Podcasts about INgrooves

On this episode of Music Business Worldwide's Talking Trends (supported by Voly Entertainment): MBW founder, Tim Ingham, is joined by Los Angeles-based music biz seer, Charlie D'Atri, to discuss two recent headlines from the world of entertainment: (1) Deezer's decision to remove 26 million music tracks from its library of content; and (2) The amount of 'manipulated audio' that continues to thrive on TikTok today - even when it's a Universal Music Group recording being 'manipulated'. (Also discussed Skibidi Toilet – a cultural phenomenon driven by a 'manipulated' Timbaland track.)People and companies mentioned on this Talking Trends podcast include: Deezer, Bob Roback, Ingrooves, Epidemic Sound, Calm, Amazon, Windham Hill Records, Universal Music Group, Endel, Oleg Stavinksy, Pex, TikTok, JP Morgan, YouTube, Rasty Turek, Neil Young, and more.Music Business Worldwide's Podcasts are supported by Voly Entertainment (previously known as Voly Music).Music Business Worldwide's Podcasts are supported by Voly Entertainment (previously known as Voly Music).

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With this masterclass, we touch on many topics regarding music distribution, artist development, and promotion. Hosted by James Basingthwaite, Gareth Wilson & Waide Lemos Covering topics such as: This episode covers: Marketing Strategy Release Strategy Sync Deals Submissions Roll Out Strategy Performance Royalties

With this masterclass, we touch on many topics regarding music distribution, artist development, and promotion. Hosted by James Basingthwaite, Gareth Wilson & Waide Lemos Covering topics such as: This episode covers: Marketing Strategy Release Strategy Sync Deals Submissions Roll Out Strategy Performance Royalties

Formed in 2014, As December Falls are a long way from their beginnings. The band achieved self-sufficiency early on as a matter of survival after being told they were ‘too this' and ‘too that' from the industry gatekeepers when looking to release their self-titled debut album in 2019 (which has received over 4 million streams to date). Their DIY attitude and business know-how resulted in the band selling out 90% of shows on their most recent headline tour around the UK and appearing at Slam Dunk Festival, 2000 Trees, Tramlines Festival, Camden Rocks, Czech's Rock For People to name a few. In October 2022, As December Falls headed out on their first European tour, playing to sold-out shows in Berlin, Kassel, Hamburg, Oberhausen and Prague. Join The Club (due July 2023 via InGrooves) is set to be an important release for As December Falls - their chart-eligible third album may be their heaviest yet and is markedly more attitude-laden than 2021's “Happier”, which is perhaps the most noticeable on acoustic single “Home” where self-assuredness runs throughout. As December Falls worked with producers John Mitchell (on Go Away) and Alex Copp (Frank Carter & The Rattlesnakes), mix engineers Ian Dowling (on Home - One Direction, Kasabian, McBusted) and Stevie Knight (Yours Truly, Stand Atlantic) and Grant Berry (All Time Low,, Static Dress) for mastering to bring Join The Club to life. As December Falls's fiercely independent streak is out in full force on their forthcoming record.

WorldWide Entertainment TV Podcast exclusive interview with Phoenix hip hop artist Richie Evans. He speaks on his latest music releases forthcoming that includes Rick Ross and Jay Rock of TDE.The artist talks about the Kanye West controversy and his Drink Champs interview that got censored. He released a single called "For You" featuring Vedo & a music video called "Let Me Talk That S***" which is currently played on MTV & BET JAMS:Richie Evans studied under The Game. He landed a major deal with Nike. He was endorsed by Vitaminwater. He did all that on his own, without the help of a major label deal and sans the backdrop of a major rap city. Now, Richie Evans is poised to become rap's next superstar and put his hometown of Phoenix, Arizona on the map. There's a reason Richie Evans is positioned to be a major rap figure. “If you take a little bit ofThe Game, mix a little bit of Fabolous with a little bit of Nas, sprinkle a little bit of Ice Cube and wrap it all up,” he says, “that's what you get from me.” Richie Evans sounds like the best because he learned from the best. After a chance meeting with platinum rapper The Game in a Phoenix nightclub several years ago, Evans joined The Game's team and learned under the Compton rap icon. A few years into their relationship, Richie Evans – who rapped under the moniker Juice at the time – decided to strike out on his own. The Game gave Evans his blessing, so Richie Evans adopted his given name in 2016 and started rebranding himself. He began building his infrastructure and setting himself up with a business, The Evans Administration. Evans then partnered with prominent concert promoter Sean Healy for a seven-city “Highly Favored Tour” at the top of 2022. It served as another example that Evans' hard work was paying off.Jay Rock and East Side K-Boy help Richie Evans bring the heat on the street-certified “Pressure,” while Evans teams with Rick Ross on lead single “Can't Knock The Hustle.” The latter shows the chemistry Evans has with one of the genre's elite talents. “For someone like Ross to respect my flow and be willing to jump on the record, it shows that he has respect and appreciation for the music that I'm making,” Evans says. “Ross is one of the top artists out there making high quality music.” Highly Favored, which will be released via partnership between The Evans Administration (TEA) company and music industry powerhouse INgrooves, also features previously released single “For You” with platinum vocalist Vedo. Here, Evans puts his woman on a pedestal, proclaiming his love for her and highlighting the positive things she's brought to his life. The song's lyrics represent that Evans views women as essential members of his movement. “I love to maintain and cool out with a few pretty women,” he explains. “I'm cool and I do cool, fly shit all the time. I'm also an MC and I like to compete and show that skill set as well. I'm trying to go from XXL to the Forbes list. I'm trying to build not just a brand, but a family as well. I love to hang around like-minded successful people and talk business and life.” Now, with the impending release of his Highly Favored EP and endorsements from several of the genre's biggest acts, Richie Evans is ready to rise, just like his hometown of Phoenix. “It seems like the city is starting to get real national attention,” he details. “A lot of things are clicking. The Phoenix Suns are in the playoffs for the second year in a row, and the Arizona Cardinals are picking up traction. Phoenix has grown so much over the last decade. It's starting to become a real hub of its own.” Richie Evans is the driving force of Phoenix's musical movement. Get ready.VISIT WWETVN.COMSupport the showJoin this channel to get access to perks:https://www.youtube.com/channel/UCG261e_-_MmsxulLsGeakdQ/join

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

In this episode, Greg talks with Phil "Rene" Collis and Lukeino Argilla two members of the Drum 'n Bass group Bachelors of Science, who just released a brand new LP Within This Moment. The trio, including Chris Doe, was originally formed in San Francisco but is currently based mostly in southern California. They open up the conversation by talking about the process of collaborating on this fourteen-track LP and the challenges of working together while in different cities and across different platforms, and how they've spent years working together and coming up with a group process that works. One of the members, Luke Argilla, also works for Dolby as a mix engineer using their ATMOS Spatial Audio system, and Bachelors of Science has been releasing ATMOS mixes of their music since the remixes of their Space Between album from 2015. Luke also has an atmos-capable studio in his home. He talks about the strategies for creating spatial audio mixes of their songs and creating interesting listening experiences that will also translate to different listening environments. Phil weighs in as someone closer to an atmos music consumer and talks about experiencing atmos audio for the first time in studios and nightclubs, and how the focus of the technology has begun to shift from those environments to streaming music at home. Bachelor's of Science, both as a group and individually, have previously worked with Pyramind on a few occasions, Luke's first release was on one of Pyramind's Test Press compilations drawn from the events under the same name that Pyramind produced in the mid to late 2000's. Bachelor's of Science was also previously featured as the opening track on the 2009 LovEvolution Compilation (along with many notable artists including Miguel Migs, Bassnectar, and Lee Coombs) which was released to benefit Pyramind's annual scholarship. Their track, The Ice Dance, became one of their most played tracks but due to metadata mistakes on the Lovevolution compilation, the album was listed as a Bachelor's Of Science release rather than a compilation. The three joke about it now but this was a problem that took some time to finally get resolved with the distributor, InGrooves, highlighting the importance of getting your metadata right the first time! In 2012, They founded CODE Recording, in order to publish their own music, as well as publish other standout Drum 'n Bass artists. The tracks "Stomp" and "Brighter Days" from the latest LP, are also played and Phil and Luke talk about the inspirations for the tracks and their experiences working with the vocalists featured on them. Now that the record is out, the group has a full lineup of concerts everywhere from Denver to Sardinia and are already getting new tracks produced and mixed for their next release. Stream Within This Moment here: https://open.spotify.com/album/45gM8mKFlUM2U1dzj4mUpU Learn more about Bachelors of Science here: Linktr.ee/BachelorsOfScience Watch their Pyramind Live stream here: https://www.youtube.com/watch?v=Cdn8aPwvMic Check out CODE Recordings here: http://www.coderecs.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of No Nonsense Music Marketing, we dive into how distribution services like InGrooves, The Orchard & AWAL compare two platforms like Distrokid & Tunecore.Links from this episode:Omari Music Promotion: www.omarimc.com/promotion Tunecore Discount (Receive 20% off your first upload with our link): https://www.tunecore.com/?ref=omarimcpodcast&jt=omarimcpodcast Merch: https://musiquo.com/$OMARI Coin: https://rally.io/creator/OMARI/ Learn More About Our Incubator Program: https://www.omarimc.com/incubator/Submit Your Music To Omari MC Here:https://www.omarimc.com/submit-your-music/Other links mentioned in this episode:InGrooves: https://www.ingrooves.com/The Orchard: https://www.theorchard.com/AWAL:https://www.awal.com/Distrokid:https://distrokid.com/vip/seven/725113Tunecore:https://www.tunecore.com/?ref=omarimcsubmitmusic

