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Ever wonder what the best tips and tricks are from the insiders? Well in this Hub Episode, Stevie gives us her top tips directly from a former cast member! From snacks and shopping, to chatting with cast members and fireworks viewing- this episode has a little bit of everything! Plus some great stories and memories from Stevie's time working for the Disney company!Watch Mom Street USA LIVE on TikTok every Thursday at 6pm Pacific/9pm Eastern!You can view the live show via TikTok:@momstreetusa @beanie_duck (Duck & Jess)@starshipstevie (Stevie)More about us:https://disneycicerone.com/momstreetusa/Pick up your very own Mom Street USA shirt HERE: https://disneycicerone.com/shop/You can also find all our recommended Disney Mom park must-haves in our storefront ideas lists: https://www.amazon.com/shop/jacqueHave a question or have a future show topic recommendation? Chat with us on Discord or email us @ momstreetusa@gmail.com!And don't forget to follow Mom Street USA for more Disney tips, encouragement, & fun!https://linktr.ee/momstreetusa#disneyparks #disneyland #disneytips #disneypodcast #disneyfamily #disneymom #disneydad #disneyparents #disneywithkids #disneytrip #disneyvacation #disneytips #disneyplanning #disneyyoutube #disneyworld #wdw #waltdisneyworld #disneyworld #disneymoms #disneystrategy #castmember #castmembers #formercastmember #CM #formerCM #greatmovieride #GMR #innoventions #epcot #hollywoodstudios #studios
In this episode of The New Warehouse Podcast, Kevin welcomes Pascal Jetté, VP of Business Development at GMR Safety. They discuss the company's latest innovations and how they are reshaping dock safety. Pascal shares insights into GMR's approach to preventing accidents, the evolution of dock safety technologies, and the company's commitment to providing solutions that work 100% of the time.Find Big Joe during ProMat at booth N7157. Learn more about Zebra Robotics here. Follow us on LinkedIn and YouTube.Support the show
What does it take to craft meaningful connections between brands, athletes, and fans?This week, Cameron Wagner, a veteran sports marketer with over two decades of experience, joins me to share her journey in creating impactful activations and redefining sports marketing. From orchestrating partnerships at six Olympic Games to working with iconic brands like Hasbro and P&G, Cameron offers a behind-the-scenes look at how she's elevated fan experiences and brand storytelling.We discuss the art of activation, the evolving role of personal branding in sports, and how to balance creativity with strategy to cut through the noise. Cameron also shares her perspective on mentorship, the challenges of cultivating new talent in a post-pandemic world, and the unconventional methods that fuel his creativity.Whether you're a marketer, a sports enthusiast, or simply curious about the stories behind unforgettable campaigns, this episode is packed with insights and inspiration to take your craft to the next level.About Cameron:Cameron Wagner is the Chief Client Officer at Elevate, an award-winning, full-service consulting firm supporting high-performing organizations in sports and beyond. In her role leading the agency's global brand consulting and activation practice, Wagner utilizes Elevate's powerful data and insights engine to create convention-defying partnerships and activations for brands. She believes in the unique power of sports and live events to forge meaningful connections between consumers and brands and has played a key role in crafting some of the most iconic brand programs in sports history.Before joining Elevate, Wagner served as the Chief Client Officer at GMR Marketing, where she oversaw US-based offices in New York, San Francisco, and Charlotte, as well as teams in the UK, Brazil, and Tokyo. Before her tenure at GMR, Wagner held a key leadership role at IMG, leading significant programs for major brands including Coca-Cola, Visa, and Hasbro.Among her industry accolades, Wagner considers the client programs her team developed and activated across eight Olympic Games as some of the most significant and meaningful of her career. This includes work for clients, such as Procter & Gamble, Visa, Intel, General Electric (GE), Bridgestone, and many others.Wagner earned her B.S. in Communications from Appalachian State University. A casual runner and determined golfer, she resides in Charlotte, NC, with her husband and two sons. She is an active member of the community, serving on the board of Charlotte's Crisis Assistance Ministry and previously on boards for the Charlotte Housing Authority Scholarship Fund and the Bethlehem Center, where she also served as a CHAMPS mentor.Connect with CameronLinkedIn: www.linkedin.com/in/cameron-wagner-0a92394Connect with VeronicaInstagram: https://www.instagram.com/vromney/If you're serious about advancing your career in marketing and you're looking for some personal insights into how then I invite you to schedule a free Pathway to Promotion call with me: https://pathwaycall.com/If you found value in today's episode, I would appreciate it if you could leave a rating and review.
Henry Moeran is joined by the BBC's Chief Cricket Reporter Stephan Shemilt, and also the BBC's Sport Editor Dan Roan.We hear from Nikesh Arora, the leader the consortium of tech billionaires who has agreed the vast fee of £145 million pounds for a 49% share of the London Spirit.We'll also get into the details of the two latest sales as well; the Trent Rockets to a group involving Chelsea owner Todd Boehly, and Southern Brave to the Hampshire owners, the GMR group, who also own Delhi Capitals. This, therefore, effectively gives them full control of the Brave.Make sure you're subscribed to TMS wherever you listen to your podcasts - we'll have regular podcasts around the Champions Trophy, including a look back on the last edition in 2017.
All calls… Zelensky: Crazy. Racism test: Irish TERF. Divorce: Want partial custody? FE: Why don't we feel the tighter circle further north?The Hake Report, Thursday, January 9, 2025 ADTIMESTAMPS* (0:00:00) Start* (0:01:08) topics, audio glitching* (0:04:08) This PERSON in a women's prison* (0:06:28) Distracted, GMR…* (0:08:43) Hey, guys!* (0:11:28) DENNY, Bulgaria: Zelensky, Alexei Fedotov, Ukraine '91-'14* (0:20:46) DENNY: No one is ideal. Putin. Russia.* (0:24:38) TERRI: Russia's big, from Alaska* (0:26:55) TERRI: Racism test… Irish… Sociohistoric racism* (0:35:15) TERRI: Police and criminals … independent thinkers* (0:39:02) TERRI: TERF, refusing trans and nonbinary pronouns* (0:47:53) JOHN, AL: Divorcing, Preference for custody* (0:56:29) JOHN: Don't cut the baby in half; Dating App; MGTOW* (1:05:23) JOHN: Wrong "good" intentions; Childhood; Sexuality* (1:17:05) JOHN: Form, for the kids, court* (1:22:51) MAL, CT, 1st: Differential, latitude, we're not spinning; deceivers* (1:42:24) MAL: Sunset, waves…* (1:47:31) DENNIS, NJ: FE, seasons? Abrahamic religions* (1:52:54) DENNIS: ADOS, people tryna survive, Christian-centric?* (1:57:20) Closing: NO READING SUPERS TODAY, SORRY!* (1:57:41) Orchid - "Chaos Ain't Me" - 2001LINKSBLOG https://www.thehakereport.com/blog/2025/1/9/the-hake-report-thu-1-9-25PODCAST / Substack HAKE NEWS from JLP https://www.thehakereport.com/jlp-news/2025/1/9/hake-news-thu-1-9-25Hake is live M-F 9-11a PT (11-1CT/12-2ET) Call-in 1-888-775-3773 https://www.thehakereport.com/showVIDEO YouTube - Rumble* - Facebook - X - BitChute - Odysee*PODCAST Substack - Apple - Spotify - Castbox - Podcast Addict*SUPER CHAT on platforms* above or BuyMeACoffee, etc.SHOP - Printify (new!) - Spring (old!) - Cameo | All My LinksJLP Network:JLP - Church - TFS - Nick - Joel - Punchie Get full access to HAKE at thehakereport.substack.com/subscribe
The guys discuss what comes next following gMr. Mara's support of Joe Schoen and Brian Daboll. Can this still be a winning combination, and is a QB automatic in the upcoming draft.
ピポ・デラーニとアンドレ・ロッテラーは、2026年にWEC世界耐久選手権にデビューする予定のジェネシスLMDhプロジェクトにサインした動機として、長期プロジェクトを引き受ける見通しを挙げた。 ふたりのドライバーは12月初旬、オレカシャーシをベースとするGMR-001プロトタイプの開発ドライバーとして、韓国メーカーのヒョンデが展開する高級ブランドに加入したことが発表された。デラーニはそれまでキャデラック、ロッテラーはポルシェに所属し、スポーツカーのトップクラスを戦っていたが、新規参戦メーカーに移籍を果たした形となる。 投稿 「ポルシェでは、もうその選択肢はなかった」ロッテラー、ジェネシス加入の理由を語る。今後の移籍は考えず は autosport web に最初に表示されました。
Ce sera LA grande attraction de 2026 en Endurance : l'arrivée de Genesis / Hyundai avec la GMR-001 LMDh, dont les tous premiers contours ont été dévoilés lors d'une conférence de presse en grande pompe à Dubaï il y a quelques jours.Présent sur place pour rencontrer les premiers acteurs de ce programme qui passera par le WEC, les 24 Heures du Mans et l'IMSA, Endurance-Info débriefe cette présentation et vous donne les dernières infos autour de cet ambitieux programme.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.
Genesis announces their new racing team, called ‘Genesis Magma Racing!' They've debuted the GMR-001 LMDh race car for IMSA and WEC racing. The guys debate two cars for Chris & Lily in CA, who have a growing family. Then, Nate M. wants “manual insanity” in the form of a Viper! Social media questions ask if directionally asymmetric wheels irk designers, what is the Drive Homework question list, and how do you allow yourself to own a special car for a short period of time? Please rate + review us on iTunes, and subscribe to our two YouTube channels. Write us with your Car Debates, Car Conclusions, and Topic Tuesdays at everydaydrivertv@gmail.com or everydaydriver.com. Don't forget to share the podcast with your car enthusiast friends! Learn more about your ad choices. Visit megaphone.fm/adchoices
The Paris 2024 Olympic and Paralympic Games took the world by storm this summer. We spoke with Jeff Handler, vp-Olympic and Paralympic clients, and Dennis Jenders, executive strategy director, from GMR, an experience agency headquartered in Wisconsin, to share their experiences from being on the ground in Paris during this exciting time. They discuss the city's best-in-class brand activations, their favorite sporting events, and their predictions for the 2026 Winter Olympics and 2028 Summer Olympics.
Ian is joined by Dr Pete Watson to talk the GMR takeover of Hampshire
Mark Chapman is joined by former England internationals Phil Tufnell and Georgia Elwiss, as well as Kent's Sam Billings to discuss the cricketing summer overall. Has it been an underwhelming summer? Is there too much cricket internationally and domestically? How will Brendan McCullum balance coaching the Test team and white-ball teams? The panel are also joined by former Hampshire player Kevan James who now covers them for BBC Radio Solent after their takeover by GMR who co-own IPL team Delhi Capitals. And we hear from England captain Heather Knight ahead of the Women's T20 World Cup which starts this week. You can hear ball-by-ball commentary of all of the games from that tournament on Sports Extra and BBC Sounds starting with Bangladesh vs Scotland on Thursday - England's opener against Bangladesh is on Saturday.01:45 - The end of the English cricketing summer 18:13 - How to help county cricket 24:57 - Hampshire's foreign takeover 32:30 - Heather Knight ahead of the Women's T20 World Cup
Audius has established licensing agreements with all U.S. Performing Rights Organizations (PROs) including ASCAP, BMI, GMR and SESAC! Meanwhile, the XRP Futureverse team has revealed and luanch Jen A.I. a music verification and ID solution meant to protect music artist from A.I. harvesting theft.~This Episode is Sponsored By Coinbase~ Get up to $200 for getting started on Coinbase➜ https://bit.ly/CBARRON00:00 Intro00:19 Sponsor: Coinbase00:46 Audius signs major deal01:16 PRO's01:52 Ditto sucks for payments03:37 Audius payments04:00 Solana launches on twitter05:09 Audius stem contests (pay your rent)06:44 Musicians want to leave Ditto asap08:08 Ditto moves to web308:41 Ditto rebrands to opulus AI09:12 Audius hasn't solved AI yet09:42 Record Labels vs AI Lawsuit Begins11:27 Root Network launches Jen AI11:44 Jen AI + How it works12:42 Audius untapped potential in gaming13:00 Audius API13:30 Musician Keynote AWE 202415:30 Web3 is the only answer16:00 Projects to watch16:28 Outro#Crypto #XRP #NFT~Massive Audius & XRP Catalyst!
US games media royalty James Mielke (EGM, 1Up, GMR) is our guest this week. Hear about James' journey from comic book artist during Marvel's bankruptcy to becoming a key editor on a host of important media outlets throughout the '00s. Bonus: this episode contains another excellent Hideo Kojima interview anecdote. Hosted on Acast. See acast.com/privacy for more information.
Please join us July 24-26, 2024, at the annual TEMSEA Education Conference in Murfreesboro, TN. There is something for everyone, plus a golf outing. For more information, visit the conference website TNEMSEA.com. In this episode, Robert Byrd, a distinguished veteran in the EMS sector, marks his retirement by reflecting on a remarkable 45-year career. From his beginnings as an ambulance driver to his pivotal role as Vice President of Government Affairs at GMR, Robert discusses the critical leadership principles that have shaped his journey. Listeners will gain wisdom on embracing transparency, the importance of relationships, and the necessity of patient-first care. Robert emphasizes the value of learning from mistakes, maintaining accountability, and staying involved with policymakers to impact change. Take advantage of these leadership takeaways that advocate for honesty, ethics, and a drive for excellence in any professional landscape.Leadership Takeaways:1. Embrace Accountability: Surrounding oneself with trusted partners can significantly enhance focus and success.2. Cultivate Strong Relationships: Building and maintaining relationships is foundational to effective leadership and community impact.3. Prioritize Transparency and Engagement: Transparent communication and active engagement with policymakers are crucial in navigating and influencing the EMS landscape.
Pullback is pleased to share Green Majority Radio with our listeners! Hosts David and Stefan Hostetter and Lauren Latour bring together environmental justice news with voices and strategies from the grassroots. Broadcast from CIUT 89.5 FM in Toronto on Fridays at 11:00AM ET and at various community radio stations around the country, GMR is also available on all podcast platforms. In this episode, Kristen and Kyla join the team to discuss their new project, Climate Justice Organizing Shorts! Harbinger Media Network: https://harbingermedianetwork.com/ Support us on Patreon! https://www.patreon.com/Pullback Visit LeHub: https://www.lehub.ca/en/
Welcome to a new episode of the podcast! We are happy to have a friend of the podcast Aryan joining us on this episode. Games Covered INDw v ENGw: T20i series wrap-up. SL v ZIM: ODI series and 1st T20i. IND v AFG: 1st and 2nd T20is. NZ v PAK: 1st and 2nd T20is. Other news Smith promoted to open for AUS against WI, Green to bat at 4. Renegades' Finch and Shaun Marsh call time on their careers. Jurel gets a maiden call-up. Kuldeep, Axar return in a spin heavy IND squad for first 2 ENG tests. Hampshire confirms investment talks with Delhi's Capitals' GMR group. ______________________________________________________________________________ Listen to us and get in touch: On Spotify On Apple podcasts On Google podcasts On Pocket Casts On Breaker On RadioPublic Via Twitter Via Facebook Via E-mail Please do subscribe to our podcast and let us know what you think in the comments section of the podcasting app, via mail or on social media. Leave us a 5-star rating on any platform or app (like apple podcasts) you use to listen to us. Thanks! Learn more about your ad choices. Visit megaphone.fm/adchoices
In this episode of Market Minutes, Sucheta Anchaliya talks about all the important factors to watch today developments: LIC MPS exemption, GMR airport's investment to global market setup. Also catch Sheersham Gupta, Director and Senior technical analyst of Rupeezy in the Voice of the Day segment. Market Minutes is a morning podcast that puts the spotlight on hot stocks, keys data points and developing trends.
Emmy Sobieski is a manager and co-founder of GMR (developer of utility-grade Solar, Battery, and Wind farms), former co-founder, executive, and advisor to multiple funds and startups. CONNECT WITH HER Emmysobieski.com Subscribe to this channel now! https://www.youtube.com/user/lunidelouis/?sub_confirmation=1 ---------------------------------------------------- Join our exclusive Facebook group @ https://www.facebook.com/groups/339709559955223 --------------------------------------------------- Looking for accountability to do your morning routine -- join us tomorrow morning, it's FREE: https://bestmorningroutineever.com/ -----------------------------------------------------
GEO satellite has been with us since the dawn of the satellite age, and it's easy for us to take it for granted. GEO 2.0 makes its contribution to the Eternal Orbit campaign by inviting today's experts in geosynchronous orbit to discuss the future of this grandfather of satellite orbits. What's new, what's sexy and what is tried and true? Let's find out together in GEO 2.0. In the second episode, SSPI's Lou Zacharilla talks with Dr. Channasandra “Ravi” Ravishankar and Bhanu Durvasula from Hughes about how integrated constellation solutions, including GEO, are meeting the demands of the day and will meet challenges of the future. You'll also hear more about where satellites in geosynchronous orbit are expanding the capabilities of their nearer Earth cousins. Dr. Channasandra “Ravi” Ravishankar is Senior Vice President of Engineering at Hughes and leads end-to-end system design activities of GSO and NGSO satellite systems. He led the development of GMR-1 Mobile Satellite System air interfaces that adapts terrestrial 3GPP specifications over satellite – these air interfaces have been standardized in ETSI and ITU. He has contributed to 3GPP 5G NTN specifications in the area of mobility management. He was a keynote speaker at the International Communication Satellite Systems Conference (ICSSC) in 2022. He has served as Editor of IEEE Transactions on Communications journal and Guest Editor of IEEE Networks Magazine on “Integration of Satellite and 5G Networks.” He received his PhD degree in Electrical Engineering from Purdue University, USA. Prior to joining Hughes, he was with Comsat Laboratories, Clarksburg, Maryland, USA. Bhanu Durvasula, Vice President of the International Division at Hughes Network Systems, LLC (HUGHES), leads the company's international product and operations team, responsible for product line management of satellite broadband systems. In his 30+ years at Hughes, Mr. Durvasula has held a variety of leadership roles in engineering and product development for solutions including, among others: cellular backhaul over satellite, Mobile Satellite Systems (MSS) ground networks; and point-tomultipoint wireless products for terrestrial cell backhaul and last mile access. Most recently, Mr. Durvasula's efforts have been focused on satellite network technology for community Wi-Fi hotspot and cellular backhaul solutions in support of the company's efforts to bring connectivity to unserved and underserved areas of the world. He holds several patents, both issued and pending. Mr. Durvasula earned a Master of Science Degree in Electrical Engineering from Purdue University in West Lafayette, Indiana, and a Bachelor of Science Degree in Electrical Engineering from the University of Massachusetts, Amherst. Consumers, businesses, governments and communities around the world benefit from the connected experiences enabled by Hughes technologies and services.
