus.Have you've ever seen Dr. Who? There's a tiny door in this tall yard music complex in North London just behind Kings Cross. When you enter that tiny door, you enter this maze of the well class spatial audio recording studios of Apple. And it's an honor they've given me this location to come to Trapital today.[00:02:41] Dan Runcie: Well we're gonna make the best of it here and it's always great to have you on, cuz Last year, last year's episode felt like a state of the industry episode, and that's where I wanna start things off this year with this episode.A couple months ago, you put out your post in your Tarzan economics where you said that this industry is not a 2020 5 billion industry, the way others say. Mm-hmm. You say, no, this is almost a 40 billion industry. So let's break it down. How did you arrive there and what's the backstory?[00:03:12] Will Page: I get goosebumps when you say that you think like 10 years ago we were talking about a 14 billion business and now it's a 40, you know, skews a slurred Scottish pronunciation, but let's just be clear from one four to four zero, how did that happen?Well the origins of that work, and you've been a great champion of it, Dan, is for me to go into a cave around about October, November and calculate the global value of copyright and copyright is not just what the record labels publish, that famous IFPIGMR report that everyone refers to, but it's what collecting studies like ask F and BMI collect what publishers generates through direct licensing.You have to add A plus B plus C labels, plus collecting societies plus publishers together. Then the complex part, ripping out the double counting and doing all the add-backs, and you get to this figure of 39.6 billion, which as you say, you round it up, it begins with a four. And I think there's a few things that we can kind of get into on this front.I think firstly we should discuss the figure. I'll you a few insights there. Secondly, I think we should discuss the division. And then thirdly, I want to cover the physical aspect as well. So if you think about the figure, we've got 39.6 billion. We know it's growing. I think what's gonna be interesting when I go back into that cave later this year to redo that number, it's gonna be a lot bigger.Dan, I'll see it here on Trapital First. I think a 40 billion business in 2021 is gonna be closer to a 45 billion business in 2022. And one of the reasons why it's not labels and streaming, it's a combination of publishers are reporting record collections, essentially they're playing catch up with labels, booking deals that perhaps labels booked a year earlier.And collecting studies are gonna get back to normal after all the damage of the pandemic. And when you drive those factors in where you have a much bigger business than we had before. So for the people listening to your podcast who are investing in copyright, this party's got a waiter run. You know, don't jump off the train yet cause this thing is growing[00:05:18] Dan Runcie: And the piece I want to talk about there is the publishing side of this. If you look at the breakdown of the numbers you have, the publishing is nearly, publishing plus is nearly 13 billion itself. The major record labels own most of the largest publishers right now. Why isn't this number just automatically included? Wouldn't it be in everyone's advantage to include the fact that yes, Universal Music Group and Universal Music Publishing Group are together, part of the entity that make this, whether it's them, it's Warner Chapel, it's others. Why isn't this just the top line number that's shared in all of the other reports?[00:05:56] Will Page: It would be nice if it was, and indeed, I think the publishing industry around about 2001 used to do this. They haven't done it since. But it's like spaghetti. It's the best way I can describe it. I mean, how do you measure publisher income? You know, is it gross receipts by the publisher? Is it the publisher plus the collecting Saudi? That is money that went straight to the songwriter and didn't touch the publisher. So what the publisher holds onto what we call an industry, a net publisher, shares all these weird ways of measuring this industry that we have to be clear on.And it's, not easy. but I think what we do in the report is we try and make it bite size. We try and make it digestible to work out how much of that publisher's business came through, CMOs, the S gaps and BMIs this X over here PS music and how much do they bring in directly? And that allows you to understand a couple of things.Firstly, how do they compare vi to vis labels in terms of their overall income? And secondly, how do they compare when they go out to market directly, let's say putting a sync and a TV commercial or movie versus generating money through collective licensing that is radio or TV via ASCAP or bmr. So you get an interpretation of how these publishers are making those numbers work as well.[00:07:03] Dan Runcie: That makes sense. And then when we are able to break it down, we see a few numbers that roll up into it. So from a high level, at least what you shared from 2021, we have that 25.8 billion number from the recorded side. So that does fall in line with what we see from what the IPIs and others share. 10 billion Sure.From the publishing. And then you do have, the next 3.5 and then a little sliver there for royalty free and for the publishers' direct revenue that doesn't come from the songwriters. The next piece though, within the elements of how all of the revenue flows into that. We've talked a lot about streaming and we've talked, we'll get into streaming in a little bit, but I wanna talk about the physical side cause that was the second piece that you mentioned.We've all talked about vinyl, but it's not just vinyl. So could you talk a bit about where the trends are right now with physical sales and why this is such a huge factor for this number?[00:07:56] Will Page: Who would've thought on a Trapital podcast in May, 2023. We'll be talking about physical as a second topic on the agenda, but it's worth it. I mean, it's not a rounding era anymore. It's not chump change. in America, physical revenues largely vinyl outpaced the growth of streaming for the second year straight. It's not as big as streaming, but it's growing faster and it has been growing faster for two years now. That's crazy. Here in the uk the value of physical revenues to the UK music industry has overtaken the value of physical to Germany.Quick bit of history. For years, decades, Germans used to buy CDs. that's fallen off a cliff. They've given up on CDs. Whereas over here in Britain, we've all started buying vinyl again. So the value of vinyl in Britain is worth more than the value of CDs to Germans, that type of stuff you didn't expect to see.And if you go out to Asia, you see the CD market still strong. You've still got people who buy more than one copy of the same cd, of the same band. Don't ask me to explain the rationale for that, but it happens and it moves numbers. But after all this, when the dust settles, I mean a couple of observations, all the data to me is suggesting that 55, 60% of vinyl buyers don't actually own a record player.So I think it was Peter Drucker who said, the seller really knows what they're selling, and I don't think you're selling intellectual property or music cop right here. What we're actually selling is merchandise, you know, Taylor Swift, I got an email from Taylor Swift team saying they've got a marble blue vinyl coming out this week.Now we're talking about vinyl in the same way we used to talk about stone wash jeans, marble blue. This is like the fourth version of the same 11 songs priced at 29 99. Let's just figure that out for a second. I'm willing to give you 10 bucks a month to, access a hundred million songs on streaming services, but I'm also, it's the same person.I'm also willing to give you 30 bucks to buy just 10 of them. This is expensive music and I might not even be listening to it cause I don't even have a record player.[00:09:55] Dan Runcie: This is the fascinating piece about how we're calculating this stuff because the vinyl sales and all of that has been reported widely as a great boom to the industry and it has been.We've seen the numbers and in a lot of ways it brings people back to the era of being able to sell the hard copy of the thing itself, but it's much closer to selling a t-shirt or selling a sweatshirt or selling some type of concert merchant. It actually is the actual physical medium itself. So it'll be fascinating to see how that continues to evolve, how that embraces as well. On your side though, as a personal listener, do you buy any vinyls yourself that you don't listen to, that you just keep on display or?[00:10:34] Will Page: It's like your shoe collection, isn't it? Yes, right. Is the answer to that. But no, I mean, I will say that I got 3000 fi funk records in the house and they're all in alphabetical chronological order.So if they haven't been listened to, at least I know where to find them.[00:10:48] Dan Runcie: That's fair. That makes sense. So let's talk about the third piece of this, and that's the division of this. So you have the B2C side and you have the B2B side. Can we dig into that?[00:10:59] Will Page: Sure. this is, I think the backdrop for a lot more of the sort of thorny conversations happening in the music industry is now, you may have heard that in the UK we've had a three year long government inquiry into our business.We had the regulator turn over the coals, and so there's a lot of interest in how you split up this 40 billion dollar piece of pie. who gets what? And the division I'm gonna talk about here is labels an artist on one side. Songwriters and publishers on the other side as it currently stands, I would keep it simple and say two thirds of that 40 billion dollars goes to the record label and the artist, one third goes to the publisher and the songwriter.Now, when I first did this exercise back in 2014, it was pretty much 50 50, and when you see things which are not 50 50 in life, you're entitled to say, is that fair? Is it fair that when a streaming service pays a record label a dollar, it pays the publisher and the songwriter around 29 cents? If you're a publisher, a songwriter, you might say, that's unfair, cuz I'm getting less than them.I have preferences, issues, and I have any issues with this division. Well, let's flip it around. If you look at how B2B world works, licensing at the wholesale level, let's say you're licensing the bbc, for example, if your song's played on the bbc, you're gonna get 150 pounds for a play. 90 pounds goes to the songwriter and the publisher, 60 pounds goes to the artist and a record label.Now, is that fair? Why does the publisher win in the B2B market? By the record, label wins in the B2C market. And the one, the lesson I want to give your listeners is one from economics, and it's rarely taught university these days, but back in 1938, 1939, in a small Polish town called la. Now part of the Ukraine, ironically, free Polish mathematicians sat in a place called a Scottish Cafe, ironic for me, and invented a concept called Fair Division.And the question they posed was, let's imagine there's a cake and there's two people looking at that cake getting hungry. There's Dan Runcie over in the Bay Area and there's Will page back in Edinburgh. What's the best way to divide that cake up? And the conclusion they came up with is you give Will page, the knife.Aha, I've got the power to cut the cake. But you give Dan Runcie the right to choose which half. Damn, I've gotta make that cut really even otherwise, Dan's gonna pick the bigger half and I'll lose out. And this divider two model gave birth to the subject of fair Division and it simply asked, what makes a fair division fairer?How can I solve a preference? How can I solve for envy? I want that slice, not that slice. I'm unhappy cause Dan got that slice and not that slice. There's a whole bunch of maths in this. We had a third person that gets more complex. But I just wanna sow that seed for your listeners, which is when we ask questions like, why is it the label gets a dollar and the publisher gets 29 cents?There's gotta be some rationale why you know who bets first? Is it the label that bets first or the publisher who commits most? Is it label that commits most marketing spend or the publisher? These types of questions do with risk, often help answer questions of fair division, or to quote the famous Gangstar song, who's gonna take the weight?Somebody's gotta take a risk when you play this game, and perhaps there's a risk reward trade off, which is telling us who gets what Share of the spoils.[00:14:15] Dan Runcie: Let's unpack this a little bit because it's easy to see. May not be fair, but it's easy to see why the record labels get preference on the B2C side because as I mentioned before, the record labels have acquired a lot of the publishers, and especially in the streaming era, they were prioritizing that slice of the pie, their top line, as opposed to what essentially is the subsid subsidiary of their business, the publishing side.Why is it flipped with sync? Well, how did that dynamic end up being that way?[00:14:47] Will Page: That's an anomaly, which is actually blatantly obvious. You just don't think about it. And the way it was taught to me is anyone can record a song, but only one person can own a song. So I think, let's give an example of, I don't know, a Beach Boy song where I could ask for the original recording of that Beach Boy song to be used in the sync.Or I could get a cover band. So let's say I got a hundred thousand dollars to clear the rights of that song, and the initial split should be 50 50. If a band is willing to do a version of it for 10,000, the publisher can claim 90,000 of the budget and get the option. If the record label objects and says, well, I wish you used a master.Well, you got a price under the 10,000 to get the master in. So this kind of weird thing of bargaining power, if you ever hear. Let me scratch that again. Let me start from the top. Let me give you a quick example, Dan, to show how this works. One of my favorite sort of movies to watch when you're Bored and killing Time is The Devil's Swear, Prada great film.And then that film is a song by Seal called Crazy, incredible song, timeless. That guy has, you know, timeless hits to his name, but it's not him recording it. Now, what might have happened in that instance is the film producer's got a hundred thousand to get the song in the movie, and he's looking to negotiate how much you pay for publishing, how much you pay for label.Now the label is getting, you know, argumentative, wanting more and more, and the publisher is happy with a certain fee. Well, the film producer's got an option. Pay the publisher of the a hundred thousand, pay him 90,000, given the lion share of the deal. And then just turn the label and say, screw you. I'm gonna get a covers bant and knock me out.A decent version of it. And this happens all the time in TV films, in commercials, you'll hear covers of famous songs. And quite often what's happening there is you gotta pay the publisher the lion share of your budget and then just cough up some small chains to the covers bant to knock out a version.And then, so just a great reminder, Dan of anyone can record a song, but only one person can own the song that is the author. And that's why negotiating and bargaining power favors publishes in sync over the record labels.[00:16:59] Dan Runcie: That makes sense. And as you're saying that, I was thinking through five, six other examples of cover songs I've seen in many popular TV shows and movies.And this is exactly why?[00:17:08] Will Page: It's always car commercials. For some reason, every car commercial's got cover in a famous song. You think, remember that weird Scottish guy down Ronie Trapital? Yeah. That's what's happened. The publishers pool the rug from under the record label's feet at negotiation table.Another super important observation about the glocalisation trend, Dan, is I'm gonna take one of those 10 countries as our spotlight, Poland. Now the top 10 in Polands or Polish, the top 20 in Poland, or Polish. In fact, if you go to the top 40, it's pretty much all Polish bands performing in Polish, and you could say that's localization.But stop the bus. Most of those acts are performing hip hop, which is by itself a US genre. So perhaps we've got glocalisation of genre, but localization of language and artist. And that's a very important distinction for us to dissect. And perhaps it's for the anthropologist, the sociologist, to work out what's going on here.But it's not as straightforward as it's just local music. It's local music, but it's global genres, which is driving us forward.[00:18:08] Dan Runcie: And that's a great point for the people that work at record labels and other companies making decisions too, because there's been so much talk about hip hop's decline. But so much of that is focused on how this music is categorized and a lot of it's categorized solely on.What is considered American hip hop. But if you look at the rise of music in Latin America, which has been one of the fastest growing regions in the world, most of that music is hip hop. Bad Bunny considers himself a hip hop artist. You just brought up this example of Polish hip hop being one of the most popular genres there.So when we think about. How different genres get categorized, which genres get funding. Let's remember that key piece because hip hop is this culture and it's global, and that's gonna continue. So let's make sure that we are not taking away from a genre that is really one of the most impactful and still puts up numbers if we're categorizing it in the right way.[00:19:04] Will Page: Damn straight. I mean, I think genres are often like a square peg trying to fit into a round hole and in a paper published by London School of Economics, I was honored to use that line that I think I said on trap last time, which is rap is something you do. Hip hop is something you live. Rap could be the genre, hip hop could be the lifestyle.Maybe what those Polish acts getting to the top of the charts of doing is representing a lifestyle, but they're doing it in their mother tongue.[00:19:28] Dan Runcie: Well said. Agreed. Well, let's switch gears a bit. One topic that I wanna talk about, and I actually gave a talk recently, and I referenced you from this term, and its of music, was the glocalisation of music and why this is happening and what it means for Western music specifically in the us. But first, if you could define that term and explain why this is so important in music right now.