We've called SK Sharma an 'AI expert' in the headline above, but it hardly does him justice.We could have just as easily called him an expert on theoretical chemical physics, marketing analytics, computational biophysics, or antimicrobial therapeutics.Granted, 'AI expert' was snappier.In his 20s, Sharma graduated with a Ph.D in Chemical Physics and Biophysical Chemistry from Caltech.He went on to create medical pharmaceuticals, before turning his hand to analyzing markets for the likes of Goldman Sachs and Lehman Brothers.Along the way, he began managing investments – using data science to help guide his clients' money. Amongst his early bets? Tesla, owned by that shrinking violet, Elon Musk.From there, Sharma went on an impressive run as an entrepreneur: To date, he has either been a co-founder or a Partner / equity owner in four startups, in multiple fields, that have each exited for over $100 million.And then, in 2017, he took a sharp turn into the music business – joining Ingrooves Music Group, the global distribution and services provider for indie artists and labels.Ingrooves first successfully patented tech underpinning its 'Smart Audience' marketing platform in 2020.The other week, it announced that it had won its second US patent for further developments on this tech – developments, the company claims, that now means Smart Audience drives streams for artists that amount to more than double the plays they would have received via traditional digital marketing methods.In this latest MBW Podcast (supported by Voly Music), SK Sharma discusses Ingrooves' strategy, the music business's relationship with technology – and why, in his view, the "defining characteristic of success" for any new-fangled inventions in music (see: metaverse, NFTs etc.) is "going to be separating the bulls**t from the facts..."

Adrian Belew is a legendary guitarist well-known for his diverse travels around the musical map. He is a multi-instrumentalist whose solo records are critically acclaimed. His moving singing voice and prolific songwriting has endeared a loyal fan base of music lovers. His music is being discovered everyday by more and more listeners thirsty for great music with a creative standard not often pushed by the commercial music industry. Adrian has signed with Bliss Entertainment, distributed exclusively by Ingrooves Music Group. “Elevator” will be the first Adrian Belew solo recording released through streaming. Adrian and management chose the Ingrooves Music Group channel based on the Ingrooves technology and the Universal global distribution channel. As with all artists, the optimization of music sales revenue is key to picking their distribution and marketing partners. The first single “a13” is now available! Elevator will feature 12 brand new Belew compositions, all completely written, performed and produced by Belew and which cover ballads to art rock to avant-pop music. It will also feature 38 of Adrian's recent digital paintings as well as the lyrics to the songs.   WATCH FOR THE RELEASE  OF THE BRAND-NEW ALBUM  BY ADRIAN BELEW Entitled ELEVATOR The New single A13 IS OUT NOW! Adrian Belew is the world's greatest experimental whammy twang bar, czar rhino and stunt guitarist extraordinaire. With a resume that features some of the biggest names in music including David Bowie, Nine Inch Nails, King Crimson, Talking Heads, Paul Simon and Tori Amos, Adrian is famous for pushing the boundaries of the guitar in both technical and tonal exploration. ALSO PURCHASE POP SIDED BY ADRIAN BELEW At https://adrianbelew.net/   FOR MORE INFORMATION  ABOUT ADRIAN BELEW Visit https://adrianbelew.net/ Official website https://adrianbelew.net/news/facebook/ Facebook https://twitter.com/theadrianbelew Twitter   ADRIAN BELEW 2022 ELEVATOR TOUR 07.13.22 St. Paul, MN – Turf Club 07.14.22 Milwaukee, WI – Shank Hall 07.15.22 St. Charles, IL – Arcada Theatre 07.16.22 Indianapolis, IN – Hi-Fi Annex 07.18.22 Chicago, IL – City Winery 07.19.22 Chicago, IL – City Winery 07.21.22 Cincinnati, OH – The Ludlow Garage 07.22.22 Cleveland, OH – Rock & Roll Hall of Fame 07.23.22 Ferndale, MI – Magic Bag 07.24.22 Oakmont, PA – The Oaks Theater 07.26.22 Nashville, TN – City Winery 07.27.22 Atlanta, GA – City Winery 07.29.22 Asheville, NC – The Grey Eagle 07.30.22 Washington, DC – City Winery 07.31.22 Annapolis, MD – Rams Head 08.01.22 Ashland, VA – Ashland Theatre 08.03.22 S. Burlington, VT – Higher Ground 08.04.22 Plymouth, NH – The Flying Monkey 08.05.22 Boston, MA – City Winery 08.06.22 Newton, NJ – The Newton Theatre 08.12.22 Woodstock, NY – Bearsville Theater w/Tony Levin, Pat Mastelotto & Friends 08.14.22 Homer, NY – Center for the Arts of Homer 08.16.22 Philadelphia, PA – City Winery 08.18.22 New York, NY – City Winery 08.19.22 Albany, NY – The Egg 08.20.22 Ridgefield, CT – Ridgefield Playhouse   ADRIAN BELEW DISCOGRAPHY Studio albums Lone Rhino (1982) Twang Bar King (1983) Desire Caught By the Tail (1986) Mr. Music Head (1989) Young Lions (1990) Inner Revolution (1992) The Acoustic Adrian Belew (1993) Here (1994) The Experimental Guitar Series Volume 1: The Guitar as Orchestra (1995) Op Zop Too Wah (1996) Belew Prints: The Acoustic Adrian Belew, Vol. 2 (1998) Salad Days (1999) Side One (2004) Side Two (2005) Side Three (2006) e (2009) Pop-Sided (2019) Elevator (2021)   Live albums Side Four (2007) Live Overseas (2009)   Contributions with Frank Zappa 1979: Sheik Yerbouti ("Flakes", "Jones Crusher", "City of Tiny Lites") 1983: Baby Snakes Soundtrack 1992: You Can't Do That on Stage Anymore, Vol. 6 [2CD] ("The Poodle Lecture", "Is That Guy Kidding Or What?", "White Person", "Tryin' To Grow A Chin") 2008: One Shot Deal ("Heidelberg", recorded Feb. 24, 1978) 2010: Hammersmith Odeon (recorded Jan-Feb 1978) [3CD] with David Bowie 1978: Stage (recorded Apr-May 1978) [2CD] 1979: Lodger ("Fantastic Voyage", "Move On", "Red Sails", "DJ", "Boys Keep Swinging", "Repetition", "Red Money") with Talking Heads & David Byrne 1980: Remain in Light 1981: The Catherine Wheel 1982: The Name of This Band Is Talking Heads with King Crimson 1981: Discipline 1982: Beat 1984: Three of a Perfect Pair 1994: Vrooom EP 1995: Thrak 1996: Thrakattak 2000: the construKction of light 2001: Vrooom Vrooom 2003: The Power to Believe with Herbie Hancock 1981: Magic Windows with Tom Tom Club 1981: Tom Tom Club with Ryuichi Sakamoto 1981: Left-Handed Dream 1990: The Arrangement 1994: Soundbytes with Joe Cocker 1982: Sheffield Steel with Jean Michel Jarre 1984: Zoolook with Laurie Anderson 1984: Mister Heartbreak 1986: Home of the Brave (soundtrack) 1994: Bright Red with Cyndi Lauper 1986: True Colors with Paul Simon 1986: Graceland 1990: The Rhythm of the Saints with The Bears 1987: The Bears 1988: Rise and Shine 2001: Car Caught Fire 2007: Eureka! with Mike Oldfield 1989: Earth Moving with Nine Inch Nails 1994: The Downward Spiral 1999: The Fragile 2008: Ghosts I-IV 2013: Hesitation Marks with Sara Hickman 1998 Two Kinds of Laughter with Béla Fleck & the Flecktones 2000: Outbound with William Shatner 2004: Has Been with Porcupine Tree 2005: Deadwing with Tony Levin 2006: Resonator with N.y.X 2016: The News with Gizmodrome 2017: Gizmodrome   Order while supplies last! RAY'S BEST-SELLING BOOK ENTITLED THE ROCK STAR CHRONICLES SERIES ONE   CHRONICLES, TRUTHS, CONFESSIONS AND WISDOM FROM THE MUSIC LEGENDS THAT SET US FREE!  …Order yours today on (Collector edition) Hardcover or E-book  at bookbaby.com and amazon.com Featuring over 45 intimate conversations with some of the greatest rock legends the world will ever know. CHRIS SQUIRE... DR. JOHN... GREG LAKE... HENRY MCCULLOUGH... JACK BRUCE … JOE LALA…  JOHNNY WINTER... KEITH EMERSON... PAUL KANTNER...  RAY THOMAS... RONNIE MONTROSE... TONY JOE WHITE... DAVID CLAYTON-THOMAS… MIKE LOVE... TOMMY ROE... BARRY HAY... CHRIS THOMPSON... JESSE COLIN YOUNG... JOHN KAY... JULIAN LENNON... MARK LINDSAY... MICKY DOLENZ… PETER RIVERA ...TOMMY JAMES… TODD RUNDGREN... DAVE MASON... EDGAR WINTER... FRANK MARINO... GREGG ROLIE... IAN ANDERSON... JIM “DANDY” MANGRUM... JON ANDERSON... LOU GRAMM... MICK BOX... RANDY BACHMAN… ROBIN TROWER...  ROGER FISHER... STEVE HACKETT... ANNIE HASLAM… ‘MELANIE' SAFKA... PETULA CLARK... SUZI QUATRO... COLIN BLUNSTONE… DAVE DAVIES... JIM McCARTY... PETE BEST   BOOK REVIEW -By Literary Titan (5) STARS Support us!