Did you know that 70% to 75% of businesses today don't know that they're not supposed to be using consumer services such as Pandora or Spotify to play music in their business establishments? That's over four million businesses in the United States alone. Having a license from just ASCAP, BMI, GMR or SESAC will not cover all the songs on their playlists. There has to be a more inclusive and overall encompassing way to go about ensuring that the music you're playing in your restaurant or store is legally covered. Artists, along with rights holders of music are leaving 5 to 10 times of what they would earn in a traditional streaming service by not ensuring that they're getting paid for their music being played in a commercial environment. There has to be a way to educate not only the businesses, but also the rights owners of the music for such endeavors. Enter Lisa Farris. Lisa Farris is the CMO of the company “Soundtrack Your Brand”, which is a B2B Company based out of Stockholm Sweden, providing . She is a graduate of Rutgers University, a former employee of the Recording Academy, Music Marketing Network, and Universal Music Group. Sountrack Your Brand provides over 90 million tracks, building playlists designed for the business, based on the demographics of your customers. www.soundtrackyourbrand.com © 2023 Lotta Dogs Productions LLC Showrunner and Executive Producer Emeritus: Tom Sabella Producer and Host (the guy who has a face for podcasting): Bob Bender Management Representation: Chuck Thompson for Thompson Entertainment Group, LLC Co-Producer - Audio/Video Editor (the man behind the curtain): Mark Sabella Director of Video and Continuity (the brains of the entire operation): Deborah Halle Marketing and Social Media (all knowing): Sarah Fleshner for 362 Entertainment All Around Problem Solver (and Mental Health Therapist for us): Connie Ribas Recorded inside what could be an old beat up Airstream Trailer located somewhere on what's left of Music Row in Nashville TN (Man we sure do miss Noshville, and the Longhorn Steakhouse) Mixed and Mastered at Music Dog Studios in Nashville, TN Editing and Post at Midnight Express Studio located in Olian, NY Production Sound Design: Keith Stark Voice Over and Promo: Lisa Fuson Special Thanks to the creator and founder of the podcast, Tom Sabella, along with Traci Snow for producing and hosting over 100 episodes of the original "Business Side of Music" podcast and trusting us to carry on their legacy. Website: If you would like to be a guest on the show, please submit a request to: musicpodcast@mail.com If you're interested in becoming a sponsor for the show, let us know and we'll send you a media / sponsorship kit to you. Contact us at musicpodcast@mail.com The views, thoughts, and opinions expressed on this show provided by the guest(s), are those of the guest(s) own, and do not necessarily represent the views, thoughts, and opinions of the host or producers of this podcast. The material and information presented here is for general information purposes only. The Business Side of Music's name and all forms and abbreviations are the property of its owner (Lotta Dogs Productions LLC), and its use does not imply endorsement of or opposition to any specific organization, product, or service. Copyright © 2023 Lotta Dogs Productions, LLC, All rights reserved.
Criminal Justice Evolution Podcast - Hosted by Patrick Fitzgibbons
Hello everyone and welcome back. Thank you for listening to the show. Please share with family and friends. A big thanks to YOU. Thank you for being part of the First Responder field. It takes a special breed to do what you do. Remember to always be safe. I struggled. I was in a dark place for a long time. I was in pain, and I masked it with alcohol. I was contemplating hurting myself. I finally decided to reach out and ask for help, and I am grateful I did. FHE Health and The Shatterproof Program saved my life. If you are struggling, you don't have to stay there. We can and will help you. Reach out today at 303.960.9819. https://fherehab.com/ https://www.cjevolution.com/shatterproof/ So excited to have my friend Rhonda Kelly back on the show. Rhonda is a retired Firefighter from Colorado, the National Director of Health Wellness and Resilience at Global Medical Response (GMR Life) and she is also the Executive Director at All Clear Foundation. WOW! In 2019, ACF was founded by Global Medical Response as an autonomous public charity designed to serve and benefit the national Emergency Responder community. As one of the largest employers of Public Safety personnel in the U.S., GMR believes it has a duty to support the overall wellness of all Responders nationally. All Clear Foundation is a 501c3 public charity whose mission is to improve the overall well-being and longevity of those who serve our communities in times of need. We believe that healthy Emergency Responders contribute to healthier communities. We understand the daily demands of duty can take a toll on those who serve, whether as a Healthcare Worker or field Responder (EMS, Fire, Law Enforcement, Dispatch, Disaster Response, and others trained specifically to support our communities). This tool can also extend to our loved ones. To better serve those who serve us, All Clear Foundation leverages the power of strategic partnerships to create easily accessible and navigable solutions across the expanse of wellness domains, improving Responder well-being and life expectancy. In this interview, we highlight First Responder Health and Wellness You can find Rhonda here: https://allclearfoundation.org/about/ https://www.linkedin.com/in/rhonda-kelly-99244610b/ Stay tuned for more great episodes. Patrick
Willy Porter is a legendary Wisconsin musician and guitarist. He has been actively making music since the 1990s and released several albums, including “Dog Eared Dream” (1994), “Falling Forward” (1999), and “Human Kindness” (2015). Porter who has toured extensively internationally and collaborated with other notable artists, including Paul Simon, Tori Amos, and Sting. Find out more: https://willyporter.com/ Jason Klagstad is President of WAMI, Marketing Communications at Independent Studios, former VP of Communications at GMR, serial entrepreneur, and a lifelong musician and guitarist. First round of WAMI awards voting is currently OPEN. Find out more: https://wami.org/
In today's podcast Eric goes LIVE with the podcast to discuss one of his favorite topics: music income, but this time backed up with the stats from the latest RIAA and IFPI numbers. Also Logic Pro comes to iPad, and big changes at CDBaby. RIAA Report: https://www.riaa.com/wp-content/uploads/2023/03/2022-Year-End-Music-Industry-Revenue-Report.pdf IFPI Report: https://ifpi-website-cms.s3.eu-west-2.amazonaws.com/GMR_2023_State_of_the_Industry_ee2ea600e2.pdf Watch Eric Make Music Income Daily! JOIN and SUPPORT the channel here: https://www.youtube.com/channel/UCQELt_ElRr3qdiTBwym9QaA/join NEW FREE EBOOK!: TOOLS YOUR NEED TO MAKE MUSIC INCOME LInks to all the DAWs and their FREE versions to get started making music now no matter what your computer is. Also free and cheap sounds to get started making music that will make you music income. https://makemusicincome.com/tools-to-make-music-income/ NEW! GETTING IN SYNC EBOOK: How I got into sync licensing libraries with a focused approach, including preparing the right QUALITY music, signing with my first libraries, getting placements, and eventually making music income! And how YOU can too! Get the newest eBook here, as well as a new Bundle that has both the “Getting in Sync” eBook and the updated V3 of “The Stock Market” eBook, as well as ALL our other content. http://makemusicincome.com/gettinginsync STOCK MUSIC LICENSING EBOOK: "The Stock Market. Where, Why, and How to Submit Your Music to Stock Music Licensing." This resource is a comprehensive look at over 30 stock music licensing libraries, my experience with each of them – especially the ones I have been accepted to, and some thoughts about each. I talk about all of them whether I was accepted or not and the give you the direct link to submit YOUR music to them. https://makemusicincome.com/stockmarket/ HELLO COMPOSERS! Join our sister channel Hello Composers! where we talk ONLY about composing. Subscribe to the YouTube channel at http://HelloComposers.com, AND make sure to join the mailing list at http://eepurl.com/hSLgr9 FREE EBOOK: THE DO-EVERYTHING CHECKLIST FOR YOUR SONGS https://makemusicincome.com/checklist FREE COURSE: HOW TO UPLOAD TO POND5 https://makemusicincome.com/pond5 FREE EBOOK: 50 WAYS TO MAKE MUSIC INCOME https://makemusicincome.com/50ways FREE STOCK MUSIC RESEARCH PAPER: "The Ubiquitous Style, Form, and Instrumentation of Corporate Stock Music" https://makemusicincome.com/ubiquitous ONE-ON-ONE COACHING FOR COMPOSERS AND PRODUCERS: Eric has been helping artists and songwriters for over 20 years build lasting music careers, and now is working via one-on-one coaching with composers and producers to help build strong catalogs, get into stock and sync libraries, and of course: Make Music Income. Find more info here: https://makemusicincome.com/coaching/ JOIN OUR EMAIL LIST (Get an email when we release new videos!) http://eepurl.com/hF8ihr THE OFFICIAL WEB SITE: https://makemusicincome.com/ EMAIL ME: MakeMusicIncome@gmail.com OUR WEEKLY PODCAST WITH ERIC COPELAND AND STEVEN BEDDALL: https://anchor.fm/makemusicincome JOIN OUR COMMUNITY ON DISCORD: https://bit.ly/3fYDSVd FOLLOW US: Instagram: https://www.instagram.com/makemusicincome/ Facebook: https://www.facebook.com/makemusicincome WAYS WE MAKE MUSIC INCOME: DISTROKID: Get 7% Off When You Sign Up for DistroKid. We both win and you can make music income from Spotify, Apple, and more! https://distrokid.com/vip/seven/911910 COMPOSERS/PRODUCERS: Use this referral code to sign up and get started selling YOUR music with Pond5! Thanks! https://www.pond5.com?ref=FromtheMomentMusic SYNC LICENSING Positive Spin Songs - https://positivespinsongs.com STOCK MUSIC LICENSING From the Moment Music - http://fromthemomentmusic.com ARTIST BRANDS Player A Jazz - https://playerajazz.com Quiet Soul Piano - https://quietsoulpiano.com MUSIC PRODUCTION Creative Soul Records - https://creativesoulonline.com --- Support this podcast: https://podcasters.spotify.com/pod/show/makemusicincome/support
The month of May! Who do you need to hear from? These guys! Justin burps! Kirb reports on his attendance at the GMR Grand Prix. GMR review, F1 esque? What Penske should do with the Speedway complex. Drive to Survive for Less, three episodes in. Where DTS gets it right. The Miles spin? Graham Rahal's future. What is interesting about the current standings. Pole picks for the 500 and so much more...@hiroindycar
In this episode, we reimagine an icon from the past, The Great Movie Ride! Once home to one of Hollywood Studios most iconic attractions, we task ourselves with reimagining the ride from start to finish with movie scenes of our own! What movies would you include? Let us know. Happy Listening everyone! Support the show
Emmy Sobieski, CFA, the author of $100M Careers, is currently COO of Performative Speaking and COO and co-founder of Competitive Storytelling, Inc. both of which help founders withworld-class ideas share their stories to change the world.Emmy Sobieski, previously co-managed the #1 ranked Nicholas | Applegate GlobalTechnology Fund in 1999, up over 495%. Emmy's institutional investing experience includes 25 years working for investment firms representing diverse strategies (aggressive growth, momentum, value), asset size (responsible for up to $6B in assets), and type (mutual funds, RIAs,insurance cos, hedge fund). Emmy is a manager and co-founder of GMR (developer of utility-grade Solar, Battery, and Wind farms), former co-founder, executive, and advisor to multiple funds andstartups.Emmy is a regular panelist and keynote speaker on Web3, Privacy, Payments, ESG, and AI.Emmy is a Chartered Financial Analyst (CFA), and has a USC MBA and a BA in Economics from UCSD.Highlights of Emmy's athletic accomplishments during the 25 years as an institutional investorinclude multiple national and global rankings in dressage, culminating in 2005 with a 9th place in the US trials for the World Cup Team, Silver in the 2017 US Masters Championships in the 100-meter and 400-meter dash (50-55 year old division), 2017 AAU North American Champion Women Overall Physique Division (bodybuilding, all age groups). Emmy has placed in the top 3 in her age group in both marathons and ultramarathons.Learn more at www.emmysobieski.com•
This week, I'm running back an interview I did with Will Page in 2022. It was our most popular episode of 2022 and we talked about a lot of topics that are still timely and still being debated right now in the industry. One of the most unique insights into the state of the music business today doesn't come from a record label exec. Not from an agent. Not from an artist. No, it comes from Scottish economist Will Page, who served that role for Spotify from 2012 to 2019 — a period of explosive growth for the streaming giant. But if you ask Page about streaming's future, he's not nearly as optimistic as the rest of the industry. “The party has to come to an end,” as he told me on this episode of Trapital.Page believes the music industry is transitioning from a “herbivore market” to a “carnivore” one. In other words, future growth will not come from brand-new customers — it'll come from the streaming services eating into each other's market share. Not only has subscriber counts possibly tapped out in Page's opinion, but streaming services have also put a ceiling on revenues by charging only $9.99, a price that hasn't budged in 20 years despite giant leaps in technology and music catalog size. That against-the-grain prediction was one of many Will shared with me during our in-depth interview. But he has plenty more research- and experience-backed thoughts on touring, vinyl records, Web 3.0, and everything in between. Believe me, this is an interview you don't want to miss. Here's everything we covered: [3:21] The Global Business of Music[4:15] Vinyl Records $1.5 Billion Recovery[08:54] Will's Bearish View About The Future Of Streaming[14:46] Ongoing Price War Between Streaming Services[18:33] The Changing Economics Of Music Touring [21:44] Performing At Festivals Vs. Tours [24:57] The Evolution Of Music Publishing[28:34] How Music Revenue Gets Distributed To Publishers[32:41] What Does A “Post-Spotify Economy” Look Like? [33:44] The Current Business Landscape Of Hip-Hop Listen to Will's mix right here: https://www.mixcloud.com/willpagesnc/we-aint-done-with-2021/Check out Will's Podcast, Bubble Trouble, where he breaks down how financial markets really work.Read Will's book, Tarzan Economics: Eight Principles for Pivoting Through Disruption.Listen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Will Page, @willpageauthor Trapital is home for the business of hip-hop. Gain the latest insights from hip-hop's biggest players by reading Trapital's free weekly memo. TRANSCRIPT[00:00:00] Will Page: When you have 110 million households, and you have more than 110 million subscribers in the United States, then we are in a race to the finishing line before herbivore turn into carnivores.In oil, we have this expression called peak oil, which is we know that we've extracted more oil in the world than is left to extract an oil that's left is gonna be even more costly to get out the ground. I think we're in peak subscriber territory where at some point soon we're gonna start seeing growth happen through stealing other customers as opposed to finding your own.[00:00:29] 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.[00:01:12] Dan Runcie Guest Intro: For today's episode, let's revisit the most popular episode that we did in 2022. That's the conversation that I had with Will Page. Will Page is the Former Chief Economist for Spotify, the author of Pivot, and Advisor consultant to many of the companies that are leading the music industry today. In this conversation, Will and I talked about a lot of topics that are still timely and still being debated right now in the industry.The price of streaming. Streaming, especially for Spotify, is still $9.99 in the. Pound and Euro in many markets. But Spotify wants to keep that price for several reasons. They want to continue to grow as much as they can. They also want something in return from the record labels. They want some type of concession if they're going to raise their prices.But as we've heard, the push has got louder and louder from the record label CEOs that want that price to increase. So we talk about some of the origins of that debate and where that may be. Then we also talk about some of the competition among the digital service providers as well, whether it's Apple Music, Spotify, Amazon Music, and others.We talk about how it's transitioning from a herbivore market to a carnivore market now that the market's getting saturated. You probably heard that term a bit over the past year that originated from this podcast. So we talk about that a number of other timely things and more we'll eventually have will back on the podcast soon.But this is a nice precursor to refresh the memory a bit and with some of the topics that are still going on in music today. Here's our episode. Hope you enjoy it.[00:02:48] Dan Runcie: Some of the work you've done for a company that is very heavily focused on playlist, which is Spotify, and I think more broadly looking at the streaming era we're in right now.This is a great time to chat because we just saw the IFPI results and streaming as continuing to grow as we've seen. But I feel like you probably spotted a few interesting trends about where things are heading, and I think that's a question mark for a lot of people. Streaming continues to grow, but how far can it grow?What are we seeing in terms of differences within genres or regions? What are some of the things that stuck out[00:03:21] Will Page: to you? I'll give you a couple. The first one is the global business. Well, last time I looked at United Nations, I think there's 208 countries in the world. The global yearbook that we're discussing here has, I think 58.So we have to be careful what we define as global. I think Africa's clubbed together as one continent and where they need to work on that. But I think the global business is growing, but it's also becoming more American. So if you go back to when Spotify launched America, 22, 20 3% of the business round about just over a fifth.Today it's 37%. So we have seen the business grow and become more American, and that raises questions, you know, economic questions like globalization, questions, should poor countries catch up with rich ones? The theory says yes. The reality often says no. So we're seeing this kind of lopsided growth where the business is growing, but it's growing in favor of an American market.The biggest country is growing at the fastest. That's a positive problem, but I just wanna flag it, which is, that's not how it was supposed to play out. And then the second thing I'd wanna point to as well is just vinyl. this vinyl recovery is just, well, I don't know how much my bank balance is responsible for this vinyl recovery, but I'm telling you, Is define the laws of gravity.Now, we're now looking at vinyl being worth one and a half billion dollars, which is more than it's been worth in the past 30 years. It's worth more than CDs, cassettes, and downloads, the three formats that we're supposed to declare that vinyl is dead. But there's two things you can kind of cut out the vinyl recovery, which I think will be of real interest to your audience.Firstly, on the consumer side. I saw a survey which suggested that the majority, just over half of all vinyl buyers today, don't own a record player. I mean, something's cooking here. So what are we buying it for? I'll extend that as well. the cost of wall frames to frame vinyl on your wall often cost more than the record itself.So I'm willing to pay more for vinyl to you know, framed on my wall than I am for the record. And by the way, I don't have a record player. There's a lot of people who will tick those bizarre boxes. But on the crater side, something else is interesting. This'll take a little bit of working through.But if we think about the streaming model, it's monetizing consumption. That's what it does. So if there's an album with 10 songs, three killer and seven filler songs, and an album, and let's say Dan Runcie wrote the Three Killer Tracks and Will Page, he wrote the Seven Duff Filler Tracks. On streaming, Dan might walk away with all the money and I'll walk away from none because we're only streaming the killer tracks and nobody's touching the filler.As the album model kicks out from vinyl, I would get 70% of the cash. That's crazy because nobody knows what's being consumed and it's a lot of cash. If I just kind of do some rough math here of a million fans streaming your hip hop record on Spotify, and let's say they're stream. 200 times in a month when the album drops, you only need 20,000 of them of that million to make the same amount of money from vinyl than you would do from streams, which is entirely plausible.But then how do you pay the copyright owners from those songs on an album is very different from how you pay them on a stream. If you go back to the late seventies, the, one of the most successful records of all time was Saturday Night Fever, the Bee Ges and a bunch of other people. It's crazy to think that Ralph McDonald's Calypso strut his record there, which nobody has listened to, got the same royalty as staying alive by the Bee Gees because it was a vinyl record.So to reiterate, on the consumer, I don't know how many of these vinyl records are being played, and on the crater side, it raises questions about how these craters are gonna getpaid.