[00:19:53] Will Page: Well, I'm so excited to be on Trapital talking about this because we are now officially published by London School of Economics, so I'm gonna make my mom and dad proud of me. At last Backstory, paperback of my book, guitars in Economics, retitled to Pivot. Apparently WH Smith's Travel and Hudson Travel said books with economics in their titles Don't sell an airport.So we've rebranded the whole book to Pivot and it's in airports, which is a result. that book, that paperback came out on the 6th of February and that night I was on the BBC one show and they had this great happy, clappy family friendly story. They wanted to bounce off me. They said, Hey, will, Isn't it great that the top 10 songs in Britain last year were all British ex?For the first time in 60 years, Britain got a clean sweep of the top 10 in the music charts. And I said, curb your enthusiasm because we're seeing it elsewhere. The top 10 in Germany, were all German. Top 10 in Italy, all Italian, ditto France, deto Poland. And if you go to Spain, the top 10, there were all Spanish language, but largely Latin American.So it's not just a British thing that we've seen this rise of local music on global streaming platforms. We're seeing it everywhere, cue some gulps and embarrassments live in the TV studio. But I made my point and I came out of that interview thinking. Well that stunned them. It's gonna stu more people.And I said about working on a paper called glocalisation, which with a Scottish accent, it's hard to pronounce. Let's see how you get on with it. Not localization and not glocalisation. Emerging to by definition and by practice glocalisation. I teamed up with this wonderful author, Chris Riva, who'd be a great guest on your show.He did a wonderful blog piece you may have read, called Why is There No Key Changes in Music anymore? It's a really beautiful piece of music writing and there isn't. Nobody uses key changes in the conclusion of songs. And we set out to do this academic study to explain to the world what's been happening in music and why it's relevant to everyone else.And what we saw across 10 European countries was strong evidence of local music dominating the top of the charts in these local markets on global platforms. Now history matters here. We didn't see this with local High street retailers, America, British, Canadian music dominated those charts. We still don't see it in linear broadcast models like radio and television, you know, it's still English language repertoire dominating those charts. But when it comes to global streaming, unregulated free market, global streaming, we see this phenomenal effect where local music is topping the charts. And you know, you look at what does it mean for us English language countries like ourselves?It means things get a little bit tough. It means exporting English language repertoire into Europe becomes harder and harder. Maybe I'll just close off with this quite frightening thought, which is Britain is one of only three net exporters of music in the world. The other two being your country, United States and Sweden.Thanks to a phenomenal list of Swedish songwriters and artists. And I can't think of the last time this country's broken a global superstar act since Dua Lipa in 2017. Dan, we used to knock them out one, two a year. 2017 was a long time ago, and it's been pretty dry since.[00:23:13] Dan Runcie: And that's a great point for the people that work at record labels and other companies making decisions too, because there's been so much talk about hip hop's decline. But so much of that is focused on how this music is categorized and a lot of it's categorized solely on.What is considered American hip hop. But if you look at the rise of music in Latin America, which has been one of the fastest growing regions in the world, most of that music is hip hop. Bad Bunny considers himself a hip hop artist, you just brought up this example of Polish hip hop being one of the most popular genres there.So when we think about, how different genres get categorized, which genres get funding. Let's remember that key piece because hip hop is this culture and it's global, and that's gonna continue. So let's make sure that we are not taking away from a genre that is really one of the most impactful and still puts up numbers if we're categorizing it in the right way.[00:24:07] Will Page: Damn straight. I mean, I think genres are often like a square peg trying to fit into a round hole and in a paper published by London School of Economics, I was honored to use that line that I think I said on trap last time, which is rap is something you do. Hip hop is something you live. Rap could be the genre, hip hop could be the lifestyle.Maybe what those Polish acts getting to the top of the charts of doing is representing a lifestyle, but they're doing it in their mother tongue.[00:24:32] Dan Runcie: Well said. Agreed. This is something that's been top of mind for me as well because technology in general has a way of making regions and making people in particular regions closer together than it does making the world bigger. It's like in, in a sense, technology can make the world seem bigger, but it actually makes it seem smaller, right? And I think that algorithms and bubbles that come from that are another symptom of this.But this is going to have huge implications for Western music. You mentioned it yourself. All of these markets that are used to being export markets, when they no longer have the strength to be able to have those exports, how does that then change the underlying product? How does that then change the budgets, the expectations of what you're able to make? Because if you're still trying to maintain that same top line revenue, you're still trying to maintain those airwaves you have, it's gonna cost you more money to do that, because you can't rely on the few Western superstars that you have to get, that you have to have equivalent of a superstar or at least a middle tier star in every region that you once had strong market share that you could export in.And it's gonna change cost structures. It's gonna change focus. And a lot of these expansions that we've seen of record labels, especially Western record labels, having strong footprints in different regions across the world, they're not just gonna need to have presence, they're gonna need to have strong results.And in many ways, try to rival the own companies that are in those comp, in those regions, the homegrown record labels, because every country is trying to do their own version of this and it's gonna be tight. This is one of the challenges that I think is only gonna continue to happen.[00:26:14] Will Page: You're opening up a real can of worms. I get it. Pardon to your listeners, we're getting excited here. Day of publication, first time we've been able to discuss it on air, but I know I'm onto something huge here and you've just illustrated why just a few remarks. One, some of the quotes that we have in the paper were just phenomenal. We have Apple included in the paper. We have Amazon, Steve Boom, the head of that media for Amazon in charge of not just music, but Twitch audio books, the whole thing. He's looking at all these media verticals. He makes this point where he says, as the world becomes more globalized, we become more tribal. Stop right there, as he just nailed it.What's happening here? It's The Economist can only explain so much. This is what's so deep about this topic. I wanna toss it to the anthropologist of sociologists to make sense of what I've uncovered, but it's massive. Now let's take a look at what's happening down on the street level with the record labels and the consumers. You know, the record labels are making more money and they're devolving more power to the local off seats. You know the headcount in the major labels, local off season, Germany, France, and Vietnam or wherever is doubled in the past five years. It hasn't doubled in the global headquarters. That's telling you something.If you look at how labels do their global priority list, maybe every month, here's 10 songs we want you to prioritize globally. So I had a look at how this is done, and across the year I saw maybe 8, 10, 12 artists in total, and there's 120 songs. There's not that many artists. You think about how many local artists are coming out the gate every week hitting their local labels or local streaming staff, up with ideas, with showcases and so on.Not a lot of global priority. Then you flip it and you think about the consumer, you know, they've had linear broadcast models for 70 years where you get what you're given. I'm gonna play this song at this time and you're gonna have to listen to it. FM radio, TV shows now they're empowered with choice and they don't want that anymore.They want what's familiar. What comforts them. They want their own stars performing in their own mother tongue topping those charts. So this has got way to go. Now, a couple of flips on this. Firstly, what does this mean for artists? And then I'm gonna take it out of media, but let's deal with artists.Let's imagine a huge festival in Germany. 80,000 people now festival can now sell out with just German X, no problem at all. So when the big American X or British X commanded like a million dollars a headlining fee, you wanna go play that festival. That promoter can turn around and say, sorry man, I can't generate any more money by having you on my bill.How much are you gonna pay me to get on stage? Price maker, price taker? You see what happens. And then the last thing, and there's so much more in this paper for your listeners to get to, and let's please link to it and you'll take, I'll take questions live on your blog about it as well, but. There's a great guy called Chris Deering, the father of the Sony PlayStation. Did you play the Sony PlayStation back in the day? Were you're a fan of the PlayStation.[00:29:08] Dan Runcie: Oh, yeah. PS one and PS two. Yeah. Okay.[00:29:11] Will Page: You, oh, so you, you're an OG PlayStation fella. So he's the father of the PlayStation and launching the PlayStation in the nineties and into the nineties. He offered us observation, which is when they launched a SingStar, which was karaoke challenge.In the PlayStation, he says, we always discussed why the Swedish version of SingStar was more popular in Sweden than the English version Science. Intuitive enough. Let me break it down. Gaming back then was interactive music was not, you interacted with your PlayStation, that's why you killed so much time with it. Music was just a CD and a plastic case that broke your fingernails when you tried to open it. That's how the world worked back then and gaming offered you choice. I could try and do karaoke with those huge global English language hits where I could go further down the chart and buy the Swedish version and sing along to less well known Swedish hits. And the consumer always picked the Swedish version. So as a bellwether, as a microcosm, what I think Chris Ding was teaching us was we saw this happening in gaming long before you started seeing it happen with music. 20 years ago when there was interactive content, which gaming was, music wasn't, and consumers had a choice, which gaming offered a music didn't.They went local. Today, Dan, we're dealing with music lists, A interactive, and B offers choice. And what we're seeing is local cream is rising to the top of the charts.[00:30:33] Dan Runcie: And we're seeing this across multimedia as well. We're seeing it in the film industry too. Even as recent as five, 10 years ago, you release any of the blockbuster movies that were successful in the us, almost all of them had some overseas footprint.Some of them definitely vary based on the genre, but they were always there. But now China specifically had been such a huge market for the Hollywood and Box office specifically, but now they're starting to release more of their own high ed movies and those are attracting much more audiences than our export content can one.Two, the Chinese government in general is just being very selective about what they allow and what they don't allow. And then three, with that, that's really only leaving certain fast and furious movies and Avatar. That's it. The Marvel movies are hit and missed depending on what they allow, what they don't allow, and how, and it's just crazy to see the implications that has had for Marvel Studios for everyone else in Hollywood as well.When you think about it, and we're seeing this across multimedia, I think there's a few trends here that makes me think about, one is. Population growth in general and just where those trends are and how different corporations can approach the opportunity. Because I look at Nigeria, you look at Ethiopia, these are some of the fastest growing countries in the world.And you look at the music that is rising more popular than ever, whether it's Amapiano or it's Afrobeats, that's only going to continue to grow. And that's only from a few regions in the huge continent of Africa. So when we're thinking about where success is gonna come from, where that lines up with infrastructure, people have been seeing it for years.But the reason that we're seeing the growth in Africa, the growth in Latin America, the growth in a lot of these markets is this trend of glocalisation and it's only going to increase. So if we're thinking about where we wanna invest dollars, where we wanna build infrastructure in the future, we not just being folks that live in the western world, but also elsewhere in the world, this is where things are heading.[00:32:37] Will Page: Let me come in down the middle and then throw it out to the side. So, Ralph Simon, a longtime mentor of mine, is quoted in the paper and where he's actually gonna moderate the address here at the Mad Festival here in London, which is for the marketing and advertising community here, where he says, what you've uncovered here that headwind of glocalisation is gonna affect the world of marketing and advertising this time next year.That's what will be the buzzword in their head. So if you think about, I don't know, a drinks company like Diagio, maybe they've got a globalized strategy and a globalized marketing budget. When they start seeing that you gotta go fishing where the fish are and the fish are localized, they're gonna devolve that budget and devolve that autonomy down to local offices. So the wheels of localization, this rise of local, over global, they've only just got started, if I've called it right. We're onto something way bigger than a 20 minute read LSE discussion paper. This goes deep, deep and far beyond economics. But then you mentioned as well China, I mean just one offshoot observation there, which is to look at education.If you look at the UK university system, about a third, if not more, of it is subsidized by the Chinese government and Chinese students here. Great for business, slightly dubious in its business, besties, charging one student more than another student for the same product. But that's what we do over here.And I recently, we made a fellow of Edmar University's Futures Institute, which is an honor to me, you know, gets me back home more often. Fine. And I was learning from them that. The quality of students coming from China to study here in Britain and across Europe is getting worse and worse. Why? Cuz the best students have got the best universities in China.They no longer need to travel. So there's a classic export import dilemma of, for the past 10, 15 years, universities have built a complete treasury coffer base of cash around selling higher education to the Chinese. And now the tables are turning. I don't need to send my students to you universities anymore.I'll educate them here. Thank you very much. So, like I say, this stuff is a microcosm. It's got a can of worms that can open in many different directions[00:34:39] Dan Runcie: And it's gonna touch every industry that we know of to some extent, especially as every industry watches to be global to some extent. This is going to be a big topic moving forward.Let's shift gears a bit. One of the terms that was really big for us. That came from our podcast we did last year. We talked about herbivores and we talked about carnivores, and we talked about them in relation to streaming. We haven't touched on streaming yet, and this will be our opportunity to dig down into it, but mm-hmm.For the listeners, can we revisit where that came from, what that means, and also where this is heading? What does this mean for music streaming right now as it relates to the services and competition?[00:35:24] Will Page: Well, when I first came on Trapital, that was in a small Spanish village of Cayo De Suria and I didn't think I'd come up with an expression that would go viral from a small village in Spain to be, you know, quoted from in Canada, in America.And Dan, this is quite hilarious. we have a new secretary of state of culture here in the UK. The right Honorable MP, Lucy Fraser KG, Smart as a whip. Brilliant. And when I first met her, you know what the first thing she said was, I listened to you on Trapital. I wanted to ask you about this thing you've got going called herbivores and carnivores.So right the way through to the corridors of power, this expression seems to have traveled. What are we talking about? Well, the way I framed it was for 20 years we've had these streaming services, which essentially grow without damaging anyone else. Amazon is up. Bigger subscriber numbers. Apple's got bigger subscriber numbers.YouTube and Nancy's bigger subscriber numbers. And then Spotify. Nancy's bigger subscriber numbers. Everyone's growing each other's gardens. That's fine. That's herbivores. What happens when you reach that saturation point where there's no more room to grow? The only way I can grow my business is stealing some of yours.That's carnivores. And the greatest example is simply telcos. We're all familiar with telcos. We all pay our broadband bills. How do telcos compete? Everybody in your town's got a broadband account, so the only way you can compete is by stealing someone else's business. The only way here in Britain Virgin Media can compete is by stealing some of skies.The only way that at and t competes is by stealing some of com. So that's carnival competition. Now, the key point for Trapital listeners is we don't know what this chapter is gonna read like cuz we've never had carus pronounce that word correctly. Carus behavior before. We've never seen a headline that said, Spotify's down 2 million subs and apple's up 2 million, or Amazon's up 3 million and you know, YouTube is down 3 million.We don't know what that looks like. So I think it's important for Trapital to start thinking about logical, plausible scenarios. You kick a one obvious one, which is again, a lesson from the telcos. When we do become carnivores, do we compete on price or do we compete on features? Let me wheel this back a second, you know, we'll get into pricing in more depth later. But downward competition on price tends to be how carnivores compete, and that'll be a fascinating development given that we've not seen much change in price in 22 years in counting or as we saw with Apple, they roll out spatial audio, they charge more for it, they've got a new feature, and they charge more for that feature.So do we see downward competition blood on the carpet price competition, or do we see. Upward competition based on features. I don't know which one it's gonna be. It's not for me to call it. I don't work for any of these companies. I've worked with these companies, but I don't work for any of them directly.But we have to start discussing these scenarios. How's this chapter gonna read when we start learning of net churn amongst the four horseman streaming services that's out there. It's gonna be a fascinating twist, and I'm beginning, Dan, I'm beginning to see signs of con behavior happening right now, to be honest with you.I can see switchers happening across the four, so I think we're getting there in the US and the UK. What are those signs you see? I'm just seeing that in terms of subscriber growth, it's a lot bumpier than before. Before it is just a clear trajectory. The intelligence I was getting was, everyone's up, no one needs to bother.Now I flag, you know, I signed the siren. I'm beginning to see, you know, turbulence in that subscriber growth. Someone could be down one month, up the next month. Maybe that's just a little bit of churn. The ending of a trial period, you don't know. But now for me, the smoke signals are some of those services are seeing their gross stutter.Others are growing, which means we could start having some switching. I can add to that as well. Cross usage is key here. I really hammered this home during my 10 years at Spotify, which is to start plotting grids saying, who's using your service? This person, that person, and next person now ask what other services are they using?And some data from America suggests that one in four people using Apple music are also using Spotify. And one in four people using Spotify are also using Apple Music. Cross usage confirmed. So if that was true, what do you make of that? With a public spending squeeze? With inflation, with people becoming more cost conscious in the economy with less disposable income, maybe they wanna wheel back from that and use just one, not two. And that's where we could start seeing some net churn effects taking place as well. So, you know, imagine a cross usage grid in whatever business you're working on. If your Trapital listeners and ask that question, I know who's using my stuff, what else are they using? Um, that's a really, really important question to ask to work out how this carnivore scenario is gonna play out.How are we gonna write this chapter?