The Industry Observer talks to Nina Rabe-Cairns, Country Manager of Australia & New Zealand at Ingrooves for Fear at the Top . THE INDUSTRY OBSERVER https://theindustryobserver.thebrag.com https://facebook.com/theindustryobserver https://twitter.com/theindustry_o https://instagram.com/theindustryobserver/ POPPY REID https://twitter.com/heypoppyreid https://www.instagram.com/heypoppyreid/ LUKE GIRGIS https://twitter.com/lukegirgis https://instagram.com/lukegirgis --- Send in a voice message: https://anchor.fm/fearatthetop/message

The Industry Observer talks to Nina Rabe-Cairns, Country Manager of Australia & New Zealand at Ingrooves for Fear at the Top . THE INDUSTRY OBSERVER https://theindustryobserver.thebrag.com https://facebook.com/theindustryobserver https://twitter.com/theindustry_o https://instagram.com/theindustryobserver/ POPPY REID https://twitter.com/heypoppyreid https://www.instagram.com/heypoppyreid/ LUKE GIRGIS https://twitter.com/lukegirgis https://instagram.com/lukegirgis --- Send in a voice message: https://podcasters.spotify.com/pod/show/fearatthetop/message

On this special interview episode of the Banned Biographies podcast Tom Austin-Morgan talks to Chris Constantinou, who is probably better known to Adam Ant fan as Chris DeNiro - the bassist in Adam's post-Ants solo band. Chris has also played in The Wolfmen with Marco Pirroni, JackieOnAssid, and One Thousand Motels with Rat Scabies of The Damned which cover everything from blues to dance music. In between these he's also played on songs and albums with Annabella Lwin from Bow Wow Wow, Guy Chambers before he started his partnership with Robbie Williams, The Slits, Sinéad O'Connor, Daler Mehndi, Holy Holy, Brant Bjork & Sean Wheeler, Andreas Grega, Nerina Pallot and Earl Slick and Bernard Fowler. He also sometimes plays flute live with The Dandy Warhols. Currently, he is about the release a new mini-album called Femme Power with rapper, Jenna Dickens in a punk rap project called Rude GRL + CC. Femme Power will be available to stream and buy on the 6th of May 2022 and is released through Ingrooves (part of the Universal Music Group).  In June, they'll also be releasing a double A-side through Cleopatra Records, the tracks are I'm Good (mixed by Nick Hodgson of the Kaiser Chiefs) and the second track is a version of Adam Ant's Goody Two Shoes. So, keep your eyes peeled for those dropping. On top of all this he also has stories of playing on Top of the Pops, Live Aid, convincing Guy Chambers not to give up on a career in music, and recording in the Palm Desert scene with members of various bands including Masters of Reality, Queens of the Stone Age, etc and all the madness involved in that, supporting King Crimson and Hawkwind as a 13-year-old and so much more As you can see, Chris has lived a hell of a life and I feel like I only just scraped the surface. Hopefully, there'll be a follow up episode in the future. If you get a fraction of joy listening to our conversation as I did having it I'm sure you'll be supremely satisfied. I'd like to thank Chris for being so generous with his time as well as for being so candid and warm. An extra special thank you must also go to my friend Rhiannon Ifans for setting this up. Let me know what you thought of it by commenting on the social media post, and be sure to share it - and the podcast as a whole - with your friends. Find Rude GRL + CC here: Spotify Facebook Twitter YouTube Find One Thousand Motels here: https://onethousandmotels.com/  Facebook Twitter Instagram YouTube Contact Twitter: @BannedBiogs Facebook: @BannedBiographies Instagram: @bannedbiographies E-mail: bannedbiographies@gmail.com

@notjargo and @_djmassfx_ are back with an all new edition of @TheBlowOff presented by the @haminmediagroup at channelattitude.com On this weeks episode: - MJF vs CM Punk How did the guys feel about this Wednesday's #Dynamite promo? - Cesaro departs #WWE - THE GREAT SANADA finally wins #IWGP singles gold - Cody's dead - Brock vs Roman official? - Celebrities descend on the WWE as we jump on the #RoadToWrestlemania Music in this video Listen ad-free with YouTube Premium Song The Maniacal Hour Artist LEFT4DEAD Album The Maniacal Hour Licensed to YouTube by INgrooves (on behalf of Intercept Music) Song Sweat (A La La La La Long) Artist Inner Circle Album Blazzin' Fire Writers Ian Lewis Licensed to YouTube by WMG, INgrooves (on behalf of DubShot Records/Sound Bwoy Entertainment); Sony ATV Publishing, LatinAutor - SonyATV, CMRRA, UNIAO BRASILEIRA DE EDITORAS DE MUSICA - UBEM, LatinAutorPerf, BMG Rights Management (US), LLC, BMI - Broadcast Music Inc., ARESA, SOLAR Music Rights Management, and 11 Music Rights Societies SHOW LESS

@notjargo and @_djmassfx_ are back with an all new edition of @TheBlowOff presented by the @haminmediagroup at channelattitude.com On this weeks episode: - MJF vs CM Punk How did the guys feel about this Wednesday's #Dynamite promo? - Cesaro departs #WWE - THE GREAT SANADA finally wins #IWGP singles gold - Cody's dead - Brock vs Roman official? - Celebrities descend on the WWE as we jump on the #RoadToWrestlemania Music in this video Listen ad-free with YouTube Premium Song The Maniacal Hour Artist LEFT4DEAD Album The Maniacal Hour Licensed to YouTube by INgrooves (on behalf of Intercept Music) Song Sweat (A La La La La Long) Artist Inner Circle Album Blazzin' Fire Writers Ian Lewis Licensed to YouTube by WMG, INgrooves (on behalf of DubShot Records/Sound Bwoy Entertainment); Sony ATV Publishing, LatinAutor - SonyATV, CMRRA, UNIAO BRASILEIRA DE EDITORAS DE MUSICA - UBEM, LatinAutorPerf, BMG Rights Management (US), LLC, BMI - Broadcast Music Inc., ARESA, SOLAR Music Rights Management, and 11 Music Rights Societies SHOW LESS