[00:06:53] Dan Runcie: That's a good point book that I don't think is being talked about as much about the vinyl search because there's so much like wow, about just how much is being purchased.I think I even saw the stat that Adele's 30 album sold 8,000 cassettes. Or there was stuff tied from Stat about that, and I think the similar thing that you said, lines up having those people actually still own a watman or whatever type of cassette player that they have. So I do think that that is something that probably there could be a deeper analysis on because.A lot of the people that write the filler songs, how do they feel? Or whether you're a songwriter, whether you, you know what's behind it, especially when you know that there's so much clear path to be able to determine, okay, this is going to be the lead single, this is what we're gonna push most from this album.It really shifts things even more to where things are going in terms of a single market. Like the way that people have talked about pop music for a while now, right? And I guess that brings a, brings me back to the streaming trends that you mentioned. Overall, we're in this area, as you mentioned, streaming itself, the US penetration is grown from 22%, I believe you said is now through your 35, 37, somewhere around there.But where do we go from here because as you've written before, the price of music streaming, at least the monthly subscription hasn't necessarily been increasing. The average revenue per user overall because of the international growth is decreased, and you have plenty of people that are still trying to get there, fair share of what they can.It's streaming so. It's in like five, 10 years from now. If you could see into the future, where do you think streaming distribution is? I think the good thing is that people have smartphones and there's more and more growth from that perspective. So streaming is going to grow, but on the other hand, the economics of these things do have some theoretical goal point where we've maximized the global penetration of this.What do you think about, where that is going?[00:08:54] Will Page: Let me unpack it in two different lanes. Firstly, I'll deal with the saturation point question, which is, you know, how long can this party keep going for? It's three o'clock in the morning, who's gonna call time on it? And then secondly, I wanna deal with the pricing point on its own lane as well, but on saturation point, you're now in a situation where I put it as in America, we've had herbivores. We've had Spotify growing Apple, growing Amazon, growing YouTube, growing. Everybody's reporting growth, Pandora even is growing. What we are gonna see some point soon is carnivores.Which is Apple will grow by eating into Spotify's growth, or YouTube will grow by eating into Amazon's growth. So the key question we gotta ask is when do we go from the herbivore market? We're in today to a carnival market of tomorrow, and I output Spotify's US subscriber number around about 45 million, Apple at 49 million. We dump on top YouTube. Amazon, Pandora, you're well past 110-120 million. Now, that's important because I reckon and there's around about 110 million qualifying households in America that has at least one person who could pay for a streaming service. This is crucial because if you look at what Apple One's bundle is doing $30 a month for news, music, television, gaming, fitness, and two turbos of storage per six account holder. It's a household proposition they're saying to the home, I got you convenience. Everyone under this roof is covered with Apple products. So when you have 110 million households, and you have more than 110 million subscribers in the United States, then we are in a race to the finishing line before herbivore turn into carnivores.In oil, we have this expression called peak oil, which is we know that we've extracted more oil in the world than is left to extract an oil that's left is gonna be even more costly to get out the ground. I think we're in peak subscriber territory where at some point soon we're gonna start seeing growth happen through stealing other customers as opposed to finding your own.So I just wanna put that warning flag out there. Just now we're partying like it's 1989, fine, but at some point the party has to come to an end and gross is gonna come at the expense of other players that then flips, you know, from the A side to the B side of this record. We flip it over to price and then the pricing debate is interesting.I published this work called MELD Economics,uh, which we can cite on your, your wonderful website there. Which was to look at 20 year history of the nine 19 price point, and its crazy story back in the 3rd of December, 2001, over 20 years ago. Today Rhapsody got its license for a $9.99 offering, which had 15,000 songs.First point. The origins of 9 99 bizarrely date back to the Blockbuster rental card. Some coed up label executive would've said, if it cost 9 99 to rent videos from Blockbuster, that's what it should cost to rent music. Secondly, there was only 15,000 songs with limited use case. There was no smartphone back then.No apps, no algorithms. That was all a weird welded into the future. So you just. 9 99 for 15,000 songs. We are now chatting in early April, 2022, and it's still 9 99 in dollar in Euro and Sterling, but we're offering a hundred million songs. That's the crazy thing. So in the article, Mel Economics, what I do is I strip inflation out in the case of the uk, 9 99 has fallen down to six pounds, 30 pence.Remember, you know, Family Plan makes music cheaper too. If 2.3 people are paying $40.99, that's six pounds 50. There's way too many numbers in this conversation for Trapital, but still we'll stick with it. Student plan makes it cheaper too. So music in real terms, has fallen to six pound 30, which is less than a medium glass of Malbec wine, so 175 milliliters of Malbec wine costs than a hundred million songs, which is available offline on demand without adverts. That for me, is certified bonkers. I don't understand what we've done. We're offering more and more, and we're charging less and less, and you only have to leave the ears to the eyes on the video streaming to see what they're doing on the other side of the fence.Netflix has got me from $7.99 to $8.99 to $12.99, to now $14.90. In the space of 15 months, and I haven't blinked Disney plus. The reason I'm paying $4.99 on Disney Plus is because I paid $19.99 to get Cruella live on demand. So they're charging more and more, but only offering part of the wells repertoire set for eyeball content.We are charging less and less and offering more and more of the wells. Ear hole content, so it's like two ships passing each other in the night. It's a very interesting dilemma.It's intriguing because when you look at the way that video is structured, as you mentioned, you have all these price increases, and I think Netflix for some plans is, you know, $18.99, it's approaching that level, but in music, It's this thing where, yeah, there's some price differences where I think I saw today that Amazon music is increasing a dollar, but that's from $7.99 for prime subscribers to that being $8.99. So we still have to cross that.I wonder if I won't cost that.[00:13:57] Dan Runcie: I mean, honestly, I feel like there's something here because when I think about this, I think about a few things.Obviously you do have this fight where the artists wanna get more and the labels wanna get more, you know, not just for the artists, but for themselves. And obviously Spotify wants to earn more logically. You would think, okay, if you increase the price and people just understated the economics of what's likely.If Spotify increased up to 1299 a month for the standard base rate, how many folks would boing. But to your point earlier, I have to imagine that the fear is looking at the trends and where that penetration is. If they jump up to $12.99, then they're going to lose those customers to the other streaming services that haven't jumped there yet because of that thought of, you know, shifting to that carnivore mentality of competing with each other. So because for roughly 80% of the content that they do offer, it is roughly the same between each of these services. It's led it to be more of a price war then in video streaming, where most of them do have some differentiated content.[00:15:02] Will Page: A hundred percent. And two things to bolt onto your very eloquent points there. And firstly, let's just remind ourselves that Apple launched superior sound quality. You may remember the, commercial of Lossless audio. You buy your AirPods, which cost two years of Apple Music or Spotify to put in your ears and you get superior sound quality, the subtext underneath it said at no extra cost. That was the actual marketing message. So there again, we are improving the offer we're supplying more but we're charging less in real terms. And that's a really interesting kind of point kind of cut into. And the second thing, and we should get balance into this discussion cause it's delicates, we have to remind ourselves that, you know, there's 120 million subscribers in America.There's still another 120 million to go, but we know they're not that interested in paying for music because they haven't paid yet. Now the best way to attract them is not necessarily to raise price. So we gotta remember that there's still, you know, oil to extract. It's not gonna be easy oil to extract, but the best way to get to it might not be to raise price, but there's a catch to this.I can remember in the early nineties, right up to 2010 piracy, ripping the asset out of this business and concept promoters were saying. We love piracy because the kids are getting music for free so they can pay more on concert tickets. I wonder if now they're saying we love Spotify because they don't raise prices, which means we can raise ours.This is not a discussion of how to rip off the customer. This is a discussion about value exchange and I just wonder whether recorded music is leaving value on the table. That's the key pointto hammer on.[00:16:32] Dan Runcie: That's a good point. And I think that also made me think too, could there be some notion of maintaining the perception of Spotify as something that still has high pricing power and still has high consumer surplus, because then that helps the stock price.And then seeing that the major labels are all invested in Spotify itself. It's about like having that perception of, you know, the future growth and whatever it is. So what you just said made me think about that being a factor potentially too.[00:17:02] Will Page: A hundred percent. And of course, you've gotta distinguish the Spotify Apple music cost structure from that of the video streaming companies in that they have a kind of variable cost.You double your business, you double your cost base. Whereas Netflix, you jump up costs and you have, you jump up your revenue, you know, you raise me from 7 99 to 14 point 99, the cost of that content was fixed. And I'm still consuming the Fresh Prince of Bel Air on Netflix to this day. That was a fixed cost deal that he did to get that content and that's margin to Netflix.So, you know, the cost structure matters to this one as well.[00:17:33] Dan Runcie: Definitely. And you mentioned live music there, and I think there's a lot to think about from that perspective. I Feel like we're in this post pandemic. I mean, we're still not out of it, but we're in this post quarantine era, more artists than ever are trying to tour and get out there trying to capture what's there, but also from an economic perspective from that.Most people are only gonna go to a certain number of live events per year, and we have this 18 to 24 month run coming up where everyone wants to make up for what they couldn't do in the past two years. How will that shift, not just who then goes on tour together, and then how they may split those profits, what the availability looks like?And if they're not able to do what they may have done on tour in the late 2010s, how does that affect future touring? I think that's a piece of it that, you know, we still haven't necessarily seen the impact of, but it just feels inevitable based on where things are heading. You did it.[00:18:33] Will Page: Absolutely. Now on touring, I was lucky and I gotta do some great work on the UK live industry, and I can only speak for the UK here.I know a lot of your audience in the US but I think these points will carry. The first one was to work out how much is spent on concert tickets in Britain during the, the normal year of 2019, and the answer was 1.7 billion pounds. That's more than was spent on recorded music a lot more than was spent on recorded music, which makes sense, you know, you pay 120 pounds on the Spotify account, you're paying 240 pounds to go to Redding Festival. Two days in the muddy field in Redding, cost more than 365 days of all the wells. But what I noticed there was the industry is changing in its growth. I showed that between 2012, the year of the London Olympics and 2019, The live music industry in this country had exploded and grow, but it was lopsided.All the gro came from stadiums, festivals, and to lesser extent arenas. The theaters, the 2000, 3000 capacity theaters like the Philmore West over where you are, they were getting crushed. They were actually shrinking in size. So we have this lopsided live music industry, which is going right in the direction of the head as opposed to the long tail, the stadiums, the festivals, the arenas, as opposed to the theaters, the clubs, the university venues.And that's interesting cuz that's gonna change the dynamics of how you make money from live. Do you go from doing your tour of an album to doing a tour of your festivals for that record? And what does that mean? The cost structure for the insurance and all those things that bands have to consider when they're hitting the road.I mean, credit to capital. You've had some great podcasts recently on this topic, but as, a big rethink coming along in this live music market, it's not the same as we had back in 2019. It's changed fundamentally, and it is the breadwinner for most artists' income. I think it makes up about 70% of what an artist has to live for comes from the road that vanished.How do we get it back?[00:20:22] Dan Runcie: I feel like Cardi B has been a good. Case study on this specific point here, right? It's been four years now since she released an album, and she's yet to go on a true proper tour in that time. That said, she's done plenty of festivals where she's earned more on those festival guarantees that she likely would on tour.She's also done many private events where she's likely earned that save amount, if not more. So there's a whole economic argument to be made, and I think there's also some risk involved too, right? I think that festivals do give you the opportunity to. Get that major bag, you get the high number, the revenue that comes through, but maybe your fans will be a little bit more forgiving if your set piece at your festival isn't the most extravagant thing, especially if you're not the headliner at it.But on a tour, I think it changes. It's a little bit more pressure, everyone wants to see that Instagramable or talkable moment to then sell future tickets and just the production cost and everything with travel. It still is something that is very worthwhile, but I think we've just started to see some of that segmentation there.Especially for someone like her. I would add residencies too. I know she's done a few different things in Vegas here and there, but yeah. Still yet to do that 30 city worldwide tour.[00:21:44] Will Page: Yeah, I think you gotta think with your head and your heart. Your head says like you point out the economics favors festival.Your back line's there, your insurance is covered. Travel's already covered. I have numerous hip hop bands perform at festivals in Europe, and that's one of the big advantages. The costs are all taken care of by the festival, but your heart says, what does that do to intimate relationships with your fans?[00:22:05] Dan Runcie: Right?[00:22:05] Will Page: I mean, you're staring at 50,000 strangers in the muddy field. That's different from staring at 2000 friends in the Fillmore West. So the head and the heart's gotta come into play here. What I would add though is that there are rumors, I would say here in the UK at least, that the promoters are saying, I'll pay you a ton of money to perform at the festival to make sure that you don't go on tour.And that's an interesting situation. If you build one too many houses, you collapse a property market. If you have one too many tours or one too many festivals, you collapse live music industry. So there's ways in which people are trying to restrain the market to festival. At the expense of the theaters.That certainly is coming through in the data. We're seeing the theater business take a kick in while festivals go on a roll.[00:22:45] Dan Runcie: Yeah, because I think about, you look at the artists that are touring stadiums now, whether it's your Taylor Swift's or Beyonce's, they wouldn't be able to do that if they didn't have the individual tours at smaller venues when they were starting out. Being able to build that intimate fan base, like you said, like you get to that point, right? And I do think that as good as festivals can be, it is much more of a lucrative cash grab that is, I don't wanna say necessarily short-term thinking, but I think you ideally wanna have some type of balance there, right?Get the big bag that you can get from something else. It's almost no different. I think running a business, right? Okay, sure. You may be able to do a speaking fee or do some type of, you know, thing here or there, but hey, you can't do that all the time, especially if it's not an audience you're tapped into.You still need to do some of the things that could set you up for the long game.[00:23:37] Will Page: Yeah, and there's an infographic that I'll share with you to pass onto your audience here. I wrote an article in The Economist called Smells like Middle-Aged Spirit as opposed to Teen. Nice play on Words hat to Dave Gro and Kurt Cobain.But what I was looking at was the average age of festival headliners over time. This is a du pessimistic Scottish economist. This is what you do with your spare time. Okay, so in the nineties when radio head to Glastonbury, the average age of a festival headliner is 25, 26 years old. all these hot bands were coming through the Brit Pop era.You know, there was so much development of new talent. By 2012, I think it had got up to 58 and I got a lot of criticism for that article. But then Glastonbury that year had the WHO and Lionel Richie headlining, which I think was 17 and 73 years old apart. And then you can see the conveyor belt problem, which is okay, it's a quick cash grab.It makes sense. But that's not the conveyor belt of how we developed talent for tomorrow. That's just how we cash in our chips at the casino today. So it does raise questions, I'm not saying it's like the doomsday scenario here, but we just need a healthy balance of, you know, a seeded for future growth and then the big stage for exploiting that moment today, which could be the pyramid stage at Glastonbury, the headlights stage at Monterey over in the States.So I just think we're getting a little bit lopsided here. We're a bit short termist and how this business needs to develop.[00:24:57] Dan Runcie: Agreed on that. Switching gears a bit. One thing that you wrote recently that stuck out to me, you did this deep dive on music publishing, and I think this is another area that kind of has some of that short-term, long-term perspective on it, because you look at the people who get the share of the copyright pie, at least today, and from music streaming perspective, a lot of that has been much more in the favor of, the recorded side and then the people getting compensated on the recording side. But with that, the songwriters and the publishers, a lot of them necessarily in that timeframe, didn't get a lot of that. But I think in this wave now where we're seeing more catalog deals and we're seeing people understand the value of that, things may be starting to shift and there's likely other things as well.But what do you think about the way that the publishing side has been seen in what the future opportunities are for that side of the business?