[00:40:23] Dan Runcie: This is interesting because it reminds me of the comparisons that people often make to video streaming and some of the dynamics there where prices have increased over the years. I know we've talked about it before to tend to a 12 years ago Netflix was cheaper than Spotify was from a monthly, US price group subscription.And now tough, tough. It's right. And now it's nearly twice the price of the current price point. That it is. The difference though, when we're talking about when you are in that carnival, when you're in that carnival market, what do you compete on? Features or price? Video streaming, you can compete on features essentially because the content is differentiated.If you want to watch Wednesday, that Netflix series is only one platform that you can watch it on. Yeah, you need to have that Netflix subscription, but in music it's different because if you wanna listen to SZA's SOS album, that's been dominating the charts. You can listen to it on any of these services.So because there are fewer and fewer limitations, at least, if your goal, main goal from a consumption perspective is to listen to the music, how do you then differentiate, which I do think can put more pressure on price, which is very interesting because there is this broader pricing debate that's happening right now about why prices should be higher.And we've seen in the past six plus months that Apple has at least raised its prices. Amazon has done the same, at least for new subscribers. Spotify has announced that it will but hasn't yet and this is part of that dynamic because on one hand you have these broader economic trends as you're calling them out, but on the other hand you do have the rights holders and others pushing on prices to increase.And then you have the dynamic between the rights holders and then the streaming services about who would then get the increased revenue that comes. So there's all of these fascinating dynamics that are intersecting with this her before shift to carnivores[00:42:23] Will Page: For sure. Let me just go around the block of those observations you offered us. All relevant, all valid and just, you know, pick off a few of them. If we go back to Netflix, I think Netflix has a, not a herbivore. I'm gonna talk about alcohol here cause it's late in the day in the UK. A gin and tonic relationship with its competitors. That is, if Dan Runcie doesn't pay for any video streaming service, and let's say Netflix gets you in and I'm the head of Disney plus, I say, well, thank you Netflix.That makes it easier for me to get Dan to pay for Disney Plus too. They compliment each other. They are genuine complimentary goods. They might compete for attention. You know who's got the best exclusive content, who's gonna renew the friends deal, whatever, you know, who's gonna get Fresh Prince of Bel Air on?That could be a switch or piece of content too, but when you step back from it, it's gin and tonic. It's not different brands of gin, that's really important technology, which is they've grown this market of video streaming. They've increased their prices and the same person's paying for 2, 3, 4 different packages.If I added up, I'm giving video streaming about 60 quid a month, and I'm giving music streaming 10 and the sixties going up and the music's staying flat. So it's bizarre what's happened in video streaming because the content is exclusive. Back to, how do music carnivores play out again? Could we see it play out in features?I listen to airport cause they've got classical and I listen to Spotify because it got discovered weekly. Is that plausible? Personally, I don't buy it, but you can sow that seed and see if it takes root, as well. I think just quick pause and Apple as well. I think two things there. They've launched Apple Classical. That's a very, very good example of differentiating a product because it's a standalone app like podcast as a standalone app. The way I look at that is you can go to the supermarket and buy all your shopping. You can get your Tropicana orange juice, you can get your bread, get your eggs, get your meat, get your fish or you could go to a specialist butcher and buy your meat there instead. Apple Classical for me is the specialist butcher as opposed to the supermarket, and they're offering both in the same ecosystem. It'd be incredible if they preload out the next iOS update and give 850 million people an Apple classical app.Imagine if they did that for Jazz, my friend. Imagine if they did that for jazz. Just if Apple's listening, repeat, do that for jazz. So there's one example. The other example from Apple is to go back to bundling. You know we talk about 9.99 a month. I chewed your ear off about this topic last time I was on your show.Just to remind your listeners, where did it come from? This price point in pound Sterling, in Euro in dollar that we still pay for on the 20th of May, 2023. It came from a Blockbuster video rental card that is when reps, he got its license on the 3rd of December, 2001. Not long after nine 11, a record label exec said if it cost nine 90 nines, rent movies from Blockbuster.That's what it should cost to rent music. And 22 years plus on, we're still there, ran over. But what does this mean for bumbling strategies? How much does Apple really charge? If I give $30 a month for Apple One, which is tv, music, gaming news, storage and fitness, all wrapped up into one price. Now, there's a famous Silicon Valley investi called James Barksdale.Dunno if you've heard of him from the Bay Area where you're based. And he had this famous quote where he said, gentlemen, there's only two ways to make money in business. Bundling and unbundling. What we've had for the past 10 years is herbivores. Unbundling. Pay for Netflix, don't pay for Comcast. Pay for Spotify. Don't pay for your CDs, fine. What we might have in the next 10 years is carnivores bundling, which is a pendulum, swings back towards convenience of the bundle and away from the individual items. So Apple, take 30 bucks a month off my bank balance. Please take 40. All I want is one direct debit. I don't care about the money, I just want the bundle.And I don't want to see 15 direct debits every month. I just wanna see one. I think that's a very plausible scenario for how the next 10 years it's gonna play out as we shift from herbivores to carnivores[00:46:31] Dan Runcie: And the bundle benefits, the companies that have the ability to do that, right? You can do that through Amazon Prime and get your video, your music, your free shipping or whatever is under that umbrella. You could do that through Apple. You mentioned all the elements under Apple one. Spotify has some element of this as well, whether it's exclusive podcasting and things like that. So you're starting to see these things happen, one thing that you mentioned though earlier, you're talking about going through the supermarket and all of the items that you could get there versus going to the specialty butcher.One of the unique aspects of the supermarket thing though, is that. You go into the supermarket, yes, you can get your high-end Tropicana, or you can get the generic store brand, but you're gonna pay more for that high-end Tropicana because you're paying for the brand, you're paying for everything else that isn't gonna necessarily be the same as the generic one.That may not necessarily be the same quality or the same taste. We're seeing this a bit in the streaming landscape now and some of the debates that were happening. You've heard the major record label executives talk about how they don't necessarily want their premium music. They see their content as HBO level and it's being in a playlist next to rain music, or it's next to your uncle that is playing some random song on the banjo and they're getting essentially the same price going to the rights holders for that song.And in the supermarket that's obviously very different, each item has its own differentiator there, or econ has its own price point there and its own cost, but that isn't necessarily the same thing in music. Of course, the cost of each of those tracks may be different, but the revenue isn't. So that's gonna be, or that already is a whole debate that's going on right now. Do you have thoughts on that?[00:48:21] Will Page: Well, you tossed top Tropicana, let me go grab that carton for a second. It's one of the best economic lessons I ever learned was visiting a supermarket in America cuz it's true to say that when you go into one of your American supermarkets, an entire aisle of that precious shelf space, it's dedicated to selling inferior brands of orange juice next to Tropicana.Just very quickly what's happening there, the undercover economist, if you want, is a bargaining power game. Tropicana knows The reason Dan Runcie pulled the car over, got the trolley, went into that supermarket is to get a staple item of Tropicana and other stuff. By the time it gets to the till, Tropicana could be $5.By the time he gets to till he spent $50. So here, subscriber acquisition cost contribution is really high. They're getting you into the mall. What you do once you're in the mall is anyone's business, but they got you in. Otherwise you would've gone to the deli across the street. So they could say to the supermarket, I'm gonna charge you $7 to sell that Tropicana for $5 in my supermarket.Supermarket knows this, they know that Tropicana's got the bargaining paris. They counter by saying, here's an entire shell space of awful brands of orange juice to curb your bargaining power to see if the consumer wants something different. Now is this Will Page taking a stupid pill and digressing down Tropicana Alley. No. Let's think about this for a second today, Dan, there's a hundred thousand songs being onboarded onto streaming services. Is there anybody what? Marching up and down Capitol Hill saying We want a hundred thousand songs. No, the floodgates have opened them. It's all this content. Two new podcasts being launched every minute.All this content, all of these alternative brands to Tropicana. But you just wanted one. And I think the record labels argument here is that one Cardinal Tropicana is worth more than everything else you're offering by its side. So we wanna rebalance the scales. Now this gets really tricky and very contentious, but what is interesting, if you wanna take a cool head on this topic, it's to learn from the collecting studies, which is not the sexiest thing to say on a Trapital podcast, but it's to look at your Scaps and your BMIs and understand how they distribute the value of money for music.Since their foundation in the 1930s, scap has never, ever treated music to have the same value. They have rules, qualifications, distribution, allocation practices, which change the value of music. And they don't have data scientists then. And to be honest, I don't think they have data scientists now, but they always have treated the value of music differently.When they were founded, they had a classical music distribution pot and a distribution pot for music that wasn't classical music. Ironically, their board was full of classical composers, and I think that's called embezzlement, but we'll leave that to the side. What we have here is a story of recognizing music as different value in the world of collecting Saudi.I call that Jurassic Park, but in the world of music streaming with all those software developers and engineers and data scientists, 22 years of 9.99 money coming in and the Prorata model, which means every song is worth the same for money going out, and that's your tension. That's your tension. How do you get off that?Tension is anyone's business. We got some ideas we can discuss. User-centric is one, autocentric is another. I've got a few ideas for my own, but I want your audience to appreciate. In straight no chaser language we call it. That's the undercurrent of what's going on here. How do you introduce Trapitalism to communism?[00:51:38] Dan Runcie: You mentioned there's artist centric, user-centric, but you mentioned some ideas you had of your own. What are those ideas?[00:51:44] Will Page: Can I bounce it off? Use my intellectual punch bag for a quick second. Yes, and I've worked 'em all. I've worked on the artist centric model. I've worked on artist growth models. That's up on YouTube. I've worked on user centric, but I'm just, I'm worried that these models, these propositions could collapse the royalty systems that these streaming services work under. The introduction of user centric or artist centric could become so complex, so burdensome, the royalty systems could break down.That's a genuine concern I have. It's not one you discuss when you talk about your aspirations and the land of milk and honey of our new streaming model that you envisage. Back in the engine room when you see how royalties are allocated and calculated and distributed out to right holders, I mean they're under stress anyway.Any more stress could snap it. So I come at this model, my proposition from the one that's least likely to break the system. I'm not saying it's the best model, but it's the least like least likely to have adverse impact on the system. And it came from my DCMS Select Committee performance in the UK Parliament, which your listeners can watch, we can give the link out, which is I said to the committee in terms of how you could change the model.What about thinking about duration? This wheel back since 1980s when B BBC radio plays, let's say Bohemian Rhapsody, it will pay for that song twice what it would pay for. You're my best friend, members of Queen wrote both songs, both released within three, four years of each other, but one lasts twice as long as another.So duration is not new. We factor in duration a lot in our music industry. We just never thought about it. If you look at Mexico, the Mexican collecting Saudi, which is so corrupt as an inside an army barracks, if you look there, they have sliding scales, duration. They factor in time, but they say the second minute is what?Less than the first. But I'm giving you more for more time just adding, decreasing scale. Germany, they have ranges in your country. America, mechanical licensing collective, the MLC in Nashville, they have overtime songs that last more than six minutes get a 1.2 multiplier. So I've been thinking about how could you introduce duration to this business?And the idea I've come up with is not to measure time. That'd be too complex, too burdensome. Every single song, measuring every second of consumption. How do you audit there? If you're an artist manager, but I wanna measure completion, then I think this is the answer. I want songs that are completed in full to receive a bonus and songs that are skipped before they end to receive a penalty.Not a huge bonus, not a huge penalty, but a tweak. A nudge that says, I value your attention. I value great songs, and you listen to these great songs and it captures my entire attention. You deserve something more. But if I skipped out after the first chorus, you deserve something less. I think that small nudge is a nudge in the right direction for this industry, and it wouldn't break the systems.So there it is. Tell me now, have I taken a stupid pill?[00:54:42] Dan Runcie: What I like about it, and I've heard other people in the industry mention this too, you're able to get something closer to what we do see in video streaming. I forget which app is specifically, but their threshold is 75%. So they acknowledge that yes, if you don't wanna watch the credits, you don't wanna listen to the closeout, that's fine.But if we at least get you for 75%, then we are gonna count that, and then that then can get used internally. That can then get used in different areas. But I think it provides everyone better data and analysis, much better data to be able to break down than. Whether or not you listen to the first 30 seconds, that's such a low threshold, but that's essentially where we are today.I think the biggest thing, regardless of what path is chosen, because as you and I both know, there's trade-offs to everyone. So instead of going through all the negative parts about it, I think it's probably more helpful to talk about it collectively, you accept the fact that there are trade-offs. You accept the fact that people are gonna try to game the system regardless of how you go about it.Because we have seen duration work elsewhere and it does get at that particular thing that we're trying to get at there is help there. And you mentioned other things such as, yes, if you're listening to the Bohemian Rhapsody, you, which I think is at least seven minutes and 15 seconds, most likely longer versus two minute song that is clearly idealized for the streaming era.There still should be maybe some slight difference there because listening to a minute and 30 seconds is very different than listening to five minute and 45 seconds to be able to hit that 75% threshold. So between that and then I've heard other topics such as which artists you start your session with should have some type of multiplier on there, and as opposed to someone that gets algorithmically recommended to you to be able to put some more onus on the on-demand nature of music streaming.The tough thing is that these things do get tough in general. Anytime there's any type of multiplier or factor in, there still is a zero sum pot that we're taking the money out of. So accepting the trade-offs, I like the direction, I think that there's a few ways to go about it that could make it more interesting, but in general, I do think that any of the proposed options I've seen at least, allow a bit more of a true economic reflection of where the reality is as opposed to where things are today.And I understand where things are today. It's easy. It's easy to report, it's easy to collect on and pay people out, relatively speaking. But like anything, there's trade offs.[00:57:14] Will Page: Yeah, it's really easy today. Even drummers can work out their royalties and no offense to drummers, but that's telling you something.But two points on my dura