#shawnjames #FIMM The Wendy Love Edge Show does not dispense medical advice and all of your health choices are your own. Cohost: Branden Lee Guests: Christine Chapman Christine Chapman is the CEO of Chapman Health and Wellness and The Balmb Body Care, an Oregon award-winning topical line. She resides in Spanaway Lake Washington. Chapman has been a nationally accredited respiratory practitioner, who worked in Portland and Vancouver critical care units, including the open-heart team and pediatrics ICU. Christi has provided care since 1991 to respiratory distress patients both acute and chronic. Her experience and compassion for people have brought her to a place of desiring to find the solutions so many of us face with our health today. Chapman is interested in serving others and finding solutions, which is what brought her to work with cannabis. Natural healing for her and her family has proven to work well. Musical Guest: Shawn James https://www.shawnjamesmusic.com Cannabis Expert MD Dr. Brian Nichol pairs a cannabis strain with our musical guest. https://cannabisexpertmd.com/ Mile High News: Candis Dyer https://www.facebook.com/CannaCornerWithCandisDyer Food is Medicine Minute FIMM @learnfromteddi This show is written and created by Wendy Love Edge. Producer and Manager: A. Edge Productions Editing: Flint Woods Theme Song: Written by Samantha Hunt. Arranged and performed by WIll Brand. Sponsors: Karas Healthcare Purely Natural CBD The Relevnt App Irie Bliss Wellness Lit Premium Smoking Supplies Lynsey Camp 131 Inclusion Gallery The opinions expressed on this show are not necessarily those of our producer A. Edge Productions. Shawn James - "Not Alone" Shawn James, INgrooves, YouTube, Dec 3, 2021, https://www.youtube.com/watch?v=s3nDer_Np84 --- Support this podcast: https://anchor.fm/thewendyloveedgeshow/support

This episode Nick Sadler sits down with Alex Branson. Formerly the mastermind behind Ingrooves' international expansion, Alex is now working with Rotor Videos, "the ultimate Music Video App for musicians" that allows artists and labels to create stunning videos for their releases in just a few minutes. He is also the host of his own podcast, "ABC Music Talk Podcast," where Nick has been a featured guest in a recent episode. Join us for an hour-long talk on Alex's tremendous journey in the music industry and his take on the evolution of digital distribution, paid advertising, music technology, social media marketing and much more!

This episode Nick Sadler sits down with Alex Branson. Formerly the mastermind behind Ingrooves' international expansion, Alex is now working with Rotor Videos, "the ultimate Music Video App for musicians" that allows artists and labels to create stunning videos for their releases in just a few minutes. He is also the host of his own podcast, "ABC Music Talk Podcast," where Nick has been a featured guest in a recent episode. Join us for an hour-long talk on Alex's tremendous journey in the music industry and his take on the evolution of digital distribution, paid advertising, music technology, social media marketing and much more!

Todos quieres subir su música a plataformas como Spotify, la pregunta es cómo. En este episodio comparamos varias distribuidoras digitales: The Orchard, Ingrooves, Altafonte, Awal, iMusician, Spinnup, LANDR, Level Music. Descarga tu lista de cotejo gratis para recolectar tus regalías musicales a aquí: https://bit.ly/3tyvjVW Explora nuestros libros digitales, cursos y contratos personalizables en nuestra tienda online aquí: https://www.seedlawpr.com/tienda Únete a nuestra comunidad en YouTube aquí: https://www.youtube.com/watch?v=VrQVqLXERkI Conoce más sobre el equipo que utilizamos para grabar video-podcasts aquí: https://bit.ly/kit_video-podcast ENLACES DE AFILIADOS: Es posible que esta descripción contenga enlaces de afiliados que te facilitan encontrar elementos, productos, o servicios, que se mencionan en este video-podcast y que nos benefician sin costo alguno para ti. Si bien nuestra plataforma puede ganar sumas mínimas cuando utilizas los enlaces, NO ESTÁS obligado de ninguna manera a usar estos enlaces. ¡Gracias por tu apoyo! © 2021 Seed Law & Alexiomar Rodriguez. Derechos Reservados. --- Send in a voice message: https://anchor.fm/seedlawpr/message

Welcome back to Variety Pack Podcast! As a part of this month theme we continue with our Halloween themed episodes. On today's show we answer a simple scenario; If you are trapped in a scary movie with your ex, and a serial killer gets ahold of them, would you help them? Would you put differences aside and fight off evil to survive the night together, or would you take off and never looked back like they did with that coworkers they told you not to worry about? ALSO, we discuss what would we do in a scary movie if WE were the antagonists and how would our characters outsmart their foes. Sit back, Relax, and join us! We have a seat just for you. Our socials: Twitter: @podcast_pack Instagram: @VP_podcast YouTube: https://www.youtube.com/channel/UCUa3dEo1fA-X7oVJMMDRREg email: variertypackpodcast52@gmail.com Song: Halloween Theme Artist John Carpenter, Cody Carpenter, Daniel Davies Album Halloween (Original Motion Picture Soundtrack) Licensed to YouTube by [Merlin] Secretly Distribution, INgrooves (on behalf of EVP Recordings); ASCAP, BMG Rights Management (US), LLC, ARESA, Polaris Hub AB, LatinAutorPerf, MINT_BMG, BMI - Broadcast Music Inc., and 18 Music Rights Societies NOTE: VARIETY PACK PODCAST DOES NOT OWN THE RIGHTS TO THIS SONG AND IT'S USED FOR RECREATIONAL PURPOSES ONLY. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Every life is a thousand stories shared by those whose lives we touch. Today, on Wilde On, we pay tribute to Shannon Spruill aka Daffney. Shannon died by suicide on September 1, 2021. She was my rival in the ring and my friend in real life. Today's episode is a collection of stories and tributes from her friends, co- workers and fans – the people who loved her and whose souls she touched. My heartfelt thanks to everyone who contributed to this episode: Lisa Marie Varon, Jamie Senegal, Velvet Sky, Nikki Cross, Payton Banks, Cat Power, CAW Community, Crime Talk with Peach, Lilwolf2005, Mike, theStealerN9. Help is available Speak with someone today 833-456-4566 1-800-273-8255 Additional Music Credits: “Let's Get Wilde” by Samantha Smith/Written by Andrew Moore & Rochelle Douris; ©2021 Wilde On. “Shark” by Oh Wonder/Written by Anthony Michael West, Josephine Hilary Vander Gucht; ©2015 Imagem. “Daffney Theme Song and Entrance Music” © Impact Wrestling Inc. “Governor” by Cassino/©2007 Raquel Palacio, David Sanz. “Scream Queen” by Oh The Horror/Written by Jeremy Terror, Jonathon Hellhouse & Grady Finch; ©2020 Ingrooves, Majik Ninja Entertainment & Welcome to the Underground. “Lobotomy” by Neon/Written by M. Michelotti; ©1981 “Daphne Descends” by Smashing Pumpkins/Written by William Patrick Corgan; ©1998 Warner Chappell Music, Inc. “Daydream” by Tycho ©2011 Scott Hansen “The Spoils” by Massive Attack/Written by Stewart Jackson, Grantley Marshall, Hope Sandoval, Dan Jones; ©2016 Sand Devil Music, Ajs Music Limited, Kobalt Music Services Ltd. KMS. “Uncle Sam Sham” by Stuck Mojo; ©2012 Reservoir Media Management Inc. Wrestling Audio: “Daffney Vs. Crowbar” [audio] ©2012 WCW Inc. “The Governor and The Beautiful People” and “Dr. Stevie With Daffney” ©2009 Impact Wrestling Inc. “Daffney Interview at Wrestlecon” ©2018 Mark E Extreme.

mexico.sae.edu Referencias: Addison Rae - Obsessed (NEZ Remix, INgrooves, 2021) Extractos del video He's All That | Addison Rae & Tanner Buchanan | Official Trailer | Netflix https://www.youtube.com/watch?v=XqTPaRz8Nx8 Librería de música de AVID - Crop Top - Input