[00:25:54] Will Page: Well, the way that labels and publishing were taught to me in terms of what makes them distinct from one another goes back to my Aunt Dorian Loader, who worked in the music business from 1959 at Deca Records, right the way through to 2012.She ran Enzyme records with Nigel Grange, Lucian's Half-Brother. They were responsible for Shead O'Connor, who sold 11 million albums based on the Prince cover. And she once said to me, will, this is how the music industry works. The record label pays for your drugs and the publishing pays for your pension. I just kind of, that's a nice succinct way of summarizing how the business works.That was then, this is now clearly times have changed, I think, but it reminds us about, you know, what makes the business different. And then that piece of work that you cite is something called global value of copyright, where I'm really keen to educate this. Regardless of whether you're coming from a label perspective, a manager, an artist, a songwriter, there's a C with a circle on it called copyright.We get that, and it involves record labels. It involves sound exchange. It involves artists. It involves ascap, BMI, GMR, Czek. It involves publishers, David Israeli, and the great folks at the NNPA. It Put the whole thing together for me, all this spaghetti and strain it out. And what I was able to show was that in 2020, copyright was worth 32.5 billion, way bigger than what you've just heard from IFPI way bigger than what Czek would say.This is the entire thing. And the split was about 65% labels, 35% to the publishers. Now, if you go way back to 2001, when we used to sell CDs by weight of pate. In the cocaine capitalism days, you know, record labels back then. The split was much more in favor of labels, you know, more than three quarter labels, less than a quarter to the publishers.And what we've seen happen in the years in between is quite an interesting story. Labels went from boom time with CDs to bust with piracy, and now they're booming again with streaming. And the inverse, the opposite happened. Publishers as labels went bust. ASCAP, BMI kept on reporting record breaking collections, so you have a hair tore toys analogy here of labels going really fast and falling off a cliff.Publishers just trundled along with record breaking, not massive record breaking collections, but it kept on growing their bases. So, the questions these throw up is what type of industry are we moving towards? Are we going back to a business model which paid labels over three quarters of the pie and publishes less than a quarter, and is that a good or a bad thing?Or in this post Spotify economy where we're seeing companies like Peloton, Twitch, TikTok, come to the business, is that gonna have a completely different balance? Now why this matters to your audience is not just on the crater side, but also on the investment side. You pointed out catalog valuations. We can dig into that if you want, but just a high level point is, let's say that in a few years time, I go into my back cave again, calculate the global value of copyright, and instead of 32 and a half billion, it's 40 billion.I'll come on Trapital show, I'll make an exclusive announcement. Copyright today is worth 40 billion, seven and a half billion new dollars. Have come into this business, I want the audience to start thinking about who gets what share of that marginal new dollar. Is that gonna split publishing side or is that gonna split label side?And if you're investing in catalogs, be the master rights, be the author rights that really bears, there's a huge educational drive here to understand the balance of this business of copyright.[00:29:15] Dan Runcie: So there's a few things you've said there that I wanted to dig into. Of course, for streaming Spotify and its competitors around 75%.Is going to the recorded side a quarter to publishing. But from a breakdown, what does that look like for the TikToks, the Roblox and the Pelotons? What does that share of revenue from those plays look like?[00:29:38] Will Page: So, The best way I could do this is if I just talk about ratios. There's three Rs in this business.There's share of revenue, there's ratio in this rights pool. They mean different things. Most experts get confused. With these three Rs, I'm gonna stick to ratios. That is, if I give the label a dollar, how much do I give the publisher, the songwriter, this collective management organization. So we stick to the conventional streaming model Today, I would say that if you give the record label a dollar, you're giving the publishing side of the.24 cents, you know, a decent chunk of change. But still the pure cousin of the record label on YouTube, I think it could be as high as 35 cents, 40 cents even. Because there's a sync right? Involved in those deals. And then when you take that observation of imposing the sync right into deal, and you expand it to Peloton or TikTok, potentially even more, and then you can flip it and say, well, what happens if the future of TikTok is karaoke?Not saying it's gonna happen, but it's not implausible if that was the case. That favors publishers even more. So there's all these weird ways that the business could develop, which could favor one side of the fence. The labels and the artists continue getting three quarters of the cash or the other side of the fence.Publishers and songwriters start enforcing their rights and getting. A more balanced share and that that's what we need to look out for when we're investing incorporates. That's what we need to look out for. If you're a singer and a songwriter and you're trying to understand your royalty statements[00:30:57] Dan Runcie: mm-hmm.Well, like how much higher do you think? I mean, if you had to put a percentage on it for the TOS or the Pelotons, and I guess as well, you made me think of sync deals, right? Like for the folks that are selling, or their song gets placed on one of these hulu series or one of these HBO Max series, like what does that ratio look like, you know, from a ballpark for those.[00:31:20] Will Page: So I think a 50 50 split would be the upper bend of the goal. If, if a song is placed in a Hulu TV show or you know, an artist I've worked with for many years, Yu Dito Brazilian composer, his songs now in this famous easy Jet commercial over here in Europe. The artists and the publisher would see around a 50 50 split of those revenues.Now, would that happen in the world of streaming? Unlikely. But I think if you can get to a stage where you're giving the record label a dollar and the publisher 50 cents as a ratio, and I've gotta repeat the word ratio here, you know, that's potentially achievable with this post Spotify economy. I don't think it's gonna happen with the business we're looking at today, but I think that's a potential scenario for the business developing tomorrow.That's the thing. If I can quote Ralph Simon, a, a longtime mentor to me, he always says, this industry is always about what's happening next. And then he goes on to say, it always has been. It's a great reminder of just, you know, we're restless souls in this business. We've achieved this amazing thing in the past 10 years with streaming.Got there. Banked there what's coming next, who would've thought Peloton would've had a music licensing department 18 months ago? Now they're like a top 10 account for major labels.[00:32:30] Dan Runcie: It's impressive. It really is. And I think it's a good reminder because anytime that you get a little bit too bullish and excited about what the current thing is, it's, we always gotta be thinking about what's next.And you mentioned a few times about a post Spotify economy. What does that look like from your perspective? I think there's likely a number of things that we've already talked about with more of these other B2B platforms or where these other platforms in general, having licensing deals. But when you say, or what do you think about post Spotify economy?What comes to mind for you?[00:33:02] Will Page: Let me throw my fist, your words, your jaw, and try and knock you out for a second. We talked about price for a minute, and we talked about streaming. We haven't talked about gaming, but you noticed the Epic Games. It's just acquired band. I learned a fascinating stat about bandcam, which relates to my book Tarzan Economics.There's a chapter in the book called, "Make or Buy", where I sat down with the management of the band radio head. We went through the entire in Rainbow Story for the first time ever, a real global exclusive. Explain how that deal worked out, what they were really achieving when they did their voluntary tip jar model.And by the way, can I just put a shout out to one of your listeners and live from the Ben Zion. Best remix of Radiohead I've ever heard in my life is Amplive, Weird Fishez hip hop version of the entire album. But Radiohead tested voluntary tip jar pricing. Now check this out. If you put your album out on Band Cap, could be a vinyl record.Remember, it's the people who are paying to stream who are also buying vinyl. So if you put a ban, an album, my own banquette, and you say name your own price, no minimum, and there's a guidance there of 10 bucks, the average paid is. People go above 40% asking, and that could be for a super rich blockbuster artist who tries something out in band camp.That could be for some band who's broken Brooklyn, Robin and coins together, trying to make them breed. People go 40% above asking when you say name your own price. And that's interesting for me. there's a great academic paper by Francesco Cornell from Duke University. She asked, how should you price a museum?An intuition says Top-down. Museum should set the price. Adults 10 bucks, kids, five bucks, pensioners, some type of discount arrangement. But she said, no, let the visitors set the price because that way rich people will give you even more and poor people can attend and you'll see more cash overall. And I would like to see a little bit more of that experimentation around pricing compared to the past 20 years where we've had a ceiling on price, where if you really love a band, all you can give a platform is $9.99 and not a penny more.I think that's, we're suffocating love. We're putting a ceiling on love and we need to take that ceiling and smash through it and let people express love through different means. But I love that ban camp story. Whatever you suggest, I'll give you 40% above cuz it's art. We're not dealing with commodity, we're dealing with culture and that's why we gotta remind ourselves.[00:35:13] Dan Runcie: It's like the Met model, right? Where at least the last time I went, it was like $20 was the recommendation. But to your point, it at least had some vary of a threshold. But the people, a lot of the people that go there that have a lot of money end up giving much more. So I hear you on that. That's a great note to end on. Will, thanks again. Thank you so much.[00:35:33] Dan Runcie Outro:If you enjoyed this podcast, go ahead and share it with a friend. Copy the link, text it to a friend, post it in your group chat. Post it in your Slack groups. Wherever you and your people talk, spread the word. That's how capital continues to grow and continues to reach the right people. And while you're at it, if you use Apple Podcast, Go ahead.Rate the podcast, give it a high rating, and leave a review. Tell people why you like the podcast. That helps more people discover the show. Thank you in advance. Talk to you next week.
Welcome to our second GMR episode! We talk personal and relatively current events, answer listener's questions, and pull a tarot card. Shoutouts to @anyatheodora1, ally & Turkish bellydancer @aslirakkas, @roma__dancer, @errcinsta, Lolo Lovina, and the new podcast Foretold by the LA Times, which feature's Paulina's life story. Fundraiser for Roma and Domari in Turkey post-earthquake.Thank you for listening to Romanistan podcast.You can find us on Instagram @romanistanpodcast, and on Facebook under the same name, and on Twitter @romanistanpod. Join our Patreon for extra content. We started a Ko-fi fundraiser to help us expand. Our goal is to continue releasing 2 episodes a month, including our advice column, and we would eventually like to expand so we can produce content by other Romani & Sinti creators. We are hoping to cover production costs, like paying for our hosting site, website, editing and producing, and all the rest. We would love it if you could contribute and spread the word. The link, Ko-fi.com/romanistan, is in our bio on Instagram, and will be in the show notesPlease rate, review, and subscribe. It helps us so much. If you would like to advertise with us, email us at romanistanpodcast@gmail.com. We offer sliding-scale for Romani, Sinti & related businesses, so reach out!You can find Jess on Instagram @jezmina.vonthiele, and you can find Jess' vintage and curiosities shop Evil Eye Edit on Instagram @evileyeedit & Etsy.You can find Paulina Verminski on Instagram @_paulina_v_ and at https://romaniholistic.com/. Follow Paulina's store, Romani Holistic, in Newport Beach, CA, on Instagram @romaniholistic Romanistan is hosted by Jessica Reidy/Jezmina Von Thiele and Paulina VerminskiConceived of by Paulina VerminskiEdited by CherubWith Music by Viktor PachasAnd Artwork by Elijah Vardo
Making Billions: The Private Equity Podcast for Startup Founders and Venture Capital Investors
Have you ever wondered how to break into startups or investing? In this week's episode of Making Billions, I bring on my dear friend Emmy Sobieski. Emmy is the author of the best-seller $100M careers as well as the COO of Competitive Story Telling where she teaches founders how to sell their ideas better to investors and other partners. Breaking into an industry while getting into the right doors are all skills we need in our pursuit of making billionsWANT TO LEARN HOW THE BEST INVESTORS MAKE MONEY? SIGNUP FOR OUR NEWSLETTER:https://mailchi.mp/d41cfc90bd9f/subscribe-to-newsletterSubscribe on Youtube:https://www.youtube.com/channel/UCTOe79EXLDsROQ0z3YLnu1QQConnect with Ryan Miller:Linkedin: https://www.linkedin.com/in/rcmiller1/Instagram: https://www.instagram.com/makingbillionspodcast/Twitter: https://twitter.com/_MakingBillonsWebsite: pentiumcapitalpartners.com[THE GUEST]: Emmy previously co-managed the #1 ranked Nicholas | Applegate Global Technology Fund in 1999, up over 495%. Emmy's institutional investing experience includes 25 years working for investment firms representing diverse strategies (aggressive growth, momentum, value), asset size (responsible for up to $6B in assets), and type (mutual funds, RIAs, insurance cos, hedge fund). Emmy is a manager and co-founder of GMR (developer of utility-grade Solar, Battery, and Wind farms), and a former co-founder, executive, and advisor to multiple funds and startups. Emmy is a regular panelist and keynote speaker on Web3, Privacy, Payments, ESG, and AI. Emmy is a Chartered Financial Analyst (CFA) and has a USC MBA and a BA in Economics from UCSD. Learn more at www.emmysobieski.com [THE HOST]: Ryan is a Venture Capital & Angel investor in technology and energy. He achieved industry-beating placement growth in his first 5 years in the industry. DISCLAIMER: The information in every podcast episode “episode” is provided for general informational purposes only and may not reflect the current law in your jurisdiction. By listening to our episodes, you understand that no information contained in the episodes should be construed as legal and or financial advice from the individual author, hosts, or guests, nor is it intended to be a substitute for legal, financial, or tax counsel on any subject matter. No listener of the episodes should act or refrain from acting on the basis of any information included in, or accessible through, the episodes without seeking the appropriate legal or other professional advice on the particular facts and circumstances at issue from a lawyer, finance, tax and other licensed in the recipient's state, country or other appropriate licensing jurisdiction. No part of the show, its guests, host, content, or otherwise should be considered as a solicitation for investment in any way.Support the show
Emmy Sobieski, CFA, the author of $100M Careers, is currently COO and co-founder of Competitive Storytelling, Inc. both of which help founders with world-class ideas share their stories to change the world. Emmy previously co-managed the #1 ranked Nicholas | Applegate Global Technology Fund in 1999, up over 495%. Emmy's institutional investing experience includes 25 years working for investment firms representing diverse strategies. Emmy has founded, co-founded, and advised multiple startups. She is a manager and co-founder of GMR (developer of utility-grade Solar, Battery, and Wind farms), former co-founder, executive, and advisor to multiple funds and startups. Emmy is a regular panelist and keynote speaker on Web3, Privacy, Payments, ESG, and AI. Emmy has mentored multiple students from diverse backgrounds in college to millions in net worth before the age of 30. Her book $100M Careers aims to scale this mentorship to any motivated young person interested in finance and startups. Emmy is a Chartered Financial Analyst (CFA), and has a USC MBA and a BA in Economics from UCSD. Highlights of Emmy's athletic accomplishments during the 25 years as an institutional investor include multiple national and global rankings in dressage, culminating in 2005 with a 9th place in the US trials for the World Cup Team, Silver in the 2017 US Masters Championships in the 100-meter and 400-meter dash (50-55 year old division), 2017 AAU North American Champion Women Overall Physique Division (bodybuilding, all age groups). Emmy has placed in the top 3 in her age group in both marathons and ultramarathons. Learn more at www.emmysobieski.com Thank you for listening to the A+ Parents podcast. If you love the show, don't forget to subscribe, share and leave us a review. Also, follow us online at www.aplusparents.com www.mrdmath.com or on our social channels @MrDMathlive @aplusparentspodcast Also, host Dennis DiNoia has a new book out NOW called “Teach: Becoming Independently Responsible Learners. Order your copy: https://aplusparents.com/teach OR on Amazon https://www.amazon.com/dp/B09X2B3MG8/ref=cm_sw_r_sms_api_i_DDH16A3BD5X79CSFSQXB
Emmy previously co-managed the #1 ranked Nicholas | Applegate GlobalTechnology Fund in 1999, up over 495%. Emmy's institutional investing experienceincludes 25 years working for investment firms representing diverse strategies (aggressive growth, momentum, value), asset size (responsible for up to $6B in assets), and type (mutual funds, RIAs, insurance cos, hedge fund). Emmy is a manager and co-founder of GMR (developer of utility-grade Solar, Battery, and Wind farms), former co-founder, executive, and advisor to multiple funds and startups. Emmy is a regular panelist and keynote speaker on Web3, Privacy, Payments, ESG, and AI. Emmy is a Chartered Financial Analyst (CFA), and has a USC MBA and a BA in Economics from UCSD. Highlights of Emmy's athletic accomplishments during the 25 years as an institutional investor include multiple national and global rankings in dressage, culminating in 2005 with a 9th place in the US trials for the World Cup Team, Silver in the 2017 US Masters Championships in the 100-meter and 400-meter dash (50-55 year old division), 2017 AAU North American Champion Women Overall Physique Division (bodybuilding, all age groups). Emmy has placed in the top 3 in her age group in both marathons and ultramarathons. Learn more at www.emmysobieski.com
The podcast crew is joined, live at Texas EMS 2022, by Dr. Gerad Troutman to discuss the world of alternate destination EMS transports, EMS-facilitated telehealth, nurse navigation, and "hospital at home." Dr. Troutman leads the ET3 initiative and is the National Medical Director for Innovative Practice at GMR, so this episode is full of successes, road bumps, and shared experiences with the implementation and execution of each of these leading-edge concepts within prehospital care.
Aubrey Walker III was trained at the Portfolio Center, School for Creative Communication Arts in Atlanta, GA. In his first year of the two-year program, Aubrey was recruited as a Copywriter with MATLOCK, working on Publix, BellSouth and BMW. In 2000, Aubrey joined CHWA in Oakland, California as a Copywriter, working directly under Carol H. Williams, the only African American woman in the Advertising Hall of Fame. While under her tutelage Aubrey quickly became the lead writer on Coors Light. Not long after, Aubrey moved to Chicago as an ACD at Burrell. His duties there were McDonalds, P&G, Heineken, Bacardi and Verizon. For the TIDE brand Aubrey created the award winning global spot, “Nostalgia Dad.” Today, it's still one of the highest ranked spot in the history of P&G. In 2006 Aubrey accepted a position with The TRUE Agency a subsidiary of TBWA in Los Angeles, California. His client duties were primarily on Nissan North America. In 2010 Aubrey accepted an Associate Creative Director role on the Jeep brand at Globalhue. There he led the team on the Call of Duty and Jeep partnership. In 2012 Aubrey became a Creative Director at commonground in Chicago, IL. There he led the Nike High School basketball account, Nike Marathon, Nissan North America and Bacardi USA Brands. In 2015 Aubrey became the Creative Director of Ideation and Content at GMR in New Berlin, WI. His accounts included, the NFL, Chobani, Miller Lite, Amazon, Pepsi, Johnsonville Brats, TuneIn and Lincoln Financial. And in 2016 Aubrey joined MKTG Chicago as VP Creative Director over Nike, Dick's Sporting Goods, Maven, Gatorade, Propel Water and Beats By Dre. Aubrey then opened his own company, TEACHERS NEVER LIKED US where their main client was Four Loko. In 2019, Aubrey received an offer to become the first Executive Creative Director of OKRP in Chicago where his role would be to manage the creative department on accounts such as Illinois Lottery, Ace Hardware, Cars.com, Nerds, P&G, Illinois Dept of Tourism, Home Chef & Black Shop Friday. Currently, Aubrey is the ECD of OKRP and Founder and CCO of a minority owned start-up production and creative agency, PUTNEY. Along with his partner, Elena Robinson.