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después de casi 2 años del especial anterior de jojo´s, regresamos con esta 4ta parte para hablar de Vento áureo, regresando como invitado el gran Joker de Wilson Podcast. Este programa tiene un alto contenido de spoilers, recomendamos ver el anime o leer el manga primero y escuchar los anteriores especiales!. #Tenemos fanpage oficial en facebook donde subimos nuestras novedades, buscanos como Akiba Knights #También tenemos instagram oficial nos encontraran como AkibaKnightsPodcast $También contamos con PATREON por si gustas apoyar nuestro proyecto y llevarte mucho material extra búscanos como Akiba Knights o entra al siguiente enlace: www.patreon.com/akibaknights #ahora contamos con pagina web: www.akibaknights.com #tambien estamos en tiktok! la plataforma mas popular entre los jovenes, búscanos también como akibaknights Si te gustó el programa compártelo que no cuesta nada. coméntanos que te pareció

Alvin Codner has always wanted to change the world at a young age. He has worked in the nonprofit sector, public sector, and school districts throughout the past 10 years, Alvin Codner has a history of excellence and holds the public interest very close to his heart.  Some of his gangSTAR* achievements include Peoples Choice Award at the National Arts Program, feature on FOX News for Community Arts, Arts Coordinator for The Grace Assets (One of Multi-Millionaire Derrick Grace's Business), and Teacher of the Year Nomination. This is Alvin Codner's last year as a Middle School Art Teacher transitioning to be a full-time artist. He has his BFA and his main niche is Acyclic and Oil Paintings. In this episode, we discuss... How Alvin got into the arts Working on projects within the community and for non-profits What his pricing looked like when he started doing art vs what it looks like now What his plans are for the direction of his new artwork Tips for artists who want to transition into full time And so much more! Social Media & Links: www.alvincodner.com https://www.youtube.com/channel/UCTw-ohGYSVzozkdrPCmrNtw @mrdatslife (Instagram, Twitter, TikTok, Youtube,) @devonastimpson devonastimpson.com artbydevona.com