Pre-save and pre-add wordsmith's new album called “Bittersweet” wherever you get your music. It drops September 17th  You can find wordsmith on most platforms @wordsmith and on instagram as @Wordsmithmusic  Wordsmith's TED talk: https://youtu.be/AsUcY8FXHWI  Support Rise with a Purpose: https://www.risewithapurpose.com/    25 minutes correction it is Berklee City Music: https://www.berklee.edu/city-music    Wordsmith is a Baltimore-based songwriter, performer, entrepreneur and philanthropist. In 2009 he opened his independent label NU Revolution Entertainment. Since its inception, distribution and licensing deals with INgrooves, United Masters, Redeye, and APM Music helped the company flourish! Wordsmith has released 6 albums over his career, became a Grammy Voting Member and earned winner of Best Rap/Hip Album for Perspective Jukebox at the 16th Independent Music Awards. Wordsmith continues to use this platform to strengthen partnerships with major brands like: Netflix, ESPN, NFL Network and WWE to name a few. 2019 brought prominent features in the hit shows Russian Doll (Netflix), Unbreakable Kimmy Schmidt (Netflix), Preacher (AMC), Skam France (UK TV) and recently had two songs featured in the video game NBA 2K21 Next Gen! Continuing to expand the company, Wordsmith officially opened his nonprofit “Rise with a Purpose, Inc.” and delivered his first TED Talk via John Hopkins University in 2021. Partnering with the US Department of State to fund performances and workshops in countries around the world to strengthen multicultural ties, Wordsmith has brought his influential music to Azerbaijan, Haiti, Belarus, Lithuania, Latvia, Estonia, Angola and Ukraine. During the pandemic he performed Virtual Tours for Panama, Tunisia, Tanzania and Ukraine to keep the cultural connections strong!    The Best Music Podcast #36 | Wordsmith — Rap | Bittersweet, Virtual Tours, Rise with a Purpose    0:00 Intro  2:30 Warm-up questions  06:45 Clean lyrics  12:00 Defining success  14:30 Virtual tours  20:40 Rise with a Purpose    Time of day Songwriting: Inspiration Songwriting: Listen or not to listen? Performance anxiety #musicians #songwriter #songwriters #composers #musicmajor #musicmajors #musiceducator #musiceducators #musiceducation #podcast #thebestmusicpodcast #clips #musicpodcast #singer #guitarist #guitarplayer #trombonist #trumpet #violin #viola #cello #bass #brass #trombone #mandolin #banjo #drums #percussion #timpani #marimba #oboe #sax #saxophone #clarinet #basoon #alto #soprano #tenor #piano #keyboard #musicians #songwriter #songwriters #composers #musicmajor #musiceducator #musicpodcast #singersongwriter #musiceducation #singer #trumpet #violin #viola #cello #bass #trombone #musiclife #musicmaker #musicteacher #drums #percussion #saxophone #clarinet #guitar #piano #podcast #thebestmusicpodcast #musicislife #musicindustry #PandoraPodcasts    Logo, Intro Video, and Branding: Arron Leishman  Audio and Video: Zach Ramey zacherylramey@gmail.com  Dan's Thumbnail Photo: John Mollura Photography

On this episode our host Nick Sadler sits down with Josh Hedglin, Label & Business Development Manager at Ingrooves Music Group and a former Senior Account Manager at Beatport. With several years of music management and marketing under his belt, Josh is devoted to helping independent artists and labels launch effective music releases and reach wider audiences. A forward-thinking expert who always keeps a finger on the pulse of the latest music industry trends and technologies, Josh is now sharing his extensive knowledge and know-how in the course of nearly an hour and a half! Join us for an incredibly detailed discussion on digital service providers, music marketing, releasing strategy, physical vs. digital distribution and much more.

On this episode our host Nick Sadler sits down with Josh Hedglin, Label & Business Development Manager at Ingrooves Music Group and a former Senior Account Manager at Beatport. With several years of music management and marketing under his belt, Josh is devoted to helping independent artists and labels launch effective music releases and reach wider audiences. A forward-thinking expert who always keeps a finger on the pulse of the latest music industry trends and technologies, Josh is now sharing his extensive knowledge and know-how in the course of nearly an hour and a half! Join us for an incredibly detailed discussion on digital service providers, music marketing, releasing strategy, physical vs. digital distribution and much more.

Hamlet, Ophelia, and Horatio go through Mr. Prince's office and make an interesting, and unusual, discovery. CONTENT WARNINGS: This episode contains topics that might be triggering to some listeners. This episode includes discussion of parental death/murder/suicide; mentions of gun violence; and psychic abilities. CAST: Hamlet– Tim Briggs Horatio– Jedo Lumapas Ophelia– Alli Malone Player Queen– Kimber Lynn Written and directed by Alli Malone We have Merch! https://www.redbubble.com/people/PariahPod/shop Transcripts available at: https://www.pariahpodcasts.com/​ SOUND CREDITS Footsteps by DJ Sound Fix and All Sounds Door Open by Nathanolson Turn Page and Book Sound Effects by All Sounds Flipping Pages by Little Sound Drawer opening by Sound Effect Database Phone Typing sound effect by Berlin Atmospheres City Traffic by AllangTV Car Door by Sounius Shop Door by Ingrooves

Welcome back to our latest podcast series, The Good of Work. In this third and final episode, Sam Bloore is joined by John Dennison and Olivia Burne, who hosts the conversation.Previously, we've explored the meaning of work in light of God's purposes for creation, and we've looked hard at the ways in which work has become corrupted and distorted by the fall. But what about the good of work now? What has God done to redeem our work, and what exactly might that mean for our 9-5 lives? How should we work? What counts as good work? And—beyond a pay-check, the common good, or personal satisfaction—what are we working for? Building on our latest edition of Common Ground, ‘Christ redeems our Work,' this conversation takes us deep into these questions. Join host Olivia Burne, Sam Bloore, and John Dennison, as they complete the picture for us—come and explore the good of work.You can listen to the Spotify playlist, A Meditation on Work, here.Copyright notes: Song We Labor Unto Glory (Live) [feat. Liz Vice]Artist The Porter's GateLicensed to YouTube by TuneCore (on behalf of The Porter's Gate/The Fuel Music); Adorando Publishing, ASCAP, Essential Music Publishing, and 2 Music Rights SocietiesSong The GiftArtist Jon ForemanLicensed to YouTube by UMG (on behalf of Jonathan Mark Foreman)  Song Busy Earnin'Writers Thomas Dalton Mcfarland, Joshua James Lloyd-WatsonLicensed to YouTube by UMPI, Kobalt Music Publishing, LatinAutor, ASCAP, AMRA, LatinAutorPerf, and 9 Music Rights Societies Song Chippin' AwayArtist Allen StoneAlbum Building BalanceLicensed to YouTube by INgrooves, UMG, PIAS, [Merlin] ATO Records (on behalf of ATO Records / Fontana North); AMRA, BMI - Broadcast Music Inc., ARESA, BMG Rights Management (US), LLC, CMRRA, and 2 Music Rights Societies Song Beyond The Blue - Instrumental (40871)-15738Artist Josh GarrelsAlbum Love & War & The Sea In BetweenLicensed to YouTube by AdRev for a 3rd Party (on behalf of Music Bed (Music Bed)); AdRev Publishing, and 1 Music Rights Societies Song Your Labor is Not in Vain (Live)Artist The Porter's Gate (feat. Paul Zach) Album The Porter's Gate Work Songs: The Porter's Gate Worship Project Vol 1Provided to YouTube by TuneCore ℗ 2017 The Porter's Gate/The Fuel Music Released on: 2017-10-06 Auto-generated by YouTube. 

"What does the day-to-day look like for an Artist and Label Partnerships executive?" "You've worked across Europe for your career, what would you say are some of the key differences between Europe and the US" "How should artists be looking to build relationships with people at DSPs" --- Arielle Fischer, formerly of Spotify and INgrooves, was the guest for this week's unsigned podcast. Arielle has lived all over Europe which has given her a unique insight, especially working for companies that have such a strong US focus. She currently lives in Germany and we couldn't thank her enough for taking the time to chat this week. In the episode, we talk about her background and her love for music as a fan, her jobs at Spotify and INgrooves, and how she thinks artists should build relationships with DSPs! More Studio Talk: How To Get Playlisted in 30 Days (online course) Monday Morning Manager Newsletter Blog Instagram Youtube Twitter #BlackLivesMatter, please support in any way you can. List of resources: https://blacklivesmatter.com/resources/

We had the pleasure of interviewing The Cush over Zoom video! Mad Bunny Records proudly releases Riders In the Stardust Gold, the latest from Indie rock band, The Cush. This is the band's six release and their first with Mad Bunny Records. The album features six original songs, all of which were written by band co-founders, husband and wife Burette and Gabrielle Douglas. The music was recorded in their hometown Fort Worth, Texas primarily at Empire Sound Studio by David Castell and Jerry Hudson at Eagle Audio. All six tracks - “Haters”, “Beneath the Lines”, “Chariots of Smog”, “Ajna Returns”, “Fly” and “Daydream Beach” – were designed to take the listener on a sonic journey, transcending to new states before riding back into the stardust again.  The lead single from the album, is “Haters”, a song with an expansive haunting sound that was co-produced by Ben Harper. The track got a warm reception at radio - launching at #3 on NACC Top 5 Folk Adds and #5 on NACC Top 10 streamed/downloaded singles and this week breaking into the NACC Top 200 and charting at 188, where it continues to ascend and gain heat. For the video the team tapped Texas director Justin Wilson. Gabby said, “Justin was able to portray hate as an energy, and how it is often elusive until you learn the truth of where the hate came from. We were also trying to communicate that even though hate is an intense energy and can often be contagious, we can rise above and make peace with how things are in order to heal what hurts”.   Riders On The Stardust Gold is available digitally everywhere. Vinyl will be released in July.Mad Bunny Records is founded by multi-GRAMMY Award winning musician Ben Harper and is distributed by INGROOVES. Mad Bunny offices are based in Silver Lake, California and Brooklyn, New York. The impetus for creating Mad Bunny Records was to provide a home for great music and Harper intends to populate the roster with eclectic musicians who all share the desire to stay true to their creative vision. We want to hear from you! Please email Tera@BringinitBackwards.com.www.BringinitBackwards.com#podcast #interview #bringinbackpod #TheCush #zoom #aspn #americansongwriter #americansongwriterpodcastnetworkListen & Subscribe to BiBFollow our podcast on Instagram and Twitter! 