Show Resources Here were the resources we covered in the episode: How to Analyze Your LinkedIn Ads in Excel How to Evaluate Your LinkedIn Ads AB Tests in Excel NEW LinkedIn Learning course about LinkedIn Ads by AJ Wilcox Youtube Channel Contact us at Podcast@B2Linked.com with ideas for what you'd like AJ to cover. A great no-cost way to support us: Rate/Review! Show Transcript Get ready for some killer LinkedIn Ads strategies, because we asked the community for their favorite LinkedIn Ads plays, and you delivered on this week's episode of the LinkedIn Ads Show. Welcome to the LinkedIn Ads Show. Here's your host, AJ Wilcox. Hey there LinkedIn Ads fanatics! We reached out to you, the LinkedIn Ads community, to ask you about your favorite LinkedIn ads plays. We're looking for those strategies that you're using daily to build and optimize for the best performance. In the news, I want to let you know about a couple of YouTube videos that we published. One is a full walkthrough within Excel on how to analyze your individual LinkedIn Ads, how your creative performance is. Another is all about how to evaluate your LinkedIn Ads AB tests within Excel. If you're not already following our YouTube channel, go subscribe there. I put the links down below in the show notes. Because those are something that you can follow along with, right as you're building the reports yourselves, and do better reporting better analysis for your company for your clients. They're directly actionable, and I think you're gonna love them. I've been asking, pleading for you marketers to leave reviews for the show, because I'm sure you know, the reviews are a big part about how people find out about the podcast. I wanted to give a huge thanks to several of you who stepped up and did it recently. I sincerely appreciate it. It makes the effort to design and create these episodes totally worthwhile. It's pretty hard for me to look at someone's Apple podcasts username, and try to figure out who they are. So feel free to reach out to me if I'm calling you out and you want me to let everyone know who you are. Okay, so Marketer Martina, she says, "Concrete actionable insights. I had been responsible for audience strategy and segmentation for years, but only recently started owning LinkedIn as a channel. When our results took a nosedive. I knew I needed to get more in depth insights into best practices than what LinkedIn is training courses offer. I found this podcast and it has been a lifesaver, offering easy to digest information with concrete actionable insights that can be immediately put into action. Thank you, AJ, for sharing all of your knowledge with us." Martina, I really appreciate the kind words that's exactly what we're going for here. We also had Brandon Chesnutt from Identity. He left a review that said, "One of the best resources for b2b marketers. If you're a B2B marketer looking to tap into the power of LinkedIn ads, don't waste any more time and subscribe to the LinkedIn ad show right now. I have a regular rotation of awesome marketing and communication podcasts in my feed. And I'm always excited when a new episode of the LinkedIn Ads Show pops up. AJ does a fantastic job of taking important LinkedIn ad topics from the very broad to the very niche and breaking down digestible and actionable takeaways. I'm regularly sharing links to episodes in our agency Slack channels, and utilizing many of the best practices highlighted with our clients." Thanks so much, Brandon, I really appreciate that. If this show is able to offer you up direct takeaways that you can go and put into action today. That's my goal. Makes me very happy. 3:05 So back to LinkedIn Ads plays. Here's the play that I shared to open up the conversation. I said, when launching ads start by manually bidding for clicks, then if your ads proved to consistently generate a click through rate that's two to two and a half times the average then switch to bidding by impressions. The reason this works is because you've proven to the platform that you can generate clicks at a healthy rate. Switching to impressions bidding mass distributes your ads to maximize reach and click volume at your consistent click through rate, which can help decrease costs. Now I have a really cool YouTube video to share with all of you that's going to be popping up here in the next couple of weeks. So again, make sure you're following our YouTube channel. But in it, I actually go into the math whether it's going to be cheaper to bid by cost per click or by the impression and how to figure out how competitive an audience really is. I also share the secrets to why it's the click through rate that's two to two and a half times the average. So you're definitely not going to want to miss that. So then I finished up this post with what's your favorite LinkedIn ads play? What's worked well for you and what were the results. I'd love to feature you on an upcoming episode of the LinkedIn Ads Show to drop a comment below. And I'll share your experience in the episode. Then we had so many of you sharing. We had shares across all social channels so we've compiled them here, and I'm going to share them right now. 4:23 We had Paul Fairbrother, who is a paid social specialist at HootSuite. And he shared, "I have a client where we weren't getting anywhere with lead gen. The cost per click was averaging $35 Canadian. I think part of the issue was that it was a case study more suited to later in the funnel. So we added in a video as the first touch with prospects optimizing for video views. Then by building a 25% video view audience, I remarketed them with a case study and got the CPC down to under $2. LinkedIn now offers lots of options for building simple two step funnels. So it's worth having a play with them if other strategies aren't working." You nailed it, Paul. I think LinkedIn is retargeting has become incredible in the last couple years, and I would highly suggest anyone to go follow Paul's advice. Then we had Nayan Prakash, who runs all kinds of paid media at a company called GMR web team out of India, he shared two plays number one, running a sponsored message ad and layering it with an ABM strategy for Account Based Marketing. It's one of my favorite plays in LinkedIn Ads. This ad type works best while using an existing database of target companies or contacts. And this campaign type won't be very effective in generating bottom of funnel leads, but helps them in grabbing decent top of funnel leads with some lead bait. In our case, we use the free scanner tool, which he then uses to introduce more about the brand, which then leads to taking those warm leads to the drip funnel. Here's what we basically did. First, we uploaded two different lists, one compatible for the company list, and another for the contact list. Then we segmented multiple campaigns based off of company sizes separately for both lists. That's it, those segmented campaigns helped in assessing which one was giving fruitful results and continuing with that one. While in the testing phase, back in December of 2021, the cost per lead used to be around $100 to $110 without segmentation. After segmentation, it reduced to 60 to $70. The open rate used to roam around 35 to 45%. So Nayan, I like a lot about what you're talking about. We found in a lot of cases sponsored message ads are very, very expensive. But when you're going after a very specific kind of person, especially with lists like you're doing and offering them something that feels like a personal invite, making them feel like a VIP, they really can perform quite well. His next play he said for sponsored single image ads. One thing that I personally love is retargeting those LinkedIn users who've already engaged with our other ad copy whether they liked the ad commented shared or clicked any of the links. LinkedIn will smartly chase them. And yes, I 100% agree with you AJ that this retargeting will be more accurate than website visits retargeting. Even the CPC ranges lesser when compared with the campaign having job title targeting. Not only this, but with retargeting, we start networking with engaged users through an organic approach, and a LinkedIn connection building strategy. We've seen a few assisted conversions while following this approach, and are still measuring the effectiveness of how far it will help. This strategy helped us to combine the paid and organic approach making the investment more worthwhile. In one case, one of our clients prospects got tired of seeing the retargeting ads of our clients brand, and finally ended up signing a contract with them. This literally made us laugh. So Nyan, I love this, especially love the retargeting aspect around single image ads. This is a new feature that we have. And I love the way that you're combining it with an organic strategy. And we had Adam Dolan who's the co-founder at First Spark Digital out of San Diego, California. And he said, "Love me some text ads. It's an underutilized ad inventory on the platform makes it easy for small brands or larger to maintain brand awareness at a very low cost, in most cases free. Plus, when you do get a click, you typically get to see good intent. And he followed up with interesting strategy with the bidding switch from impressions to clicks. Thanks for sharing." Adam, I 100% agree with you on text ads, they are hugely underrated and I love them, I would highly recommend running them alongside anything that you're running on, especially sponsored content. Here's a quick sponsor break and then we'll dive into at least three more play. The LinkedIn Ads show is proudly brought to you by B2Linked.com, the LinkedIn Ads experts. 8:34 If you're a B2B company and care about getting more sales opportunities with your ideal prospects, then chances are LinkedIn ads are for you. But the platform isn't easy to use, and can be painfully expensive on the front end. At B2Linked though, we've cracked the code to maximizing ROI while minimizing costs. Our methodology includes building and executing LinkedIn Ad strategies, customized to your unique needs, and tailored to the way that B2B consumers buy today. Over the last 11 years, we've worked with some of LinkedIn's largest advertisers in the world, we've spent over $150 million on the platform, and we're official LinkedIn partners. If you want to generate more sales opportunities with your ideal prospects, book a discovery call today at B2Linked.com/apply. We'd absolutely love to get to work with you. Alright, let's jump into our next play. We had Alexander Krastev, and he's the founder of a company called Bookmark out of Bulgaria. He responded to my play about first bidding by click and then switching to bidding by impressions when you get a high enough click through rate. And he said, "Great, I usually do a similar switch with the bidding strategy. First with maximize bid, and later if the max is too high with manual, but AJ, does the CTR remain relatively similar after you switched impressions?" So it sounds like Alexander does this the opposite way that I suggest. I start out by bidding by the click because that's generally the cheapest And then I switch over to maximum delivery when I see high click through rates, but you can go the opposite way, just like Alexander was talking about. He brings up a good question here, does your click through rate remain relatively similar, regardless of how you bid? And the answer to that is usually yes. If your ads are performing really well, when you're bidding by a cost per click, you generally have a good relevancy score associated with your ads with your campaign. And so LinkedIn is putting you in really good ad inventory, meaning usually higher up on the page. That way, when you switch to maximum delivery, you end up also getting really good inventory, because this is inventory that LinkedIn knows it's getting paid for, regardless of how the ads perform. So it usually puts it high up on the page, especially because maximum delivery is a really aggressive bid. It basically bids as high as it can on CPM to fill your budget. Where I see this differ. If your ads, while you're bidding by the click end up performing really poorly, let's say at or below the benchmark, click through rate, then you may end up having your ads fall into bad inventory further down the page, in which case, maximum delivery would actually put you in better inventory. But you would also pay a heck of a lot more per click. So it's definitely something you'd have to balance. Then we had Adriaan Boot, from Impactful in the Netherlands. He shared, "We actually see text links work really well, when advertising on LinkedIn. Text links bring in very high quality clicks for a very reasonable cost per click." And Adrian, what I'm imagining you're talking about is using text ads, just like Adam was mentioning,. We see them perform really well as well, but I totally understand why other advertisers may avoid using them. Simply because when you put the campaign together, it's not going to spend very much unless you have a pretty large audience. And so you might not think that there's anything going on. But like Adam mentioned, it does a really good job of keeping your brand in front of people. And it costs next to nothing, because it's the cheapest click that you can pay for on LinkedIn. At least in North America. We do see in some parts of the world text ads are actually more expensive than sponsored content. 12:06 Finally, we had Meiki Tanious. He is a growth hacker out of Boston for a company called Scalewhale. And he shared if you're doing B2B, an underrated LinkedIn Ads play is to use the Microsoft ads integration that was released a couple years ago. You can actually target users on Microsoft ads based on their LinkedIn. So your next question might be well, who uses Bing? But a lot of enterprise companies might be forced to use it due to a full Microsoft setup by IT with Office 365 plus Azure. And then as you might imagine, Bing Ads CPCs are much cheaper than LinkedIn Ads. Meiki, I totally hear you there. I was really excited when I heard Microsoft was coming out with the integration. And last I checked, you could really only target by some really broad things. You do get company name, which is cool. But job function and industry, I think were the other two that you could target by. So a little difficult to get super targeted. But you're right, the CPCs are so much lower. Meiki also mentioned, "Something else I've noticed that works really well is doing organic type targeting strategies. If you're running ads on LinkedIn, you're not reaching the same scale as the DTC meta campaign spending less and instead investing in OPS plus automation can make your ads way more effective. An example is instead of a lead form ad that everyone's used to test viral ask posts speaking to the audience's problem, like talking about how HIPAA is a pain in the butt and offer to DM people a free playbook or guide. If they wind up commenting on the post. Ask some people that you know, to comment and react to it to show engagement, then boom, you'll get people commenting. Then have an ops person automate the message sent to each user with the lead magnet and use a CRM to manage the ensuing conversations." Meiki, I absolutely love what you talked about with offering people content for commenting. This is something that we internally call comment gating. And it's a lot of work, if you're going to do it manually. Like you're talking about if you're using automation, that's great. As a LinkedIn partner, though, I can't recommend automation because it's against their terms. But we have done this both for clients and for ourselves. Comment gating is really cool way of not only getting a lot of cheap leads, but also growing your network with a bunch of really interested and targeted people. I asked Meiki for a follow up and just said, Hey, how are these strategies working for you? And he responded, "The Microsoft ads integration has worked really well for me when targeting ads at large and enterprise sized businesses. CPCs can go below $2 For desirable keywords, which is huge compared to LinkedIn's costs. Smaller B2B businesses I haven't tested this with, but I'd imagine there's not as much volume due to not being forced to use Bing. Then the organic strategy, he got to run for two different clients. It was massively successful compared to lead ads and landing pages in both instances. It comes from one of my greater philosophies, most people want an organic experience. If your ad doesn't feel natural, your customers are trained to ignore it." Meiki, I couldn't have said it better. Well done. All right, I've got the episode resources for you coming right up. So stick around Thank you for listening to the LinkedIn Ads Show. Hungry for more? AJ Wilcox, take it away. 15:22 Okay, like we talked about in the episode, down in the show notes, you'll see two links, going to the YouTube videos, where I walk you through exactly how to do certain types of reporting in Excel. You're not going to want to miss that. You'll also see the link to the YouTube channel, so you can make sure to subscribe. If you or anyone you know, is looking to do more with LinkedIn Ads, point them towards the course you'll see the link to that as well. And this is the one that I did with LinkedIn Learning, all about LinkedIn Ads. It's by far the highest quality and the lowest cost of any course I've found out there. It's a really good value. If this is your first time listening to us, welcome. And do remember to hit that subscribe button if this hasn't disappointed you. If this is not your first time listening, the biggest favor that you can do me personally for putting all these shows together is to go and rate and review the podcast on whatever podcast player you use. Usually it's Apple podcasts, but if you find anywhere else, that would be great. With any questions, feedback, suggestions, anything like that, send them to us at Podcast@B2Linked.com And with that being said, we'll see you back here next week. Cheering you on in your LinkedIn Ads initiatives!
On today's episode I bring in driving buddy of mine back when i used to drive out in the mountain passes of Southern California. We talk about some stories that we have heard from the white lady of GMR voices of Angeles crest highway and more odd occurrences. Thank you to nick for coming on and hope you guys enjoy this deviation from the normal racing content.
My guest this week is Sean O'Malley who is the CEO of the boutique music publisher Regard Music. Sean has more than 20 years of experience in music publishing and operations, including royalty collection and distribution, licensing, data processing and systems development. He was also part of the the team that started GMR, the first new Performing Rights Organization in 75 years. Prior to that, Sean worked at ASCAP for 8 years where he supervised a large, multi-coast team to resolve issues on behalf of its members. During the interview we spoke about working for ASCAP, the differences between GMR and other PROs, AI-generated songs, the era of derivative content, the future of music publishing, and much more. I spoke with Sean via zoom from his office in Los Angeles. On the intro I'll take a look at the rise and fall of music clubs, and the Global Music Vault. var podscribeEmbedVars = { epId: 84000347, backgroundColor: 'white', font: undefined, fontColor: undefined, speakerFontColor: undefined, height: '600px', showEditButton: false, showSpeakers: true, showTimestamps: true };
This episode of EMS One-Stop With Rob Lawrence is brought to you by Lexipol, the experts in policy, training, wellness support and grants assistance for first responders and government leaders. To learn more, visit lexipol.com. On Sept. 12, 2022, American Medical Response announced it is to close its Los Angeles County non-emergency operations over the next 180 days. One of the key reasons is one faced by all ambulance operators at this time – insufficient levels of Medicare reimbursement. Against this backdrop, GMR (AMR's international EMS division) predicts that its Los Angeles division is on course for an operational deficit of over $3.5 million. In this episode of the Inside EMS podcast, Brian Henricksen, California-based regional director for GMR, joins host Rob Lawrence for a frank discussion on the issues in LA and they discuss the fact that this may be the bellwether of things to come across the nation. Rob is also the executive director of the California Ambulance Association and the economics of ambulance service operations in the state are close to his heart. California has not increased its Medi-Cal reimbursement for private ambulance operators since the late 1990s. The current Medi-Cal base rate for private ambulance services sits just above $100, which is far below the cost of providing transport. The State's Medi-Cal reimbursement rate is one of the lowest in the country, but it also has the highest operational costs for ambulance transports.
In this Ask Me Anything episode, Mary Gates, President at safety consultancy GMR 410 and former global security executive at JP Morgan Chase, shares career advice from her experience in top security leadership positions, including when to conduct risk assessments, how to get the budget you need, and why integrity, decisiveness and relationship building are integral to successful security management.