I'm thrilled to present the first of a two-part interview with Crisdon Chaisson, who lives in Canada and, I’m very honoured to say, is sharing her near-death experience publicly for the first time.   Crisdon’s NDE took place in 2003, when she was receiving treatment for a rare form of cancer in the jaw. As you’re about to hear, Crisdon describes her NDE in exquisite detail, and in this conversation, she shares about peeling away from her body “like cheese from a pizza,” travelling to a realm of indescribable colour, being at one with The Collective, as Crisdon calls the state of consciousness she experienced, her life review, and much much more. Today, Crisdon is training to become a death doula, so that she can apply her unique skills and understanding in the field of end-of-life care. There’s much more to this warm, wise and feisty woman, and when I asked her to share a short bio, she cleverly asked her friends to chime in. It turned out to be such a valuable exercise, she suggests we all do it. Here are all their responses. “Crisdon is a tattooed, potion making, nature loving, spell casting, matrix glitching, animal communicating, spirit guiding, joke telling, barefoot walking, reiki giving, vegan kitchen witch.” “Crisdon is a spiritual gangStar. Warrior goddess. astral traveler, metaphysical explorer and lover of all.” “An effervescent soul with a smile to match.” “Vibrant” “Absolutelyfreakingspectacular” “A miracle” “Beautiful,magnificent,courageous,brave, adventurous, magickal, hippy, LOVING star soul sister” “A strong, independent woman with a fire spirit!” “Always in flux like an animated fractal unfoldment” “A strong, beautiful, courageous, generous survivor!” “A soul-fuelled endless dungeon, draped with insatiable cloaks of wildflowers, edges trimmed with shards of everlasting crystals, with a sea-filled charismatic aura” “Free” “Supercalifragilisticexpialidocious” (3 friends said that about their friendship with Crisdon) "Intelligent, compassionate, humble, and actual good person, completely trustworthy, organized, and absolutely hilarious!!” Sums up Crisdon: “As I said, every person should create a bio written by people who love them.”     Connect with Karina Machado at karinamachado.com Buy the 10th anniversary edition of Spirit Sisters as a paperback at Booktopia. Buy the e-book of the 10th anniversary edition of Spirit Sisters at Kobo. Buy the audio book of the original Spirit Sisters (narrated by me) at Audible. Connect with Karina on Facebook. Connect with Karina on Instagram.  