We had the pleasure of interviewing Nina Herzog over Zoom video! Los Angeles singer/songwriter NINA HERZOG has waited years for. Her long-awaited six-song debut EP, TOGETHER AWAY, is out now via Label Logic as distributed by Ingrooves. NINA HERZOG has been called a "vintage songstress" by Broadway World, has sung on over 200 songs for Hal Leonard Publishing, BMI Publishing, Sony, and Universal, has performed with The National Symphony Orchestra conducted by the late Marvin Hamlisch, and with Grammy® Award-winning composer/arranger Patrick Williams (Barbra Streisand, Frank Sinatra), has starred in Buzzfeed comedy videos, and she’s been the voice of Odette, The Swan Princess, from Sony Animation’s “The Swan Princess” since 2018. Now, it’s finally her turn for time in the spotlight singing her own songs. TOGETHER AWAY is a six-song EP, full of touching melodies and honest emotions, a journey that explores the landscape of unconditional love and profound loss with an open heart. The songs unfold like a romantic novel, moving through longing, infatuation, intimacy and on to separation. “I wanted to express the ways lovers and loved ones retain the sensation of being eternally present in each other's lives, the ways in which humans are able to feel deeply connected - despite death or great distances.” NINA HERZOG became a star for her work as the singing and speaking voice of Odette, The Swan Princess, in Sony Animation’s “The Swan Princess” series. The role was the culmination of a singing career that started in grammar school. Before the pandemic hit, HERZOG maintained an ambitious schedule singing with symphony orchestras, doing voice over work, working as a session singer for jingles and film scores, recording demos for other songwriters, acting and singing in plays--and working with a small non-profit organization that helps families with essential needs, provides educational opportunities, and focuses on community building. A few years ago, HERZOG began writing her own songs. She’s now ready to share them with the world. We want to hear from you! Please email Tera@BringinitBackwards.com. www.BringinitBackwards.com #podcast #interview #bringinbackpod #foryou #foryoupage #stayhome #togetherathome #zoom #aspn #americansongwriter #americansongwriterpodcastnetwork Listen & Subscribe to BiB Follow our podcast on Instagram and Twitter! --- Support this podcast: https://anchor.fm/bringinbackpod/support