SBJ I Factor presented by Allied Sports features an interview with GMR Executive Vice President Todd Fischer. Fischer has a keen sense of the brand side of the industry, and how brands can leverage sports. Before his current stint at GMR, he worked at State Farm, where he helped drive the brand's broad marketing and sponsorship strategy. Fischer was a member of SBJ's Forty Under 40 class of 2016. During the interview, Fischer talks with SBJ's Abe Madkour about the lessons learned growing up in the midwest, the power of networking, why it's critical to learn everything you can about a partner's business, and what advice he gives to young people entering sports. SBJ I Factor presented by Allied Sports is a monthly podcast offering interviews with sports executives who have been recipients of one of the magazine's awards.
GMR Papi is from Tennessee that has a long history in airsoft, spent time in Mexico on mission where he was almost killed at gunpoint, has a love for the rare GMR minimaps, and could single handedly take out the whole FTW team on his own ;-) Follow him on IGhttps://www.instagram.com/suck.my.crye/Don't miss the Aug 12 Giveaway. Go to https://www.trifectaairsoft.com/ for all the detailsSupport the show
One of the most unique insights into the state of the music business today doesn't come from a record label exec. Not from an agent. Not from an artist. No, it comes from Scottish economist Will Page, who served that role for Spotify from 2012 to 2019 — a period of explosive growth for the streaming giant. But if you ask Page about streaming's future, he's not nearly as optimistic as the rest of the industry. “The party has to come to an end,” as he told me on this episode of Trapital.Page believes the music industry is transitioning from a “herbivore market” to a “carnivore” one. In other words, future growth will not come from brand-new customers — it'll come from the streaming services eating into each other's market share. Not only has subscriber counts possibly tapped out in Page's opinion, but streaming services have also put a ceiling on revenues by charging only $9.99, a price that hasn't budged in 20 years despite giant leaps in technology and music catalog size. That against-the-grain prediction was one of many Will shared with me during our in-depth interview. But he has plenty more research- and experience-backed thoughts on touring, vinyl records, Web 3.0, and everything in between. Believe me, this is an interview you don't want to miss. Here's everything we covered: [0:00] The 3 R's in the business of music[3:15] Will's experience being a DJ[7:10] Lopsided Growth Of Music Streaming In Global Markets[8:59] Vinyl Records $1.5 Billion Recovery [13:18] Will's Bearish View About The Future Of Streaming[15:22] Ongoing Price War Between Streaming Services[22:59] The Changing Economics Of Music Touring [26:16] Performing At Festivals Vs. Tours [30:50] The Evolution Of Music Publishing[34:32] How Music Revenue Gets Distributed To Publishers[37:35] What Does A “Post-Spotify Economy” Look Like? [40:00] Will's Biggest Issues With Web3 [47:01] The Current Business Landscape Of Hip-Hop Listen to Will's mix right here: https://www.mixcloud.com/willpagesnc/we-aint-done-with-2021/Check out Will's Podcast, Bubble Trouble, where he breaks down how financial markets really work.Read Will's book, Tarzan Economics: Eight Principles for Pivoting Through Disruption.Listen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Will Page, @willpageauthor Trapital is home for the business of hip-hop. Gain the latest insights from hip-hop's biggest players by reading Trapital's free weekly memo. _____TRANSCRIPT Will Page 00:00The best way I could do this is, I just talk about ratios. There are three R's in this business, there's share of revenue, there's ratio, and as rates pool, they mean different things. Most experts get confused with the three R's.I'm gonna stick to ratios that is, if I give the label $1, how much do I give the publisher, the software, there's collective management organization? So we stick to the conventional streaming model today, I would say that you get the record label $1, you're giving the publishing side of the fence 24 cents, you know, a decent chunk of change, but still the poorer cousin of the record label. On YouTube, I think it could be as high as 35 cents, 40 cents even because there's a sink right involved in those deals.Dan Runcie 00:46Hey, 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. Today's guest is Will Page. He is the author of a book I cannot recommend enough. It's called Tarzan Economics. It's a guide to pivoting through disruption. This is a must-read if you're working in music, media, or entertainment. He is also a Visiting Fellow at the London School of Economics. He is the former Chief Economist at Spotify. So if you are interested in where the music industry is heading, where trends are going, this is the person to talk to. I was first put onto Will's work, he had released this white paper called Rockonomics. And it was a breakdown on how artists were using Twitch. I wrote about the report in Trapital because I was fascinated by it. And then he and I started talking from there. So it was only a matter of time before he came on the podcast. Will and I covered a bunch in this episode, we talked about the growth of streaming, we also talked about the growth of vinyl, and how that impacts the economics for a lot of artists and songwriters and publishers. We also talked about the price of streaming services. Most services are still $9.99 per month in the US. So we talked about why that is for music compared to video streaming, where Netflix Hulu, and Amazon have been increasing their prices for their respective services. We also talked about music publishing and why Will thinks that that catalog will continue to grow. We talked about live music and some of the potential constraints where now the next 24 months everyone wants to go on tour. But there's only so many venues and so much money that consumers have unwillingness to see live shows. So we've talked about that we talked about trends in hip hop, we'll have a bunch of exclusive numbers to share in this. And it was great to talk to him. It's been great to also Jessica T to learn from him. I honestly do believe that he's one of the sharpest minds in the music industry. And it was a pleasure to have him on this podcast. And I hope you enjoy this conversation as much as I did. Here's my chat with Will Page. Alright, today we got the one and only Will Page with us. He is well known in the music and media space as an economist, but he also spent a lot of time as a DJ. And I feel like that could be a good place for us to start the conversation. Will, talk to me about your DJ experience and what you've been doing there recently.Will Page 03:22Well, I've been DJing since the age of puberty. And it was all inspired by one lyric by a rapper called Mike G from The Jungle Brothers from an album called done by the forces of nature, where he dropped his library. He said it's about getting the music across the message across getting it across without crossing over. And unlike a 14-year-old kid when I hear this, and I just thought about those words, getting the music across without crossing over, how do you get out to an audience without diluting its integrity. I'm only 14 at the time. But that just resonated with me so strongly, and I just kind of dedicated a huge chunk of my life to trying to get the music across to an audience that would otherwise not have heard it. And I'm not diluting how it's been presented. That's what a DJ can do. You can thread songs together in a way that gets music across without its dilution without crossing it over.Dan Runcie 04:11And I feel like, for you, you've been able to carry that through, you had we're not done we are done with 2021 I was able to do a quick drop for that as well. So I think what's likely inspiring for a lot of folks is that there's so many people that have music backgrounds and passions early on, but there's a pause if they're not able to continue that but you've been able to keep this as part of your charity, which I think makes so much of what you do with this space authentic because you yourself are someone who releases music.Will Page 04:40Yeah, I mean, the mix cloud allowed me to scale what I was doing anyway, if I go back to university in the late 90s early noughties you'd make mixtapes mix cassettes. There's a great way to date girls, but you could only do maybe like 50 100 at tops. Mix cloud allows you to take what you do and scale it scale what you love to do and the mixer UK only gave us a drop for weighing in dama 2021. That makes us no-hit 27,000 on Mixcloud meaning have overtaken Erykah Badu one of your former guests, I believe. So, you know, to get to 20,000 unique people with a mix that you care a year crafting together, that means the world to me.Dan Runcie 05:15It's a lot. And that's powerful, too. I imagined that you're always not just finding the sounds that make the most vibe for the year. But you're also thinking about, okay, what is the way that things are moving, especially at the pandemic? I feel like it's such an interesting year to have something like that. Because I think for some people, it's a year that they want to remember a year, they don't want to remember as well. But I feel like you probably already have a few things lined up for the mix you'll do at the end of 2022.Will Page 05:45Yeah, I mean, you're always looking for the bands that are not on Spotify, not an Apple Music, I think about half of my mix this year, you will not find in a streaming service. And I'm proud of that you're going to Discogs to find those rare white label bootleg vinyls, you're going to the source to the artists who are in the studio recording. And to you know, profile bands like Sault, or London-based bands, S-A-U-L-T, on that mix. That meant the world because I've been watching them rise over the past few years now. And, you know, to this day, nobody has any idea what the band look like, who the band are made up of, you know, this, like punk music, they're rejecting the system, they're doing it completely separately. And they're, you know, not hitting millions of people on Spotify with their music, they've let the music do the talking. So I often think about mixed culture as a break it down this way, the internet can scale just about anything, but it can't scale intimacy, and a playlist or as an intimate, that's just a bunch of songs straddle together and work them through the shuffle play feature, but a mix, a DJ mix of 60 minutes seamless mix, where you have vocal drops, you have beat mixing, you have layering, all those techniques that you've honed over the years, that's intimate. So what I'm able to do with mixtape culture is to scale intimacy, and that goes out for every other DJ you've had on your show. That's what we're trying to do right.Dan Runcie 07:05For sure. And I feel like that's a good segue to chat a little bit more about some of the work you've done for a company that is very heavily focused on playlists, which is Spotify. And I think more broadly, looking at the streaming ever we're in right now, this is a great time to chat because we just saw the IFP results. And streaming is continuing to grow, as we've seen, but I feel like you've probably spotted a few interesting trends about where things are heading. And I think that's a question of art for a lot of people streaming continues to grow, but how far can it grow? What are we seeing in terms of differences within genres or regions? What are some of the things that stuck out to you?Will Page 07:43I'll give you a couple. The first one is the global business. Well, last time I looked at the United Nations, I think there's 208 countries in the world, the global yearbook that we're discussing here, has I think, 58. So we have to be careful what we define as global. I think Africa's clubbed together as one continent with a need to work on that. But I think the global business is growing, but it's also becoming more American. So if you go back to when Spotify launched, Americans made up 20 to 23% of the business round, about just over a fifth today, it's 37%. So we have seen the business grow and become more American. And that raises questions, economic questions, like globalization questions, should poor countries catch up with rich ones, a theory says yes, the reality often says no, so we're seeing this kind of lopsided growth where the business is growing, but it's growing in favor of an American market, the biggest country is growing at the fastest rates. That's a positive problem, but I just want to flag it, which is that's not how it was supposed to play out. And then the second thing I'd want to point to as well as just vinyl, this vinyl recovery is just Well, I don't know how much my bank balance is responsible for this vinyl recovery. But I'm telling you, is defying the laws of gravity. Now we're now looking at Vinyl being worth one and a half-billion dollars, which is more than it's been worth in the past 30 years. It's worth more than CDs, cassettes, and downloads the three formats that were supposed to declare that vinyl is dead, but there's two things you can kind of cut out the vinyl recovery, which I think will be of real interest to your audience. Firstly, on the consumer side, I saw a survey which suggested that the majority just over half of all vinyl buyers today don't own a record player. I mean, something's cooking here. So why are we buying it for now I'll extend that as well. The cost of wall frames to frame vinyl on your wall often costs more than the record itself. So I'm willing to pay more for vinyl to be called New framed on my wall than I am for the record. And by the way, I don't have a record player that a lot of people will take those bizarre boxes, but on the creator side, something else is interesting. It'll take a little bit of working through but if we think about the streaming model is monetizing consumption, that's what it does. So there's an album A 10 songs, three killer and seven filler songs and an album Let's say Dan runs, he wrote the three killer tracks, and we'll page the seven Duff filler tracks. On streaming, Dan might walk away with all the money, and I'll walk away with none. Because we're only streaming the killer tracks and nobody's touching the filler. As the album model kicks out from vinyl, I would get 70% of the cache. That's crazy because nobody knows what's being consumed. And it's a lot of cash by just kind of do some rough math, you have a million fans streaming your hip hop record on Spotify. And let's say they're streaming it 200 times in the month when the album drops, you only need 20,000 of them of that million to make the same amount of money from vinyl than you would do from streams, which is entirely plausible. But then how do you pay the copyright owners from those songs on an album is very different from how you pay them on a stream. If you go back to the late 70s. The one most successful records of all time was Saturday Night Fever, the BGS, and a bunch of other people. It's crazy to think that Ralph McDonald's Calypso struck his record there, which nobody has listened to, but the same royalty as staying alive by the BGS. Because it was a vinyl record. So to reiterate, on the consumer side, I don't know how many of these vinyl records are being played. And on the creative side, it raises questions about how these creators are going to get paid.Dan Runcie 11:16That's a good point. But that I don't think is being talked about as much about the vinyl search, because there's so much like wow, about just how much has been purchased. I think I haven't saw the stat that Adele's 30 albums sold 8000 cassettes or there's a self-titled stat about that. And I think the similar thing that you said lines up, I think those people actually still own a Walkman or whatever type of cassette player that they have. So I do think that that is something that probably there could be a deeper analysis on. Because a lot of the people that write the filler songs, how do they feel whether you're a songwriter, whether you know what's behind it, especially when you know that there's so much clearer path to be able to determine, Okay, this is going to be the lead single that this is what we're going to push most from this album, it really shifts the exhibit more to where things are going in terms of a single market and like the way that people have talked about pop music for a while now. Right. And I guess that brings me back to the streaming trends that you mentioned, overall, we're in this area, as you mentioned, streaming itself that US penetration has grown from 22%, I believe you said is now 30 to 3537, somewhere around there. But where do we go from here because as you've written before, the price of music streaming, at least the monthly subscription hasn't necessarily been increasing. The average revenue per user overall, because of the international growth is decreased. And you have plenty of people that are still trying to get their fair share of what they can. It's streaming. So it's in like 510 years from now, if you could see into the future. Where do you think streaming distribution is I think the good thing is that people have smartphones, and there's more and more growth from that perspective. So streaming is going to grow. But on the other hand, the economics of these things do have some theoretical point where we've maximized the global penetration of this. What do you think about where that is going?Will Page 13:17Let me unpack it in two different lanes. Firstly, I'll deal with the saturation point question which is, you know, how long can this party keep going for it's three o'clock in the morning, who's going to call time on it? And then secondly, I want to deal with the pricing point on its own lien as well. But on saturation point, you're now in a situation where I'd put it as in America, we've had herbivores we've had Spotify growing Apple growing, Amazon growing, YouTube growing, everybody's reporting growth, Pandora even is growing. What we're gonna see at some point soon is carnivores, which is Apple will grow by eating into Spotify as growth or YouTube will grow by eating into Amazon's growth. So the key question we got to ask is, when do we go from the herbivore market we're in today to a carnivore market of tomorrow, and output Spotify as your subscriber number right about 45 million, Apple at 49 million, you dump on top YouTube, Amazon Pandora, you're well past 110, 120 million. Now that's important because I reckon there's around about 110 million qualifying households in America that has at least one person who could pay for a streaming service. This is crucial, because if you look at what Apple one's bundle is doing $30 a month for news, music, television, gaming, fitness, and two terabytes of storage per six accountholder is a household proposition. They're saying to the home, I got you convenience. Everyone under this roof is covered with Apple products. So when you have 110 million households, and you have more than 110 million subscribers in the United States, then we're in a race to the finishing line before herbivores turn into carnivores. In oil. We have this expression called Peak Oil, which is we know that we've extracted more oil in the world and has left to extract an oil All that's left is going to be even more costly to get out of the ground. I think we're in peak subscriber territory where at some point soon we're going to start seeing growth happen through stealing other customers as opposed to finding your own. So I just want to put that warning flag out there just now we're partying like it's 1989 Fine, but at some point, the party has to come to an end and growth is going to come at the expense of other players that then flips Neil from the east side to the B side of this record, we flip it over to price. And then pricing debate is interesting. I published this work called MelB economics, which we can cite on your wonderful website there, which was to look at the 20-year history of the 19 price point. And it's crazy story back in the third of December 2001. Over 20 years ago today, Rhapsody got its license for 999 offerings which had 15,000 songs first point, the origins of 999. Bizarrely deep back to the blockbuster rental card, some cooked-up label executive would have said that it cost 999 to rent videos from blockbuster. That's what it should cost to rent music. Secondly, there was only 15,000 songs with limited use case there was no smartphone back then no apps, no algorithms, that was all a weird world into the future. So you just had 999 for 15,000 songs we're now checking in early April 2022. And it's still 999 in dollar and euro and Sterling. But we're offering 100 million songs. That's the crazy thing. So in the article MelB economics what I do is I, strip inflation out in the case of the UK 999 has fallen down to six pounds 30 pence. Remember, you know family plan makes music cheaper to have 2.3 people are paying 4099, that's six pounds, 50. There's way too many numbers in this conversation for capital. But still, we'll stick with it. Student plan makes it cheaper to sew music in real terms has fallen to six pounds 30 which is less than a medium glass of Malbec wine. So 175 milliliters of Malbec wine costs more than 100 million songs, which is available offline on-demand without adverts that for me is certified bonkers. I don't understand what we've done. We're offering more and more, and we're charging less and less. And you only have to leave the ears to the eyes on the video streaming to see what they're doing on the other side of the fence. Netflix has got me from 799 to 899 to 1299, to now 1499 In the space of 15 months, and I haven't blinked Disney plus, the reason I'm paying for 99 and Disney plus is because I paid 1999 to get Cruella live on-demand. So they're charging more and more, but only offering part of the world's repertoire set for eyeball content. We're charging less and less and offering more and more of the wells, your whole content says like two ships passing each other in the night. It's a very interesting dilemma.Dan Runcie 17:49It's intriguing because when you look at the way that video is structured, as you mentioned, you have all these price increases. And I think Netflix for some plans is you know, at 99 It's approaching that level. But in music, it's this thing where yeah, there's some price differences where I think I saw today that Amazon music is increasing $1 But that's from 799 for Prime subscribers to that being 899. So, Ross thatWill Page 18:17I wonder if like what caused that?Dan Runcie 18:21I mean, honestly, I feel like there's something here because when I think about this, I think about a few things, right? Obviously, you do have this fight where the artists want to get more and the labels want to get more, you know, not just for the artist, but for themselves. And obviously, Spotify wants to earn more logically you would think, Okay, if you increase the price, and people just understated the economics of what's likely, if Spotify increased up to 1299 a month for the standard base rate, how many folks would blink. But to your point earlier, I have to