Dr. Baba Buntu speaks on building stronger relations within family structures and returning to ancient African. Dr. Buntu is an Activist Scholar and Founding Director of eBukhosini Solutions; a community-based company in Johannesburg, specializing in Afrikan-Centered Education. Dr. Buntu has founded a number of community interventions based on practical approaches to Black Consciousness and decolonial methods.

Patricia Kaniowski is an active Real Estate Investor, who redevelops high-end homes in the Los Angeles area. As co-owner of Legacy Homevestments LLC, her job responsibilities include marketing, financing, acquisitions, project managing and design. For over 20 years, Patricia traveled the world competing in Ballroom Dance competitions and ranked in the top 7 in the world, as a Rising Star Professional. Some of her gangSTAR* accomplishments include: - Profiting over $500k on a single flip - Being featured on HGTV's Flipping 101 (Currently filming season 2) - In 8 short years have rehabbed 40 homes - Purchased and sold over $77million worth of Real Estate In this episode, we discuss... How Patricia got into ballroom dancing What it takes to be a top world ranked ballroom dancer Whether or not there's money in dance How she transitioned from professional dancing to real estate The process of how she finds and flips her properties How she got on HGTV's Flipping 101 What kind of team it takes to do what she does And so much more! Social Media & Links: Instagram: @patricia.kaniowski www.Legacyhomevestments.com @devonastimpson devonastimpson.com artbydevona.com

Branding is THE most important part to creating a business. One could argue sales is more important, but branding is what ultimately creates sales! Branding isn't just the pretty stuff like your logo and colors, it's actually much deeper than that. Branding is what people think, say, and feel about you when you're not in the room. With the branding agency I run with my husband, we've helped tons of entrepreneurs from all over the world create premium badass brands.  So take a listen to this episode if you're ready to take your brand to the next level! In this episode, I discuss... 10 Steps To Creating A gangStAR* Brand And so much more! Social Media & Links: @devonastimpson devonastimpson.com artbydevona.com Click here to Download The 10 Steps To Creating A gangSTAR* Brand PDF

Nikolas Elliot is the Award-Winning VP Of Sales for the 4th fastest growing company in The United States and runs one of the fastest growing Business To Consumer sales floors in the world. Nikolas is a highly praised speaker, 4x published author, and the CEO/Founder of Breakthrough Coaching Platform, The Upper Limits, CEO/Founder Of Savage Fitness Sales Academy, and CEO/Founder of Conscious Rap Label Starve Your Doubt Nikolas has dedicated his life to being the light for both men and women who are challenged by self-sabotage, low self-esteem, and procrastination. From addiction, depression, and homelessness to building an 8-figure empire, orphan activist, and an industry-leading expert - Nikolas has turned his Pain Into Purpose. Some of his gangSTAR* accomplishments include booking and performing 13 live shows, filming music videos across the nation with established videographers that have shot well known rappers like Russ and the Migos, and making $10,000 in six months off of swag, ticket sales, etc, all while running an 8 figure phone sales team and leading over 60 people. In this episode, we discuss... How Nikolas got into rapping How to get immune to rejection How he's able to balance both a high pressure 9-5 and music career at the same time What sales tactics can help all creatives better sell themselves His favorite sales and mindset resources he recommends And so much more! Social Media & Links: Instagram: @nikolaselliot YOUTUBE SPOTIFY Starve Your Doubt Facebook Group @devonastimpson devonastimpson.com artbydevona.com Resources Mentioned: Books: Go For NoGo for No! : Yes Is the Destination, No Is How You Get There Way of the Wolf: Straight Line Selling: Master the Art of Persuasion, Influence, and Success Pitch Anything: An Innovative Method for Presenting, Persuading, and Winning the Deal YouTube Videos: Morning Affirmations Guided Breathing

Sarai Garcia is the CEO, Founder, & Designer behind TheNailShop by SB, which is an online boutique that designs and creates luxury press on nails. With over 100k+ followers on Instagram, she has been able to take her love for designing nails and turn it into a thriving and successful dream business.   Some of her gangSTAR* accomplishments include being able to work full-time in her business with her husband and family, surpassing 6 figures in revenue, being featured in Billboard's Christmas catalog, and recently being featured in Allure magazine.   In this episode, we discuss... how she got into designing press on nails how she learned how to market her business online and on social media what steps she took to grow her following and business on Instagram tips that can help you grow your business on Instagram her processes and systems, and what happens once an order is placed what goes into pricing her nail sets and so much more!   Social Media & Links: https://thenailshopbysb.com/ @thenailshop.sb https://www.facebook.com/thenailshop.sb @devonastimpson devonastimpson.com artbydevona.com

Dan Lam is an artist and sculptor residing in Dallas, TX. Known for her bold and unique sculptures, she rose to popularity and prominence through social media, particularly Instagram. Her body of work ranges from gallery exhibitions to large scale installations to brand collaborations. She exhibits in the US and internationally and has upcoming shows in Portland, Oregon, and San Francisco, California.   Dan was born in the Philippines while her family was immigrating from Vietnam to the United States. She was raised in Texas where she received her Bachelor in Fine Arts from the University of North Texas in 2010. She received her Masters in Fine Arts in 2014 from Arizona State University.   Some of her gangSTAR* accomplishments include having a full feature in Juxtapoz Magazine, a pop-up large scale installation at the ICA Boston, a permanent public sculpture at Industry City in Brooklyn, NY, and being Facebook artist-in-residence.   In this episode, we discuss how she creates these colorful sculptures, how she was able to become a full-time artist, how she got her work into museums, what goes into pricing sculptures, and so much more!   Social Media & Links: bydanlam.com instagram.com/sopopomo @devonastimpson devonastimpson.com artbydevona.com  

Covid 19 is real serious problem I hope you guys know that and to wear mask all the time...

I hope my dream comes true and I wish your dream will someday come true...

I was able go to church and I just felt blessed beong there it was so amazing...

I did my podcast with my friend and it was awsome I think...

I was "just chillan" and I thought about doing podcast I did it...

I was very busy doing my work so I had to do fast, but somehow I made it to 3minute...

I was kind of depressed and sleepy so my voice in this podcast is kind of low..

I tried changing abit my podcast and I felt kind of good about it....

Music is a piece of life to me and I want to share it to you guys also...

OMG I was doing this so late at night and I was so sleepy!! But if you enjoy it I'm thankful for that...

I was so I did this episode and after doing this episode I was still boring...

Ann Le made her mark in the Youtube space during the rise of social media in 2009 with over 1.6 million viewers from across the world. Her work has appeared in television and publications such as Cosmopolitan, Vogue, Covergirl, HGTV, The Morning Show, The Today Show, Tubefilter and many more. Aside from creating digital content and working with Fortune 500 brands, she also consulted established and renown brands like Chanel, HGTV, Disney and many others on Youtube creation. “It started as a hobby and I wanted to find like-minded friends” - Ann Le   In this episode we discuss how Ann built her following, how to collaborate with other creators, what it looks like to partner with Fortune 500 brands, and more!   Follow her:   @annlestyle   www.youtube.com/anneorshine   www.co-creativeminds.com   /////////////////////////////////////////////////////   Check out more of Devona & gangSTAR* Creative:   @devonastimpson     DevonaStimpson.com     ArtByDevona.com

Shomi Patwary is a Bengali-American video director and producer who leaves his abstract and left-field mark on any project that comes his way. With a skillset that covers all aspects of audiovisual storytelling, whether directing or music producing, Shomi is additionally a talented cinematographer, editor, graphic and web designer.   At the 2016 Much Music Awards, Shomi was nominated for Video of the Year, Best Hip Hop Video and Best MuchFact Video for “Might Not” By Roc Nation's Belly featuring The Weeknd. Shomi has also worked with stars like Beyonce, A$AP Rocky, The Weeknd, Diplo, Shah Rukh Khan, Major Lazer and many others. And he has also worked with global corporations like Disney, Apple, Adidas, Bacardi, Mtn Dew, and more.   In this episode, Shomi shares his journey from graduating with a computer science degree to becoming one of the top filmmakers in the music industry, how he cultivates his relationships with clients, the behind the scenes process of a creating a music video, and more!   Give him a follow:   @shomipatwary   http://illusivemedia.com/     //////**     Check out more of Devona & gangSTAR* Creative:   @devonastimpson     DevonaStimpson.com     ArtByDevona.com

Milena Yesayeva is the founder of Champagne Bisou, which is a custom liquor bottle design company. These custom liquor bottles are better known as Glam Bottles ™️.  Since 2015, she's been designing beautiful bottles for major celebrities such as Kylie Jenner, Mariah Carey, Lil Pump, Jlo & many more.   In this episode we discuss her path to discovering her passion of designing Glam Bottles, how she was able to build such a high profile list of clientele, and how designing Kylie Jenner's infamous 21st birthday bottle was one of the greatest highlights of her business, but how it also led to the downfall and how she was able to may a come back.    Give her a follow:   @champagne_bisou   */////     Check out more of Devona & gangSTAR* Creative: @devonastimpson   DevonaStimpson.com   ArtByDevona.com