Aditi Dash is a Partner at CircleUp and invests in consumer brands like Beyond Meat, nutpods, and Black Medicine. We discuss emigrating from India at age 8, being told to "not sit at the table" while working at Morgan Stanley, taking the advice to "get out of the building" during a surprise FDA visit at La Colombe Coffee, and why hormone health and the convergence of Media x Consumer excite her as an investor.Subscribe to our newsletter. We explore the intersection of media, technology, and commerce: sign-up linkLearn more about our market research and executive advisory: RockWater websiteListen to our weekly executive insights on Media x Commerce news: Mondays at 2pm PT on Clubhouse via @chriserwinFollow The Come Up on Twitter: @TCUpodEmail us: tcupod@wearerockwater.com---EPISODE TRANSCRIPT:Chris Erwin:Hi, I'm Chris Erwin. Welcome to The Come Up, a podcast that interviews entrepreneurs and leaders.Aditi Dash:The FDA showed up at the plant that I was running, and I'd had almost a meltdown, and I was freaking out and was given the advice to, "Hey, you just need to leave. You need to trust that the production manager and the warehouse manager have everything under control, and that the processes that you've put in place by this point are going to work." Chris Erwin:This week's episode features Aditi Dash, a partner at CircleUp. CircleUp is a consumer investor in companies like Beyond Meat, nutpods, Rebel, Black Medicine and more. Aditi was born in India and came to the US with her family at the age of eight. They spent time in Boulder, Colorado, then she went to the East Coast. After undergrad, she joined Morgan Stanley as an investment banker, and in her first week received the shocking advice of, "Never sit at the table."After a couple of years in banking, she went to the buy-side and was a consumer investor at Stripes Group. But while there, she felt disingenuous sitting across the table from founders, realizing that she wanted more operating experience so that she could give better advice. So she went to business school at Harvard, and shortly thereafter joined La Colombe, a coffee manufacturer. She has some pretty crazy stories from there, like when the FDA gave one of her plants a surprise visit, almost caused her a personal meltdown until her team told her to just get out of the building and trust the processes that she's built.Afterwards, Aditi went back to the buy-side and joined CircleUp as a partner. So at the end of our interview, we talk about what investment themes get her excited for 2021, like hormone health as purchase criteria and the convergence of media and direct-to-consumer brands. We also talk about why so many people don't get the basics of business and why Clubhouse is so exhausting. All right. This was a super fun interview with Aditi, I'm pumped to tell you her story, let's get into it. Tell me a little bit about where you grew up. What was your household like? Aditi Dash:Sure. So I grew up in a few different places. I'll start all the way at the beginning. I was born in this town called Dhanbad. It's in India, it's in Eastern India, and it is the coal mining capital of the country. Think West Virginia coal mines, a lot of the coal in India comes from this town, and that is what this town is known for. So I was born there at my grandmother's house, on my maternal grandmother's house, and lived there for a little bit, and then my family moved to Calcutta, which is now known as Kolkata. And that is the first real memory I have of a household. Aditi Dash:I lived in an apartment, two bedroom apartment with my parents. I have a younger brother. It was as far as I can remember full of joy and fun. We were middle class in India, and we were from a small town in a big city. So I guess the reason I'm saying that is that it felt like even just being in Kolkata was a big move for me and my family. Chris Erwin:Yeah. Totally. How old were you when you came over to the US? Aditi Dash:I was eight years old when I came to the US. And we moved to Milpitas in California, which is in the Bay Area. And it's like a tech hub today, it's in the center of Silicon Valley. And my dad was brought here in order to work in the tech industry. Chris Erwin:Was your father working in the technology industry back in India? Aditi Dash:Exactly. He was working in the tech industry back in India. I guess it's the reverse of outsourcing, but the- Chris Erwin:Insourcing. Aditi Dash:They insourced him and then three months later my mom and my brother joined him in California. Again, we had this great apartment in Milpitas. It was a two bedroom apartment that I recently went back to the complex and realized how tiny it was. But it was big in my eyes and my dad worked at Sun Microsystems, my mom was stay-at-home. I had a lot of fun, interesting memories from that point, but it was very community-driven. In that apartment complex, my parents got to know all the other Indians, and we hung out almost every single day if not every week, and it just was a really strong Indian community within that apartment and some of my parents best friends to this day are from there. They still see them on a weekly basis, which is kind of crazy. Chris Erwin:Wow. My mother was born in Italy, and then she migrated to the US. And I think they first landed in Erie, Pennsylvania when she was four years old. And a key part of that was that there was a lot of other local Italian community nearby to help to ease the transition and the logistics, and then just to feel that there was a support network. So did you actually move with whether other family members or other people from your Indian community back in India, when you made this move at age eight? Aditi Dash:No. It was a new community here. I think my dad may have had some friends that he was working with in India that also moved here at the same time, but for me it was a completely new thing. Chris Erwin:Do you remember being really excited or were you scared? What was going through your mind? Aditi Dash:Yes. I was really excited. I had a shirt that I would wear all the time that said baseball on it. I couldn't wait to move here. Just the things that were super exciting once I got here were like carpet. We didn't really have carpet in India, and so it was just I remember being fascinated by it, and volunteering to clean it whenever I could. Chris Erwin:That's a rare thing for a kid at that age, wanting to do chores like clean the carpet. Aditi Dash:Yeah. It felt like an adventure, but I'm sure that my parents telling me something along the lines of "Hey, this is going to be fun," had something to do with that. Chris Erwin:And so I know that you then end up at Brown, but in that interim period, what were you getting into a groove in? Were there certain sports or like now you're a consumer investor, were there any glimpses into your current career back then in your childhood? Aditi Dash:Yeah. A few things. So at the age of 12, we moved to Boulder, Colorado. And so in Colorado, in Boulder is where I really had my formative years, my rebellious years, my years to just figure out who I was. And weirdly enough, Boulder today is a hub for consumer products and for consumer products businesses, especially in the world of food and beverage. And I think that part of the reason that it became a hub is encompassed in some of the glimpses that I saw back then of this desire to live a healthier life, people even back then were very focused on natural ingredients, knowing where products came from, local, and then health and wellness, like running, yoga, skiing, physical activity. There was just a big focus on continuous improvement at least for the body and soul, that I just think that it impacted me in ways that maybe I didn't get, and attracted me to the world of natural foods, natural products, natural living and just consumer in general. Chris Erwin:Okay. It's funny, there's this like big westward migration from India to California, and then it's Boulder, Colorado, and then it's- Aditi Dash:Yeah. It's off to Rhode Island and Brown. Chris Erwin:Okay. And when you went to Brown, what was in your eyes then of what you wanted to do with your life? Aditi Dash:I filled out all my applications that I wanted to be a biomedical engineer, but I had a few different things that I wanted to do. I was interested in potentially doing something more political. I was working at the senator's office in Colorado, when I worked there. I was interested in potentially becoming a doctor, which is what I had always thought I'd want to do. I was really into writing as well, and I'd written my essay to apply to Brown about hamburgers and hot dogs and moving to America. So I wanted to do a little bit of something in writing. But I ended up starting as a engineering major, and I finished as an engineering major, and I studied economics as well. Chris Erwin:Aditi, before we move on from Brown, I just saw that on your LinkedIn that you founded I think a tutor network called BearPaw Tutors. What was that? Aditi Dash:Yes. Two of my best friends from engineering lab and I founded this company called BearPaw Tutors. And it was really fun. But basically, it was a business that would hire tutors from Brown and pay them $1 more than they could make tutoring Brown students, and then go out in the community starting with private schools, and find parents that were looking for SAT tutors for their kids and charge them less than they would have to pay Kaplan. Our costs were really low, because at the time, I think Brown students could make $8 an hour tutoring, and so we'd pay them $10 an hour. And then the parents were paying us like $30 an hour for the tutoring. And so we'd make a pretty good margin on that relationship, and our kind of angle was that we would allow parents to book online, pay online and leave a review online. So it was early in just doing all this online tutoring, and it was local and it was profitable, and it was really, really, really fun. Chris Erwin:Yeah. That's a pretty good spread for a business that kicks off in college, so kudos. Aditi Dash:Yeah. And so my friend Matt, who was the CEO and it was his idea, and he now works at Square. And my friend Tito, who was helping with just kind of building out the basic tech side of things is now an air miner. Chris Erwin:What's an air miner? Aditi Dash:An air miner, his vision is to take CO2 out of the atmosphere and turn it into carbon-based products. Chris Erwin:Is that kind of like carbon capture in a way? Aditi Dash:Yeah, exactly. Carbon capture. Chris Erwin:Got it. Cool. So after Brown, you go to investment banking at Morgan Stanley in New York City, and I think you start in the TMT group and then you go over to healthcare. But I'm curious, why did you want to go to banking in New York? Aditi Dash:I didn't know much about business or finance, but I had so much fun doing this BearPaw Tutors thing, that I was trying to figure out what I should do. And the advice I was given was, "You got to go into banking or consulting, if you like business." And so I started applying to all the consulting and banking firms and was lucky to get an internship at Morgan Stanley. And honestly, I didn't know what I was doing. I did not know what LevFin was, I didn't know what high yield bonds were. I felt like I just walked into this crazy finance party, and I was like, "This is great. I can do this." It was a blast. I had a great time. Chris Erwin:Okay. Yeah. You're definitely not learning like LevFin and LBO models when you're an undergrad. You're learning like trade theory and very abstract concepts. Very different. So you're there, and is the experience what you expected? I think you were there for maybe two to three years. Aditi Dash:The experience was not what I expected. I expected cubicles, but I was placed on a trading floor because that's where the leveraged finance TMT team was, so TVs everywhere, rows and rows of desks and no privacy whatsoever. So not just for me, but for anybody. Incredible learning experience. Whether I liked it or not, I was on like all the calls with important clients, because they were happening right next to me. I sat next to my boss, and I got a lot of responsibilities, I got yelled at. And at some point, and it was just, it was wild in that way. And then I also didn't expect the market to crash and people to lose their shit, because to me it was the first job, and I didn't realize how historical the Lehman bankruptcy was when I first started the gig. So I didn't realize the impact that it was having on individuals across the US. I didn't internalize that. Chris Erwin:It's interesting you say that, because I was also in banking from 2005 to 2010, pre-business school. So I was there during the whole debt crisis and market downturn. And I remember we were working on these really big landmark transactions, our buyers couldn't get the debt to complete them. So the markets fell through, and it was devastating. But I don't think I realized like not until hindsight, because I was kind of in my mid 20s. I don't think I fully acknowledged how severe the situation it was and how difficult it was for so many people. I was just concerned about myself and being like, "Oh, my comp is impacted." And I was like, well, in retrospect, so many people are losing their jobs, these venerable institutions are going away, like this is a really big deal. Do you feel that you felt what was actually happening in that moment or not? Aditi Dash:No. I was too young to feel it, and I don't think I quite got it. And I just hadn't seen enough, and maybe I still haven't seen enough of how the world works. Chris Erwin:Totally. So you mentioned, Aditi, in another chat we had that there was a piece of advice that you got about sitting at the table from an associate. Why don't you talk about that? Aditi Dash:Yeah. So I think this is on one of my first days at Morgan Stanley like post-training, and one of the associates told me, "Never sit at the table." And that was the first thing that he said to me, because we had our start date on a Monday and every Monday started with a Monday morning meeting. And so I showed up and I was told, "Hey, never sit at the table." And as I look back on that, I didn't think it was a huge deal. I was like, "Okay, I'll sit on the sides." But as I think back to that moment, and I think about every individual that has gotten into a job like that, and the first thing they hear is, "Never sit at the table," I get a little bit upset to be honest, because I don't think that's necessarily the message that we want to be sending to people that are starting new jobs. Aditi Dash:I think that we don't have to say, "Hey, sit at the table and say something," it's important to convey respect and know what you know and know what you don't know, but I don't