imagine that the fear is looking at the trends and where that penetration is, if they jump up to 39 or 1299, then they're going to lose those customers to the other streaming services that have been shoved there yet, because of that thought of, you know, shifting to that carnivore mentality of competing with each other. So because for roughly 80% of the content that they do offer, it is roughly the same between each of the services, it's in when's it to be more of a price war, then in video streaming, where most of them do have some differentiated contentWill Page 19:26100% And two things to hold on to a very eloquent point there. And firstly, let's just remind ourselves that Apple launched superior sound quality, you may remember the commercial of lossless audio, you buy your air pods, which cost two years of Apple Music or Spotify to put in your years and you get superior sound quality, the subtext underneath it said at no extra cost. That was the actual marketing message. So there again, we're improving the offer. We're supplying more, but we're charging less in real terms. And that's a really interesting kind of point can occur. into it. The second thing and we should get balanced into this discussion, because it's delicate is we have to remind ourselves that, you know, there's 120 million subscribers in America, there's still another 100 and 20 million to go. But we know they're not they're interested in paying for music because they haven't paid yet, the best way to attract them is not necessarily to raise price. So we got to remember that there's still no oil to extract, it's not going to be easy oil to extract, the best way to get to it might not be to raise the price. But there's a catch to this. I can remember, in the early noughties, right up to 2010 piracy, ripping the asset out of this business. And concert promoters were saying, We love piracy because the kids are getting music for free so they can pay more on concert tickets. I wonder if now they're saying we love Spotify because they don't raise prices, which means we can raise hours, this is not a discussion of how to rip off the customer. This is a discussion about value exchange. And I just wonder whether recorded music is leaving value on the table. That's the key point to hammer home.Dan Runcie 20:57That's a good point. And I think that also made me think too, could there be some notion of maintaining the perception of Spotify as something that still has high pricing power is still as high consumer surplus because then that helps the stock price. And then seeing that the major labels are all invested in Spotify itself. It's about like having that perception of you know, the future growth and whatever it is. So what you've just said made me think about that being a factor, potentially to the 100%.Will Page 21:27And of course, you got to distinguish the Spotify, Apple Music cost structure from that of the video streaming companies, in that they have a kind of variable costs, you double your business, you double your cost base, whereas Netflix, you jump up costs, and you have you jumped up your revenue, you raised me from 799 to 1499, the cost of that content was fixed. And I'm still consuming the Fresh Prince of Bel-Air on Netflix to this day. That is a fixed-cost deal that he did to get that content. And that's margin to Netflix. So you know, the cost structure matters in this one as well.Dan Runcie 21:59Definitely. And you mentioned like music there. And I think there's a lot to think about from that perspective. I feel like we're in this post-pandemic. I mean, we're still not out of it. But we're in this post-quarantine era, art more artists than ever are trying to tour and get out there try to capture what's there. But also from an economic perspective, from that most people are only going to go to a certain number of live events per year. And we have this 18 to 24-month run coming up where everyone wants to make up for what they couldn't do in the past two years. How will that shift not just who that goes on tour together? And then how they may split those profits, what the availability looks like. And if they're not able to do what they may have done on tour in the late 2010s. How does that affect future touring? I think that's a piece of it that, you know, we still haven't necessarily seen the impact of but it just feels inevitable based on where things are heading.Will Page 22:58You did absolutely know on touring. I was lucky and I got to do some great work on the UK live industry. And I can only speak for the UK here. I know a lot of your audience knew us, but I think these points will carry across. The first one was to work out how much is spent on concert tickets in Britain during the normal year of 2019. And the answer was 1.7 billion pounds. That's more than was spent on recorded music a lot more than was spent recorded music which makes sense, you know, you pay 120 pounds on your Spotify account, you're paying 240 pounds to go to Reading Festival for two days in a muddy field and reading costs more than 365 days of all the world's music. But what I noticed there was the industry is changing in its growth. I showed that between 2012 The year of the London Olympics, and 2019 the live music industry in this country had exploded and grow but it was lopsided. All the growth came from stadiums, festivals, and to a lesser extent arenas, the theaters, the 2000 3000 capacity theaters like the Fillmore West over where you are, they were getting crushed. They were actually shrinking in size. So we have this lopsided live music industry which is going right in the direction of the head as opposed to the long tail. The stadiums or festivals The arena is as opposed to the theater as the club's the university venues. And that's interesting because that's going to change the dynamics of how you make money from live. Do you go from doing your tour of an album to doing a tour of your festivals for that record? And what does that mean for the cost structure for the insurance and all those things that bands have to consider when you're hitting the road? I mean, credit to trap tool. You've had some great podcasts recently on this topic. But as there's a big rethink coming along in this live music market is not the same as we had back in 2019. It's changed fundamentally and it is the breadwinner for most artists' income I think it makes up about 70% of what an artist has to live for comes from the road that vanished. How do we get it back?Dan Runcie 24:49I feel like Cardi B has been a good case study on this specific point here, right. It's been four years now since she released an album and she's yet to go on a true proper tour in that time, that said she's done plenty of festivals where she served more on those festival guarantees that she liked what on tour. She's also done many private events where she's likely earned that same amount, if not more. So, there's a whole economic argument to be made. And I think there's also some risk involved, too, right? I think that festivals do give you the opportunity to get that nature back, you get the high number, the revenue that comes through, but maybe your fans will be a little bit more forgiving if you're set-piece at your festival isn't the most extravagant thing, especially if you're not the headliner at it. But on a tour, I think it changes it's a little bit more pressure. Everyone wants to see that Instagrammable or tick talkable moment to then sell future tickets, and just the production costs and everything with traveling. It still is something that is very worthwhile, but I think we've just started to see some of that segmentation there, especially for someone like her I would have to go residencies to I know she's done a few different things in Vegas here and there. But yes, I still yet to do that. 30-city worldwide tour?Will Page 26:12Yeah, I think you got to think of your head and your heart. Your head says like you point out the economics fevers, festivals, your back lines are your insurances cover travels already covered. I have numerous Hip Hop bands perform at festivals in Europe. And that's one of the big advantages. The costs are all taken care of by the festival. But your heart says what does that do to intimate relationships with your fans, right? You're staring at 50,000 Strangers in the muddy field. That's different from staring at 2000 friends in the Fillmore West. So the heading the horror is going to come into play here. What I would add, though, is that there are rumors I would say here in the UK, at least that the promoters are saying I'll pay you a ton of money to film at the festival to make sure that you don't go on tour. And that's an interesting situation. If you build one too many houses, you collapse the property market. If you have one too many tours or one too many festivals, you collapse like the music industry. So there's ways in which people are trying to restrain the market to festivals at the expense of the theaters that certainly is coming through in the data. We're seeing the theater business, take a kick in well, festivals go on a roll.Dan Runcie 27:12Yeah. Because I think about you look at the artists that are touring stadiums now whether it's your Taylor Swift or Beyonce is they wouldn't be able to do that if they didn't have the individual tours, that smaller venues when they were starting out being able to build that intimate fan base, like you said, like you get to that point, right. And I do think that as good as festivals can be it is much more of a lucrative cash grab that is I don't want to say necessarily short-term thinking. But I think you ideally want to have some type of balance there, right? Get the big bag that you can get from something else. It's almost no different than I think running a business right? Okay, sure. You may be able to do a speaking fee or do some type of you know, the thing here or there. But you can't do that all the time, especially if it's not an audience are tapped into. You still need to do some of the things that could set you up for the long game.Will Page 28:05Yeah, and there's an infographic that I'll share with you to pass on to your audience here. I wrote an article in The Economist called smells like Middle East spirit, as opposed to teen spirit and ice play on words had to Dave Grohl and Kurt Cobain, but what I was looking at was the average age of festival headliners over time. This is a doer pessimistic Scottish economist, this is what you do is your spare time. Okay. So in 92, and Radiohead did Glastonbury, the average age of a festival headliner was 2526 years old. And all these hot bands were coming through the Britpop era. You know, there was so much development of new talent by 2012. I think it got up to 58. And I got a lot of criticism for that article, but then Glastonbury that year had the who and Lionel Richie headlining, which I think was 70 and 73 years old, apart, and then you can see the conveyor belt problem, which is okay, it's a quick cash grab, it makes sense. But that's not the conveyor belt of how we develop talent for tomorrow. That's just how we cash in our chips at the casino today. So it does raise questions. And I'm not saying it's like the doomsday scenario here. But we just need a healthy balance of, you know, a seedbed for future growth. And then the big stage of exploiting that moment today, which could be the permanent stage at Glastonbury, the headlights siege up on a roof and mistakes. So I just think we're getting a little bit lopsided here. We're a bit short term system, how this business needs to developDan Runcie 29:25Agreed on that. Switching gears a bit. One thing that you wrote recently that stuck out to me you did this deep dive on music publishing, and I think this is another area that kind of has some of that short term, long term perspective on it, because you look at the people who get the share of the copyright pie, at least today. And from a music streaming perspective, a lot of that has been much more in the favor of the recorded side and then the people getting compensated on the recording side. But with that the songwriters and the PA brochures. A lot of them necessarily in that timeframe didn't get a lot of that. But I think in this wave now where we're seeing more catalog deals, and we're seeing people understand the value of that things may be starting to shift and there's likely other things as well. But what do you think about the way that the publishing side has been seen and what the future opportunities are for that side of the business?Will Page 30:23Well, the way that labels and publishing were taught to me in terms of what makes them distinct from one another goes back to my Aunt Doreen Lauder, who worked in the music business from 1959 at Decca Records right the way through to 2012. She went enzyme records with Nigel Grange loosens half brother, they were responsible for Sinead O'Connor who sold 11 million albums based on the prints cover. And she once said to me, Will, this is how the music industry works, the record label piece of your drugs and the publishing pays for your pension, just kind of as a nice succinct way of summarizing how the business works. That was then this is now clearly times have changed, I think. But it reminds us about you know what makes the business different. And that piece of work that you cite is something called global value of copyright, where I'm really keen to educate this industry, regardless of whether you're coming from a label perspective, a manager or an artist or songwriter, there's a C with a circle on it called copyright. We get that and it involves record labels. It involves SoundExchange involves artists involves ASCAP, BMI, GMR says EQ involves publishers, David Israeli, and the great folks at the NMPA, and Wall Street, but the whole thing together for me all this spaghetti and straightened out. And what I was able to show was that in 2020, copyright was worth 32 and a half-billion dollars, way bigger than what you've just heard I FPI, way bigger than what CS EC would say, this is the entire thing. And the split was about 65% labels 35% to the publishers. Now if you go way back to 2001 when we used to sell CDs by way of pallet and cocaine capitalism, these have no record labels. Back then, the split was much more in favor of labels no more than three quarters labels less than a quarter to the publishers. And what we've seen happen in the years in between is quite an interesting story. Labels went from boom time with CDs to bust with piracy, and now they're booming again with streaming. And the inverse the opposite happened publishers as labels went bust, ASCAP, BMI, kept on recording record-breaking collections. So you ever hear the toys analogy here of labels going really fast and falling off a cliff publishes as trundled along with record-breaking, not massive record-breaking collections, but he kept on growing their base. So the question he threw up is, what type of industry are we moving towards? Are we going back to our business model which paid labels over three quarters of the pie and publishers less than a quarter? And is that a good or a bad thing? Or in this post-Spotify economy where we're seeing companies like peloton Twitch, TikTok comes to the business is that gonna have a completely different balance. Now, why this matters to your audiences, not just on the creator side. But also on the investment side, you pointed out catalog valuations we can dig into that if you want. But just a high-level point is let's say that in a few year's time, I go into my Batcave again, calculate the global value of copyright, and instead of 32 and a half billion is 40 billion, I'll come on traps or make an exclusive announcement cooperate today is worth 40,000,000,007 and a half billion new dollars have come into this business, I want the audience to start thinking about who gets what share of that marginal new dollar, is that going to split publishing side? Or is that going to split the label side. And if you're investing in catalogs, be the master rights be the author rights that really matters. There's a huge educational drive here to understand the balance of this business of copyright.Dan Runcie 33:45So there's a few things you said there that I wanted to dig into, of course, for streaming Spotify and its competitors around 75% is going to the recorded side a quarter to publishing but from a breakdown what does that look like for the Tiktoks? The Roblox and the peloton what is that share of revenue from those plays look like?Will Page 34:08So the best way I could do this is if I just talk about ratios, there's three R's in this business, there's share of revenue, there's ratio, and as rights pool, they mean different things. Most experts get confused with three R's. I'm gonna stick to ratios that is if I give the label $1, how much do I give the publisher, the software, there's collective management organization. So we stick to the conventional streaming model today, I would say that you get the record label $1. You're giving the publishing side of the fence 24 cents, you know, a decent chunk of change, but still the poorer cousin of the record label on YouTube, I think it could be as high as 35 cents 40 cents even because there's a sync right involved in those deals. And then when you take that observation of imposing the sink right into a deal and you expand it to peloton or tic tock potentially even more, and then you can flip it and say well what happens in the future of TiC tock Because karaoke not saying it's gonna happen, but it's not implausible if that was the case that favors publishers even more. There's all these weird ways the business could develop, which could favor one side of the fence, the labels, and the artists continue getting three-quarters of the cash. On the other side of the fence publishers and songwriters start enforcing their rights and getting a more balanced share. And that's what we need to look out for when we're investing in corporates. That's what we need to look out for. If you're a singer and a songwriter. And you're trying to understand your royalty statements.Dan Runcie 35:27Like how much higher Do you think I mean, if you had to put a percentage on it for the Tiktoks or the pelletize? And I guess as well, you made me think up sync deals, right? Like for the folks that are selling, or their saw gets placed on one of these Hulu series or one of these HBO Max series? Like what is that ratio look like, you know, from a ballpark for those?Will Page 35:50So I think a 50-50 split would be the upper end of the goal. If a song is placed in a Hulu TV show or you know, an artist I've worked with for many years Eumir Deodato, Brazilian composer, his songs now in this famous EasyJet commercial over here in Europe, the artists and the publisher would see around a 5050 split of those revenues. Now would that happen in a world of streaming? Unlikely, but I think if you can get to a stage where you're giving the record label $1 and the publisher 50 cents as a ratio, and I got to repeat the word ratio here, you know, that's potentially achievable, that listen, post-Spotify economy, I don't think it's going to happen with the business we're looking at today. But I think that's a potential scenario for the business developing tomorrow. That's the thing is, if I can quote Ralph Simon are a longtime mentor to me, he always says, this industry is always about what's happening next. And then he goes on to say, it always has been as a great reminder of just your will restless souls in this business, we've achieved this amazing thing in the past 10 years, we're streaming got that bank there. What's coming next, who would have thought peloton would have had a music licensing department 18 months ago now they're like a top 10 account for major labels.Dan Runcie 36:59It's impressive. It really is. And I think it's a good reminder. Because anytime that you get a little bit too bullish and excited about what the current thing is, we always got to be thinking about what's next. And you mentioned a few times about a post-Spotify economy. And what does that look like? From your perspective, I think there's likely a number of things that we've already talked about with more of these other b2b platforms or with these other platforms, in general, having licensing deals, but what do you say? Or what do you think about post-Spotify economy? What comes to mind for you?Will Page 37:32Let me throw my fist your words, your joy, and try and knock you out for a second. We talked about price for a minute. And we talked about streaming. We haven't talked about gaming, but you noticed that Epic Games just acquired Bandcamp, I learned a fascinating stat about Bandcamp, which relates to my book tours and economics. There's a chapter in the book called Mako by, where I sat down with the management of the band Radiohead, we went through the entire in rainbow story for the first time ever a real global exclusive to explain how that deal worked out what they were really achieving when they did their voluntary Tip Jar model. And by the way, can I just put a shout out to one of your listeners, and fly from the Ben-Zion I bet remix of Radiohead have ever heard in my life is live. We're fishies Hip Hop version of the entire album. But Radiohead tested voluntary Tip Jar pricing. Now check this out. If you put your album out on Bandcamp could be a vinyl record. Remember, it's the people who are paying to stream who are also buying vinyl. So if you put a band and album out on Bandcamp, and you say a name, your own price, no minimum, and there's a guidance of 10 bucks, the average paid is 14 People go about 40% asking, and that could be for a super-rich blockbuster artists who try something out on Bandcamp there could be for some band who's broken Brooklyn Robin and cons together trying to make them breed people go 40% above asking when you say name your own price. And that's interesting for me, and there's a great academic paper by Francesca Cornelli from Duke University, she asked how should you price a museum and intuition says top-down mindset, the museum should set the price adults 10 bucks kids, five bucks pensioners, some type of discount arrangement, but she said no, let the visitors set the price because that way rich people will give you even more and poorer people can attend. And you'll see more cash overall. And I would like to see a little bit more of that experimentation around pricing compared to the past 20 years where we've had a ceiling on price where if you really love a band, all you can give a platform is 999 and not a penny more. I think that's we're suffocating love. We're putting a ceiling on love. We need to take that ceiling smash through it and let people express love through different means. But I love that Bandcamp story whatever you suggest I'll give you 40% above because it's our we're not dealing with commodity we're dealing with culture and that's what we got to remind ourselves.Dan Runcie 39:43It's like the Met model right where at least the last time I went it was like $20 was the recommendation but to your point it at least at some variable threshold, but the people a lot of the people that go there that have a lot of money end up giving much more so I hear you on that I, I noticed though, when