Mallory Dawn, or better known by her artistic persona “Icecream and Cupcakes”, is a professional fine artist based out of Las Vegas, USA. She uses a variety of mediums including spray paint, ink, pigment, pencil and acrylics to craft mystifyingly surreal, rich-coloured paintings of the female form. The internationally-selling painter often layers complex, intoxicating patterns with enchanting floral motifs that make her canvases and murals a truly eye catching spectacle.   The Ohio-born artist's work is placed in countless high-profile venues. Some of these include the permanent art collection for The Cosmopolitan hotel in Las Vegas, the Mural Oasis in Primm, NV and the World Trade Center in New York. She has also achieved numerous accolades from organizations such as Las Vegas Weekly (named “woman of Intrigue” 2017), has been featured in Lufthansa in-air magazine and had front page coverage in LVRJ Arts & Entertainment magazine. Mallory is also a graduate of Ohio State University, with a Bachelor of Science in Product development & Design.   Give her a follow:   www.icecreamandcupcakes.com   @icecreamandcupcake   @themallorydawn     */////     Check out more of Devona & gangSTAR* Creative: @devonastimpson   DevonaStimpson.com   ArtByDevona.com

Creative blocks are the kryptonite to our work flow. I'm sure you've hit a few of them while trying to productive during this quarantine. In this episode I share the 10 Ways To Get Through Creative Blocks that have worked for me.    The book I reference in this episode is Big Magic by Elizabeth Gilbert :)   */////   Check out more of Devona & gangSTAR* Creative: @devonastimpson DevonaStimpson.com ArtByDevona.com

More Mark and Caroline podcasts here: https://bit.ly/33oh4Gd

Alli K Design was founded by Alli Koch in 2014. An artist based in Dallas, TX - Alli has turned her passion for art and design into a full time career. The author of  2 published books “How to Draw Modern Florals” and “Florals by Hand” she is on a mission to inspire others to create as well. You can find Alli's artwork on murals all around the DFW area and throughout the US, as well as merchandise in stores all around the country.   When she isn't designing artwork, Alli is speaking on topics such as business and entrepreneurship to fellow creatives- whether it's on a panel or on her podcast, Breakfast with Sis, which she records with her Dad every Saturday morning.   While Alli has been able to work with some incredible companies such as Lululemon and Fossil and created things that have been nationally recognized, her favorite part of her job is still drawing from her bed while cuddling with her cats and drinking a Chick-Fil-a sweet tea.   Follower her: @allikdesign  www.allikdesign.com */////   Check out more of Devona & gangSTAR* Creative: @devonastimpson DevonaStimpson.com ArtByDevona.com

Nicole Harris is the Owner and Creative Director of Dreams In Detail (DID) – a leading Los Angeles based full-service luxury event planning and design firm. Awarded for producing some of the most luxurious and innovative celebrations worldwide, Nicole has garnered an industry-wide reputation for her extensive design portfolio, and her unparalleled ability to bring a vision to life. Motivated by her passion for visual aesthetics, Nicole incorporates fresh ideas inspired from interior design and fashion. With over a decade of experience, Nicole has a deep-rooted understanding of client needs, resulting in her ability to curate highly personal and innovative weddings and events, down to the smallest detail. Nicole's events captivate and interest an impressive list of top celebrities and iconic brands, including The Los Angeles Lakers, Gary Vaynerchuk, Shawn Mendes, The Backstreet Boys, LA Chargers, Kane Brown, NFL, VaynerMedia, NYX, Melanie Fiona, Beauty Bakerie and ULTA Beauty. Her work has been seen in numerous premier industry, wedding, and lifestyle, magazines, blogs, and publications. Most notably, her widely-published work has been featured in The New York Times, The Knot, Forbes, HuffPost, and Celebrity Style Weddings. As a leading authority in producing world-class events, Nicole is a sought-after event planning consultant, and key-note speaker. Give her a follow: Website: https://www.dreamsindetail.com  Youtube: https://www.youtube.com/channel/UCfKRAKgy0c5ojWawYOxU0iA?view_as=subscriber Instagram: https://www.instagram.com/by_nicoleharris/ *///// Check out more of Devona & gangSTAR* Creative: @devonastimpson DevonaStimpson.com ArtByDevona.com  

In the cheerleading world, Santwon McCray is a 5X World Champion, Collegiate national champion, All-American, and Champion Ring Designer. In the entertainment world he's an actor, comedian, MC, singer, stuntman, voice over artist, and more. Santwon has worked on projects, live events, radio & talk shows, music videos, Tv & Films with celebrities such as Todrick Hall, RuPaul, Jordan Sparks, Wayne Brady, Floyd Mayweather, Kevin Hart and many more. Currently the newest cast member of MTV/VH1s Wild N' Out! Give him a follow: Twitter.com/iamsantwon Instagram.com/iamsantwon TikTok: @iamsantwon *///// Check out more of Devona & gangSTAR* Creative: @devonastimpson DevonaStimpson.com ArtByDevona.com

Flox is an artist from New Zealand who made her first mark on the inner cityscape of Aukland in 2003. She's known for her vibrant and colorful native birds, ferns, and flowers painted with spray paint and stencil. Over the past 20 years Flox has expanded her practice into prints, publications, murals, graphic design, live painting, projects, workshops for both school and the wider public, collaborations, charity work and both group and solo exhibitions. She's one of New Zealand's most recognized contemporary artists. Her work is seen everywhere from Berlin, Hong Kong, New York, Taiwan, India and the US. Give her a follow: @floxnz www.flox.co.nz *///// Check out more of Devona & gangSTAR* Creative: @devonastimpson DevonaStimpson.com ArtByDevona.com

Queue *Cardi B voice* "CORONAVIRUS!" lol .. Times are definitely hard right now for many of us, but this pandemic has blessed us with more free time to grow, learn, reflect, work, build, and create. In this episode Devona shares 4 things you can do to grow your creative business during quarantine.  *///// Check out more of Devona & gangSTAR* Creative: @devonastimpson DevonaStimpson.com ArtByDevona.com

Roxy Prima and Phoebe Cornog are the co-founders of Pandr Design Co. which is a boutique design agency specializing in murals in Southern California. Working in a wide variety of mediums and methods, they tailor their work to any brand strategy. They are known for their bold, unapologetic statement pieces and have worked with companies such as Visa, Target, the Minnesota Vikings, the Phillies, Lululemon, and Tilly's to name a few. They are also passionate about teaching other creatives to run a successful business. Through their online resources, classes, webinars, and talks, they help give creatives the tools they need to run six figure business. In 2019, they started a nonprofit organization, called Ladies Who Paint, that is dedicated to empowering female artists. Each year they host a mural festival in San Diego where they fly 10 female artists from around the world for a once in a lifetime trip to install a large scale mural. They also run the podcast Drunk on Lettering where they interview creatives over cocktails each week. Give them a follow: @pandrdesignco www.pandrdesignco.com @ladieswhopaint www.ladieswhopaint.org @roxyprima @phoebecornog @drunkonlettering *///// Check out more of Devona & gangSTAR* Creative: @devonastimpson DevonaStimpson.com ArtByDevona.com

Slice N Rice is a comedic husband and wife duo - Matthew "Slice" Brooks and Glory "Rice" Brooks. With over 1.2 million subscribers on YouTube and 1.5 million followers on Facebook these gangstars are most recognizable for their parodies, challenges, and story times. And more recently they've been dishing out hilarious content and sketches exploring each other's Korean and African American background! YouTube crowned them as creators on the rise and they currently work full time as content creators!   Give them a follow: Youtube.com/slicenrice Instagram.com/slicenrice *///// Check more of Devona & gangSTAR* Creative: @devonastimpson DevonaStimpson.com  

Stephanie Boutari is a Canadian/Egyptian artist and designer. Born and raised in Bahrain, Stephanie came to Canada in 2005 for her post-secondary education, completing her bachelor's and master's degrees in architecture at the University of Waterloo. It was during her master's thesis that she gravitated back to her roots in art, exploring urban art and murals as a medium through which her thesis focused on the role of architecture's outer surfaces both historically and in the contemporary urban environment. Stephanie pursues her passion for the arts full-time as an independent artist and designer living and working in Kitchener-Waterloo, Ontario. She's worked with big brands such as Shutterstock and Shopify.   Give her a follow: www.stephanieboutari.com @stephboutari *///// Check out more of Devona & gangSTAR* Creative: @devonastimpson DevonaStimpson.com ArtByDevona.com

Here's your chance to get to know Devona! In this episode Devona is interviewed Vogue style by her hubby Kevin Stimpson so you can get to knew her better! Devona shares her story, likes, dislikes, things you probably didn't know, and so much more! 

Hueman, also known as Allison Tinati, is an Oakland artist who creates art on every scale. Whether she is creating delicate visions on canvas or crushing massive walls with a spray can, she draws on the human condition to create colorful mash-ups of the abstract and figurative. Her unique freestyle process involves carving images out of spontaneous splashes, drips, and sprays, and her layered works can be seen on public streets and in galleries worldwide. She balances mural work and gallery exhibitions while collaborating with some of the world's top brands like Nike, Lyft, and Sony Music. Give her a follow & check out her artwork: Facebook.com/HuemanArt Instagram.com/hueman_ HuemanNature.com *///// Check out more of Devona & gangSTAR* Creative: @devonastimpson DevonaStimpson.com ArtByDevona.com

I'm on a mission to annihilate the status quo of the “starving artist.” Here we will talk and share real strategies, real tactics, and real stories from me and my badass guests to help gangSTAR creatives and artists like you thrive in both your business and life. Your most asked questions will be answered, such as “How do I make money doing what I love?” “How do I get clients or book gigs?”  “what should I charge for my services' or “How do I build a successful career in my field?” It's time to reveal the secrets to how your favorite creatives make a living doing what they love. If you're a creative who has the desire to thrive in BOTH their business and life, this podcast is for you!