you're talking and thinking about the future of this, I didn't hear many of the typical buzzwords and things that you hear about the music industry. Now whether it is NFTs or Web 3.0 or Metaverse, well, maybe to some extent with the Epic Games comparison, but what is your take on that piece of the puzzle, Spotify era.Will Page 40:20I need $1 and a glass every time I hear these words. So I'm just back from Austin, Texas, South by Southwest, a vague recollection of what happened over there. But I'm telling you, those words were bouncing around more than anything else. Here's a way of capturing of your listeners. This is the first time I've been to South by Southwest where nobody asked me what band did I see last night? Everybody asked me what VR headset that, I try this morning. And that's a sign of the times there and that is a sign of the times. Hey, did you try the Amaze VR headset? You know the make the stallion booty tour? Yeah, I tried that this morning, what Band-Aid nobody wanted to know about bands with pulses. Everybody wants to know about VR headsets. So we live in interesting times. And I think we're in a bit of bubble trouble here. I really do. I don't think this whole thing has been thought out correctly. Firstly, I'll give you an example of where I think the problems gone wrong. And secondly, I want to give you an example from history to show that we've been here before. So with NF T's, it is not. It's not an example of a woman who is happy to spend 1000s 10s of 1000s of dollars on a handbag because they can walk up and down Sixth Avenue and people will see that woman carrying that handbag, the signaling value isn't there. You know, I can buy a token that says I've seen the Mona Lisa on this day and put it in my locker. And if I show you my locker, you can see that I've seen the Mona Lisa that day, and you could buy a token and put it in your locker and you could show your friends that you've seen the Mona Lisa that day, but nobody can buy the Mona Lisa, we can just buy this NFT adaption of the Mona Lisa, but we can't share it across platforms. And that's where I'm struggling. That's where I'm struggling as irrational as that might be to spend 20 $30,000 on a handbag that makes you feel good having the world see you were fine. Do what you got to do. But with NF T's is not a cross-platform token. I'm worried that that's a problem with the model with the price of NF t's just very quickly, there is a term I want to introduce to your show called wash trades, which will meet a legal of 1936 which is basically if you're selling your house, you might employ an estate agent on the buyer side as well as the sell-side to cook up the price. And you can see if you try to do this in the stock market, you spend a lot of time and the chokey six years in jail for manipulating prices. Wash trades have been illegal since 1936. I think there's a problem with wash trades, manipulating the price of NF T's because they're unregulated. So I don't want to be the doer pessimistic, Scottish economist, in the room here pour cold water on this hype machine. But I have some issues with the product. And I have some issues with the price the product is docked to your locker and your locker only the price can be manipulated by ways which be declared illegal in financial markets. Conventional financial markets by wrapping that up. Here's my lesson from history. No Dan, in your record collection. Do you remember a rock band called kiss? Oh yeah. Were you a member of Kiss Army by any chance?Dan Runcie 43:08I was on the show.Will Page 43:11Right so if we go back to before I was born 1975, Kiss one of the biggest rock bands in America had something called Kiss Army for their super fans. So you could have kiss wallpaper because models. You could even have Kiss toilet paper. That was one of their top sellers. You could wipe your butt who key with Gene Simmons. That was one of their biggest sellers. And in 1975 They ran a competition on the competition was to say Hey fans, if you want to see a picture of the band with the makeup off there does famous black and white makeup. And we're going to have this competition you pay to enter and five lucky winners will be sent a photograph of the band for the makeup off. Now you're thinking NF TS kiss 1975 Where's he going? Follow me. Hysteria breaks out all these kiss fans in the kiss army want to see Gene Simmons and Paul Stanley with a makeup off. So crazy hyperemic competition the winners are announced the envelopes are sent out. There was five lucky winners get the envelope. They need scissors to open the envelope a pill it is black and white photograph of Kiss with makeup off. And after five seconds of exposure to natural light. The picture feeds genius, genius marketing incredible. But I'm struggling to see the difference between that and 1975 Kiss. You're competing for photographs, which feed in natural light and NFTs today so something I stress my big tours and economics is when you stare into disruption. It's really important to remind yourself that you've been here before and I think Gene Simmons and Paul Stanley have been here before.Dan Runcie 44:37It's an interesting take. And I do think about the first piece of what you're saying just in terms of something that stays in your wallet. And how do you share that elsewhere? I have seen some of the social platforms making it easier to be like oh hey, you could connect your Coinbase wallet to this whether it's Instagram or I think they're working on it now or to Twitter and you could make that your profile Make sure or you know the people that of course, you know will right click copy paste and save it put that as their profile pictures in different places. So I guess in their minds that's their version of being able to walk down fit that with the duty at Birkbeck, right. Will Page 45:15That's interesting. That to your point, that takes you back into handbag territory that corrects for the problem. Let's see if it goes but equally does the NFT lose its exclusivity when we do that as well. So it might work in the short term and might lead to the demise of NF T's over the long term because they're not that special. After all, they're just an icon for your profile picture. So is great to hear that there's that type of thinking going on that justifies my, justifies my view.Dan Runcie 45:41Who knows? I mean, we're still early right but I do think that if I see your profile on social media, you turned into a board ape, we may have to have another podcast conversation I did.Will Page 45:55But I tell you asked him was obsessed with these topics. Even Austin, Texas Music conferences, get obsessed with the next big thing but this year, it was just bizarre how many references I heard to web three NF Ts, but if they can just give a quick shout out to the company amaze VR who are doing the mega stallion tour I watched make the stallion four times in Austin, Texas, I saw more VR of Nicholas Deleon and I saw of any live bear. But you know, they had the longest queues of the entire conference. If you judge success by queues demand exceeding supply, they won South by Southwest for the longest queues.Dan Runcie 46:27That's impressive. And of course, it makes a big star she's been doing a lot. I've heard a lot of good things from base VR too. I think that though, it'd be a great point to pivot and talk a little bit more about hip hop, the as we know, hip hop has been able to see a lot of its potential even more so. In the streaming era with us, given the popularity that's there. We've seen the numbers, we've seen the growth as well. And I know that you've studied this a lot, especially on the international perspective, just seeing how hip hop is growing in other countries. But I think some of that growth is looking different than what we may be used to seeing in the US. So what is your perspective right now on the state of hip hop with regards to streaming,Will Page 47:09you speaking about something that's close to my heart, but if I can start by saying, one thing that your podcast has done for me over the years, that reminds us of that famous quote, which has been reiterated by many rappers, which is rap is something you do hip hop is something you live, and we can forget that from time to time can drink a bit too much Kool-Aid and forget those golden words. Rap is something that you do. Hip hop is something that you live, you don't have a choice with hip hop, you live it, rap, I mean, you could play a jazz track, then you could do a rap track, you have a choice there, but hip hop is an eighth. And I want to pull those words up. Because when we talk about the genre of hip hop, I wonder whether it's really a bit of a square peg in a round hole here to take words, which means describe a lifestyle and their attitude or mentality, and then say that it's now a genre. Maybe rap should be the genre and hip hop should be the culture. So I just want to throw that out there for your listeners. And I'd love future guests to come on and pose them that question. If we're discussing the genre of hip hop, are we missing a trick that aside, some stuff which has been popping with hip hop mean, firstly, just the size of the audience in America, just north of 90 million people, there's 90 million regular listeners of hip hop that is phenomenal. If you think about how far the genre has come, the culture has come in 30-plus years. And secondly, who's out there in front. I mean, I would put YouTube as the number one venue for hip hop in the United States, Spotify, Apple, Amazon, they're all doing their things. But I think it's worth just reminding ourselves how important YouTube is to our culture. As opposed to Amazon Spotify. Apple is depressing your thumb on a piece of glass during a track. Repeat. Rap is something you do hip hop is something you live and you've had to Mercer, one of my longtime mentors on your show, just we'll back to that past podcast to get to where I'm coming from on that point. I think the interesting thing for me speaking as a non-American on a podcast with a large American audience to watch how it's growing out of the countries and one of the most interesting things for me was non-English speaking hip hop. Now, my sister who's a French translator, Annie, she introduced me to a rapper called MC solo way, way back in the day, back in the 90s. Even and I don't speak French, but the rap was just incredible, like the way that the French language flowed over a beat. He certainly won't recall any tempo. That was incredible. So, you know, I've always had an appreciation for how hip hop travels beyond its borders, playlists. Without Borders. Hip hop is without borders. So I just wanted to introduce your audience to a very interesting backstory in Holland and the Netherlands, where Spotify the first country, we scaled him outside of Norway and Sweden was the Netherlands. We got big there really quickly 2011, 2012 era and because we got big we could put some local foot soldiers on the ground to help with curation. And for the first time ever in the company's history. We started taking Hip Hop curation seriously outside of our core markets and because we're supplying curation that was met with demand and all of a sudden, we started seeing these Dutch language hip hop artists explode in Holland, Ronnie flex being a great example. I think around 2018, we ran the data. And we learned that Drake was the number one artist in the world on Spotify. Yet in Holland, he was an eighth biggest hip-hop artist. And the seven above him were Dutch rapping in a local language of Dutch. And that was just jaw-dropping to think about globalization, culture, back to the Jungle Brothers the lesson they taught me in 1989, getting the message across without crossing over how you can have local language, hip hop travel, like no other genre there is across the world. And you're seeing that happen in Germany, France, you're seeing it happen in Asia. And so it's important to apply a global lens to hip hop and ask what is it about this culture, which is leading it to travel in a way that other cultures are not traveling is that the expression is that the belief is that the conviction that comes through hip hop, and that's that there's a book on that topic, and then you'd be a perfect person to try and write it, I can get you an agent. And I'd be out of my depth, but just so really important see to so which is why is this culture traveling, like no other culture, I can see on a music platform.Dan Runcie 51:12It's fascinating. It's something I've thought about a lot. I'm glad you mentioned that, because I think about a rapper, like Devine from India, or I think about some of the artists from the Middle East as well. And I think there's similar trends there where hip hop is still the most dominant thing, but they're artists that are from their regions are the ones that are the most popular. And I think it stems back to thinking about the origins of hip hop and looking at where a lot of those other countries may be. Now you look at what the public enemy had done, or even look a bit earlier, like Grandmaster Flash and have done their share of realities of the environments that they're in their storytelling in a way that isn't being done by the mass media. And we're in an era now, you know, more than ever, we see everything happening in the world where, what a lot of the heads of states, or what a lot of the governments or main distribution, communication platforms in these countries are sharing isn't necessarily reflecting what's happening in those places. So because of that, you have people wanting to speak out on that. And I think that because people realizing what the public enemy was able to do in some of those other groups here by them saying, you know, we are the black CNN, we are the voice communicating that I think you saw a lot of that in these other countries. So even if it's different artists, you're seeing them share their version of what's happening on the ground. And I think, like anything else, the evolution of that continues to grow over time. It's been, it's been really fascinating to see that. And I think that is what, at least for me always makes it feel like this is the global language that keeps everyone connected in this space. Even if people are speaking clearly different languages from artists you don't know there's that common theme that you can tell even if you're watching a music video or getting a vibe of what they're doing. There's so many through lights there.Will Page 53:02Those comments are deeper than Loch Ness, so they can quickly top it up with two thoughts, just thinking aloud here. This is why I love about your podcast is with the way you take the conversation with just firstly, just a historical point. And as I mentioned with my book tours and economics, when you're staring at the disruption to remind yourself that you've been here before, when I hear stories about suppression by governments leading to a rise of hip hop as a culture rap as an art form. You just got to go back to 1877 New Orleans and remind yourselves how jazz came into being your Creole people. You know, when Jim Crow laws were reintroduced through the backdoor before since the African American community overnight, so you took classically trained middle-class Creole people brought into a culture which had the blues and African drumming, and out of that suppression came the creation that was jazz. And it's just I love when you alluded to government suppression resulting in creativity. It's just interesting to think how we keep on you know, history doesn't repeat itself, it rhymes. And it's rhyming here when you start to think about the origins of jazz to what we're seeing happen with hip hop. And then the second thing I mentioned earlier that, you know, the internet can scale just about anything you want, but it can't scale intimacy. I wonder whether that's what hip hop is doing because it's, it's a postcard its storytelling is beginning with the word imagine and asking you to imagine the picture these words are creating, you know, that's doing something which I don't think your conventional verse-chorus, verse, chorus, rock or pop song is going to deliver. So the message getting the message across without coordinate crossing over. The message that we're getting across with hip hop is different from other forms of music. And that might explain a little bit about success at home and overseas that we've seen on streaming.Dan Runcie 54:43Definitely. Well, well, this is great. Thanks again for coming on. If you're listening, definitely make sure that you check out Tarzan economics. I can't recommend this book enough. I think that will is extremely sharp. And he's a thought leader in this space and it's been great to learn from him. So well. Thanks for coming on. And before we let you go, is there anything else that you want to plug in or let the travel audience know about?Will Page 55:07I have gotten no more travel plans to the States this year. But if they can just ask the audience to check out the mix on Mixcloud we ain't done with 2021 with a shout-out from Dan Runcie, himself, and many others, Mike G is on that mix Lord is on that mix. But I just hope that your audience because the show trapped will mean so much to me. I just hope the audience sees me as a DJ first and an economist a distant second that I can just land that point at the end of this podcast, I'd be happy.Dan Runcie 55:33That's a great note to end on. Well, thanks again.Will Page 55:36Thank you
Join me this week on Frontline Static, as I get to interview Stefano! He started in EMS when he was 18. He has been in EMS for 8 years. 911 ground for 5 years, international fixed wing for 2 years, and about two years now Rotor HEMS. He has worked for two of the biggest HEMS companies out there, AMC and now what's called GMR. And currently at Volusia Sheriff's Office in the Flight Paramedic/TFO role in Florida. He does law enforcement missions, medevac, SARS, air ambulance transfers in his job. His message is to always have good public relations, and be a good role model and friend.
In the safety world, mitigating risk is only possible when you look at both the past and future simultaneously. In this episode of resus10, Sean Graham interviews Gregg Davidson, a risk and safety manager with Global Medical Response (GMR). In his role, Gregg is responsible for maintaining an aggressive safety program that includes a multi-faceted approach through employee engagement, training and enforcement of policies and procedures. Gregg shares how GMR identified a specific need for improving stretcher safety and designed a training program to address that need while ultimately lowering their number of incidents.
GMR Finance is a utility token like no other. With the GMR Center in pre-release, we are bringing the gaming community together with GMR - with exclusive content, premium creator partnerships, NFTs and much more. A gaming crypto by gamers, for gamers! --- Send in a voice message: https://anchor.fm/jcrypto/message Support this podcast: https://anchor.fm/jcrypto/support
Ajay Prasad is the CEO of GMR Transcriptions, a transcription and editing company that has served thousands of customers including Amazon, McDonald's, Yale University and Microsoft.Ajay's journey with GMR started back in 2004, and his mission holds true today as it did back then to provide exceptional and accurate transcriptions for writers, educators and businesses Ajay and his company have worked with clients including the world's best creators including John Lee Dumas from Entrepreneur on Fire and Dustin Hartzler from Automattic.Ajay has spent 19 years of his life working at senior positions before starting GMR Transcriptions. Ajay holds a master's degree in management science from the University of Georgia, is an official member of the Forbes Agency Council and is the host of his podcast, The Founders Corner.This is a podcast for creator. If you like the show, please consider leaving a review on Apple Podcasts.In this episode of Creators Edge, the podcast for creators, Ajay Prasad talks about: The journey to becoming an entrepreneur.How GMR Transcriptions was started in 2004.How Ajay discovered the need for transcriptions.Working with the largest companies and brands in the world.Discovering Ajay's inner entrepreneur.Giving up and joining the corporate world again.The difference between being an entrepreneur and a strategist.The most important traits of a CEO and entrepreneur.The secrets to entrepreneurial success.Deciding to never go back to corporate life.Developing business skills and complimenting your weakness.The evolution of analytics.The importance of understanding the basics of programming and marketing.The importance of execution and expertise.Building a team of experts.The challenges that Ajay had to overcome to succeed.Building the platform.Automation.Thank you for listening to Creators Edge, a podcast for creators exploring the start, superpower and rise to success of your favorite creators.***ABOUT AJAY PRASADGMR Transcriptions:https://courses.jayclouse.com/p/podcast-like-the-prosFollow Ajay on Twitter:https://twitter.com/jayclouseAjay Prasad on LinkedIn: http://www.linkedin.com/in/jayclouse/***SUPPORT THE SHOWJoin me on Twitter: https://mobile.twitter.com/omgcornholioJoin Creators Edge Uncut: An exclusive newsletter.https://www.getrevue.co/profile/creatorsedge***SPONSORSAudible is the best way to enjoy your favorite books from your favorite authors. Enjoy a large selection of books from the best authors and content exclusives. Support the show and check out Audible today at: https://amzn.to/35TvW1k***Robots Radio Podcast NetworkCreators Edge is part of the Robots Radio Podcast Network, a radio network of incredible podcasts in the world of video games, entertainment, and pop culture. Check out smart shows for interesting people by visiting: https://www.robotsradio.net/
Chris & Gabe chat briefly on the highest rated summer blockbusters before being joined by Taylor for a discussion about his time at GMR and a trip Around The Track with movies like Guys & Dolls, The Martian, and Toy Story.
Chris & Gabe talk upcoming movies (recorded before the most recent release date shifting) and Brian Collins joins in a conversation of scripting GMR and takes a trip Around The Track. The episode includes a new segment called GMR Show Moments in Film History and some lovely sound clip flair. Welcome to Season 2!
We are excited to be bringing you this special episode, in which we have a special treat in-store for all of our listeners- The Great Movie Run! The GMR is a fun, free virtual event to help add some magic to your miles over the holiday season, whether you run, walk or ride. Join us for a spectacular journey through 36 Disney film classics. Em and M break down the full details in this week's show. We also walk through the latest RunDisney updates, share news about where to get a run in NOW in WDW plus some fun gift ideas for the active Star Wars fan in your life. Don't miss this episode! Run time: 29:40 --- Support this podcast: https://anchor.fm/earfulrunner/support
Gabe joins Chris as co-host and talks with Dave about previous GMR experiences. Chris & Dave go Around The Track in our special Double Episode!
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