I was soooo tired so my tongue twisted a lot.........

I feel so energetic!!!!

Please guys be safe......

before I made this episode I was kind of in the good mood so I named it happy gangstar...

this episode I kind of whispered alot....

pleeeeeeeeease understand the pronounciation and all the things.....

Lo gets the opportunity to interview the Detroit legendary rhyme spitter Phat Kat. They discuss his origins prior the famed Hip Hop shop, his group with the iconic music producer J.Dilla, the chance meeting with Gangstar, touring, and where he's headed today! If you enjoy hip hop interviews from a true fans perspective, you will love From the Desk Of Lo!! Enjoy! Instagram: Guest: @phat_kat_aka_ronnie_ero Host: @kxnglo Podcast Network @fromthedeskoflo @datfeelinpodcast on IG

Yo-ville! It's episode #30 of The Allergies podcast! Welcome listeners new and old. This month we got types of hype from Altered Tapes, DJ Center, and some of that new Gang Starr. Plus, a guest mix from our brother from Down Under, Fdel.It's a whizz-bang doozie of a show, to be fair, full to bursting with beats and funk. If you don't know, know you do so. Until next time…PEEEEAAACE!

Strain of the day : Grape Ape and we talk and we talk about new music from KRS, Czarface, Murs and Grouch, Gangstar

Playlist also send music to us @BUSHWICKRADIO@yahoo.com1.Rj Payne-crypt keeper2.joe Mack-Beneath the surface 3.Supreme cerebral-just another day4.banish habitual-lord forgive me5.Eto & flee lord-don’t get lined up6.Westside Gunn-westside Gunn day7.Rj Payne-spooky shit8.Falcon outlaw convict9.Smoovth & royals ft.eto-impossible8.madhattan & ice rocks-high noon 9.brother Ali & evidence-red10.elcamino & bozack Morris ft.flee lord-coke brothers11.Crimeapple-lupos 12.Stu Bandas ft.Evidence-carbon fiber13.Planet Asia & Milano constantine-Milano medallions14.Gangstar-bless the mic15.Napoleon a legend-diamonds16.Big shug-play your hand17.dirt Platoon ft. O.C.-raw18.rusta juxx & tone spliff-magma19.street justice nigga ft. Jypsy20.apollo brown- stop watch21.pall mall 17.Apollo brown-06Pall mall 10.street jusiceHoneyberry

In this episode, (15:00) we somehow end up talking about wearing timberlands and about wearing “wife beaters” at the gym being a no-no. (45:00) We talk trump impeachment and code switching vs adapting.. (1:30:00) we end with our honorable mentions and much more!!!!Tune in y’all Honorable Mentions:Bub : Oliver Rogers ClothingReem : wife beaters ??????!?Dave : Radio labs podcast (G series) Gangstar ft J.Cole Alex : IDK “Is he real?” Follow us on all Digital streaming platforms. @the_pains_pod on Twitter@the_growing_pains_podcast on IG

Sejam bem vindos a mais um episódio do Chá de Trovão.Quer acompanhar nossas gravações, siga nossa Twitch (Terça 20h / Quinta 15h)https://www.Twitch.tv/CanalLBTVMande seus comentários para nós em nosso e-mail:mestres@lbtv.com.brApoie nosso projetohttps://www.catarse.me/LBTVAnimes da temporada de Verão/2019 que estamos acompanhando:- Araburu Kisetsu no Otome-domo yo.- Carole & Tuesday- Dr. Stone- Kimetsu no Yaiba- Lord El-Melloi II- Vinland Saga

This weeks episode is with the one of my favourite newer talents, Tsunami. We spoke about his approach to casting and analysis, what will happen with the big pro's retire, some general dota chat - and much more. The intro song was by GangStar and the Outro song was by A.G Cook. If you'd like to you can donate to the Podcast Patreon Campaign here - www.patreon.com/positionsix You can follow me on twitter at twitter.com/danieloffen and join the position six discord channel at discord.gg/pZyU7FX You can also visit the position six website to learn more about the podcast and me here - positionsix.wordpress.com/

Today on the podcast we welcome Devona Stimpson, artist, creative, entrepreneur and all-round inspiring human! Devona is truly a twenty-first century artist, who understands what it take to survive in the world as a creative force and leverage her and others' talents for success. In our conversation we talk about the strong links that exist between art and entrepreneurship, the importance of community and building a team, how to connect with the right people and work with inspiring collaborators and improving your communication and conversation around your own work. We also discuss some of the artists that Devona is currently inspired by, being of service, Devona's creative agency gangSTAR and more! For more information about artists, links and resources from this episode, please visit https://notrealart.com/devonastimpson/. Key Points From This Episode: Today's artist as a combination of entrepreneurship and creativity. Devona's thoughts on our recent Not Real Art Conference. Water cooler moments for artists and entrepreneurs and the importance of community. The collaboration that blossomed out of Devona's time at the conference. Devona's schedule and how she fits everything in! The ideas of creating fate and being of service to people you want to work with. Social skills, hygiene and the art of articulating your work. gangSTAR Creative, their mission and what motivates Devona to help other artists. Artists that Devona admires and follows on social media. Some of Devona's favorite podcasts currently! Devona's own art and what inspires her colorful work. And much more!  

On the latest episode, Lo gets the opportunity to interview the Detroit legendary rhyme spitter Phat Kat. They discuss his origins prior the famed Hip Hop shop, his group with the iconic music producer J.Dilla, the chance meeting with Gangstar, touring, and where he's headed today! If you enjoy hip hop interviews from a true fans perspective, you will love From the Desk Of Lo!! Enjoy! Follow @fromthedeskoflo @datfeelinpodcast on IG

On the latest episode, Lo gets the opportunity to interview the Detroit legendary rhyme spitter Phat Kat. They discuss his origins prior the famed Hip Hop shop, his group with the iconic music producer J.Dilla, the chance meeting with Gangstar, touring, and where he's headed today! If you enjoy hip hop interviews from a true fans perspective, you will love From the Desk Of Lo!! Enjoy! Follow @fromthedeskoflo @datfeelinpodcast on IG★ Support this podcast on Patreon ★

Tracklist : Dr. Dre ft LL Cool J – Zoom Joe Simon vs Gangstar – You know my Steez Gangstar ft Wc & Rakim – The Militia ll Dj Quik ft 2nd ll None & El Debarge – Hand in Hand Grime Lords ft Planet Asia, Tristate, Supreme Cerebral – Tri Color Chains J Rawls... Cet article Les Collaborateurs 119th Av. – by DJ Correct est apparu en premier sur Radio La Fabrik.

This is Part 2 of a 2 part episode.  Be sure to listen to part 1!   In this episode, I have the chance to speak with GangStar Creative founder, Devona Stimpson.  Devona is an artist, entrepreneur, author, and speaker.  She is San Diego's 2018 Woman of the Year, and is sure to be an amazing listen.   Devona's passion, work ethic, and belief in herself; will inspire you to work harder, do more, and #WinToday.   ENJOY!

This is Part 1 of a 2 part episode.   In this episode, I have the chance to speak with GangStar Creative founder, Devona Stimpson.  Devona is an artist, entrepreneur, author, and speaker.  She is San Diego's 2018 Woman of the Year, and is sure to be an amazing listen.   Devona's passion, work ethic, and belief in herself; will inspire you to work harder, do more, and #WinToday.   ENJOY!

Meet Devona, she is an artist, designer, branding expert, entrepreneur, speaker, and best-selling author. In this episode, Devona shares what steps she and her husband took to start their business. Saving, planning, investing in knowledge and opportunities.

Strive & Grind helps entrepreneurs create memorable, disruptive, and badass premium brands.

Kahlee and KILLcRey explore the soundtrack of "travel". In studio performances by Peaky and Ric Scales. Music by Pawz One, Severe, Evidence, Fashawn, C. Young, Steez76d, Gangstar and more.

DJ DEVAST8 BACK TO DA OLD SCHOOLTHE LIVE MIXTAPE VOL. 1 01.The Firm - Phone Tap                                                                     02.AZ - Sugar Hill                                                               03.Erick Sermon - Bomdigi  04.A Tribe Called Quest - Bonita Applebum                                          05.Common - I Used To Love H.E.R.                                           06.Group Home - Livin' Proof                             07.Nas - It Ain't Hard To Tell                                                    08.a tribe called quest feat. faith evans - stressed out                         09.Jay Z - Who You Wit                                                           10.Das Efx - Real Hip Hop                                                             11.notorious b.i.g. - who shot ya                                                      12.Gang Starr - Code of the Streets                                    13.A Tribe Called Quest-Award Tour                                          14.Lords Of The Underground - Funky Child                                 15.Outkast - Atliens                                             16.Das EFX - They Want EFX                                               17.Gang Starr Feat Nice & Smooth - Dwyck                               18.Blackmoon - Who Got The Props                              19.Camp Lo Feat Kid Capri & Run - Black Nostaljack                       20.Black Sheep - The Choice Is Yours                                               21.Pete Rock & C.L. Smooth - They Reminisce Over You                   22.Souls Of Mischief - 93 Til Infinity                                            22.Wu-Tang Clan - M-E-T-H-O-D Man                                                23.Wu Tang Clan - Protect Ya Neck (The Jump Off)