think that just having a consistent never sit at the table messaging leads to confidence or people speaking up. I think you have to break out of that in order to be successful. Chris Erwin:Yeah. I think you also said it sets you up for second guessing yourself. And in life where you can second guess yourself everywhere, but you need confidence. And that if you feel that you have researched the topic, have spoken with credible advisors about something, that's like you have to go forth and trust yourself. Just hearing this story, there's a few layers to it, where it's almost like, "Hey, one, we don't want to hear from you. Don't sit at the table, your voice doesn't matter." But two, also like, "Maybe we don't want you to hear everything that we're saying as well." What a terrible message for someone that's just entering the workforce? Aditi Dash:Yeah. I think it goes both ways. And I think that it's also part of the culture of banking, or it was back then. Chris Erwin:I think you transition from TMT and then into healthcare, but then you make a transition to become part of the growth investment team at Morgan Stanley, and you move west to San Francisco. I think you went to Morgan Stanley Expansion Capital. So what was that move about? Aditi Dash:So at the end of three years of banking, most people have to decide if they're going to stay in banking or leave banking. And for me, I liked banking but I had this feeling in the back of my mind that maybe there's something that I could like more. And so I told the banking team, I was in the healthcare group at the time, that I would be leaving. And so they were gracious enough to help make introductions, and it's a whole process where the analyst then starts being able to have time to go on interviews and interviewed at some funds, and tried to find a good gig. Aditi Dash:And then this was an inbound opportunity. It came in through somebody I knew at Morgan Stanley, who said, "Hey, I know you're looking to move to the buy-side, and we're rebuilding our team. It used to be called Morgan Stanley Venture Partners, now it's going to be called Morgan Stanley Expansion Capital. We're rebuilding our team, and we need our first associate to join." And so I had wanted to move to California for a little bit. I had lived here as a child, and I had gotten in my head that I didn't like California. But I wanted to just test it out and see if that was actually true or not. Aditi Dash:So I interviewed for the job and thought, "Hey, this is a great way to learn investing." And my future boss gave me this advice that, "Hey, don't change more than two things at once," which I still try to do today. So he said, "If you're changing job and changing city, try not to change company. Or if you're changing company and job, try not to change city, because it's really, really hard to change more than two things at once." And that made a lot of sense to me. So I said, "Yeah. I'm going from banking to investing, and I'm moving cities, it would be good, it makes sense to stay at Morgan Stanley." So I was lucky enough to get that gig and moved out to the Bay Area to work for some incredible people on the investing side. Chris Erwin:Got it. I think clearly, this is the beginning of your buy-side career, because shortly after this, you then go to the Stripes Group, which is back east, which was a buy-side fund focused on tech, consumer and healthcare. And there's probably a point where I assume that at Morgan Stanley kind of you're young associate, learning just how to prepare things for an investment committee, learning from the partners, understanding what the lens is for making the right investments. And then at Stripes Group, it starts to probably be like founder and relationship building and potentially even some deal sourcing. When you go to Stripes, why did you make that move, and how did your role change there? Aditi Dash:I made the move for I would say 75% personal reasons and 25% professional. So I was dating somebody, and this person who is my husband today, lived in New York. Chris Erwin:So it was a good move, it worked out. Aditi Dash:It was a good move so far. Yes. But I thought to myself, "I'm willing to move all the way across the country for a job, and this could be a much bigger impact on my life than any job that I have. So if this feels real, I should be willing to move to the other side of the country to kind of see this through." And he already had a New York gig lined up, so he could move out to California. And he hated California, still kind of does, I think. Chris Erwin:Why did he hate California? Aditi Dash:I don't know. I think that he's very much a East Coaster, so he likes the weather, he doesn't like the taxes. We could get into it. So I told my boss, I was like, "Hey, look. This could be the real thing, so I have to go back to New York to be closer to him." That's why I ended up just putting fillers out and had a recruiting firm contact me about a role at an up and coming fund called Stripes Group. And at the time, I think it was Fund II that they had raised, and my job changed a lot in that it became much more sourcing-based and diligence whenever I wasn't sourcing and bigger deals. So Expansion Capital was doing smaller investments at the time, and Stripes was doing slightly bigger investments. Chris Erwin:And what types of deals were you particularly sourcing? Aditi Dash:Mostly in tech, SAS, consumer and media. Chris Erwin:Was that scary for you? To say like in your younger career, it's kind of like you have a boss to tell you what to do, you go do some analysis, you come back to them. And if you do it with high quality work and you're organized, it's a good look. But now it's like, hey, there's not necessarily a playbook here that I know, you kind of got to figure it out for yourself, how to build these relationships. How did you approach it? Aditi Dash:I don't think it was scary. I think that it was overwhelming and draining at times. I still feel this way. I feel like I have to be on my A game. It's all about building a relationship, connecting with the people. Totally different skill set, trying to be helpful without draining your own time. So I think I kind of approached it as like, hey, I had interest areas that I was covering, so I was looking at some healthcare companies back then and that was a big interest area, so I just made it a point to get to know everybody at the companies that I was trying to target. Aditi Dash:I went to all the healthcare events, I got to know healthcare investors, I got to know hospital people, and just started just representing Stripes at these events, and just going to conferences, going down to Baltimore, to DC, to New Orleans, and just kind of pounding the pavement for lack of a better word. And then making sure I brought that back to the team and kind of said, "Hey, if these are good companies, we should be looking at them, we should be looking into them," and kept iterating things that I was interested in, things I wanted to do. I think it's as much about external sourcing and external relationships, as it is about internal relationships, and that's a skill that I think is important to keep building continuously. Chris Erwin:And we'll get into this question a little bit more when we talk about CircleUp, but what do you think your personal investor brand that you're building back then, what were you trying to be known for that was different from, call it associates or principals that were at other funds relative to you? Aditi Dash:I was trying to be known for one, being thoughtful in my approach and outreach. Two was making connections between people who might be able to help each other or people who might like to know each other. Three as the person that can identify some interesting trends. And so I love being the person that said, "Oh, XYZ reminds me of this, and nobody else has kind of made that connection before." So making unique connections, which I think help people remember me and remember some of the ideas that I have. So connecting sometimes totally disparate things is something that I'd like to be known for. And then back then the other thing was just, I was doing a lot of brand building for Stripes, too. So kind of being known as one of the people that was at Stripes at the time. So if you thought of Stripes, you thought of me. Chris Erwin:I have to ask in terms of identifying trends, hearing what you're saying, a lot of my friends who are current venture capitalists or investors, and particularly when they were younger, like coming right out of business school, everyone thought that those were the most glamorous jobs and most in demand. And they were in very high demand and short supply. But those peers, I've never seen anyone work as hard as them. It's like they had to be everywhere. They were getting up early, they were preparing for investment committee meetings, they were constantly on panels, attending different webinars and conferences. And I was like, "When do you guys sleep? This feels exhausting and wanting to be always available to founders or texting with them or emailing them. This always on mentality." And I don't know if a lot of people see that part of it. It's a very, very difficult role. Aditi Dash:I think you have to have fun while doing it, otherwise it gets draining. Work from home helps. Chris Erwin:But it's clear that you wanted something different or something more after Stripes, and you end up going to business school. Aditi Dash:I felt as myself really disingenuous when I was telling a founder, "Hey, I think you should do this." I don't think every investor needs this, which is operating experience or just some experience and having done a startup. I just was having a really hard time saying with a straight face, "Hey, one of the things that I recommend is X for your SAS business, or Y for your consumer brand, or Z." I felt like that's what I needed to get really good at if I was going to be an investor, actually giving advice that is helpful and actionable to founders when they need it. Aditi Dash:And so I told my boss, I said, "Hey, I don't think I can quite get there yet." And asked if he would write a recommendation letter for me to business school. And not just him but a few other people at Stripes as well. So I applied to HBS and Stanford, because I wanted to take a break from the investing side, explore a few different industries, hopefully make a move over to the operating side, and just get a little bit more experience before I started telling other people what to do. Chris Erwin:So then you head to HBS in 2014, and what is that first set of operating experience that you start to get while you're there? Aditi Dash:There were a couple of things. One was starting a small company and a product management class, so just kind of thinking about that. Another was an internship at Blue Apron, which was the last investment that I completed during my time at Stripes. And three was an entrepreneurship course that I took where we were building a startup idea for the healthcare space. And so just like testing these in real life and in test environments. Chris Erwin:So what did you feel that you learned from that operating experience that was revelatory to you? Aditi Dash:I felt like a lot of people don't get the basics, and that a lot of running a company comes down to some pretty basic things, and along the lines of, do you make more money than you spend, over can you buy something for $20 and sell it for $40? And are you giving the person who's buying your product what they actually want or need? And I just felt like a big disconnect between the investing world and the people who were actually like working in the Blue Apron warehouse, or the Blue Apron fulfillment center. And so I felt like some of those basic questions that a company was trying to solve at the high level, I thought different people couldn't answer them along the company ladder. Aditi Dash:I think that was eye-opening in that, I realized that operating experience isn't necessarily about learning these complicated things that nobody else understands. I realized that operating experience is more about simplifying the mumbo jumbo and the finance terms and the legal ease into basic business principles that really lead somebody to think about, "Hey, is this a good thing for the community, the country, the customer?" Chris Erwin:That's actually a really good point, thinking about how you take the focus of profitability and a sustainable business and good unit economics, translate that to a clear message, but then having that message permeate the ranks. Everyone thinks through every single decision with that lens. I remember, when I joined Big Frame right out of grad school, we had a part-time CFO come in, and his name is Steve Hendry. When he kicked off his work with our team, he said, "I'm empowering everyone on this team, from the CEO down to the support analysts, the producers, the editors. Think like an owner. Think about what business decisions make sense." Now, that was easy for him to do because we were a 25 person team and he could say that in a room. But for a really big company, how do you get that message to everybody? And did you learn any techniques while you were getting these internships of how to do that? Aditi Dash:I actually think it's very basic. I think it comes down to overcommunicating and oversimplifying. I don't think business and finance is and should be complicated. I think that it's important to go out of your way to not say ROAS, like talk about, "Hey, we're spending this much money on marketing, and it needs to generate more sales." So I think it comes down to simplicity and just consistency and overcommunication, but I don't think it's rocket science. I think anyone can do it. And I think I have to get better at it. It's weird, I feel like it's almost easier to overcomplicate something than to simplify it. But I was going to ask you, why did you decide to leave the world of investment banking? Chris Erwin:In my last year and a half that I was there, I was working with a lot of early stage technology and media startups. And we were helping a company, Ingrooves actually, with a capital raise that was based out of San Francisco. I loved working with that team, the founder was Robb McDaniels, shout out to him. I loved working with that team, I loved their energy. They were building something that was disruptive. But it was still early, and they were just grinding it out. And I was like, "Oh, I love this energy. This feels fun. I want to do this." Chris Erwin:In banking, I had just been as an advisor and operating outside the company, and I wanted to see the guts from the inside. And then I was also attracted to the West Coast. I was like a Jersey Shore kid for my entire life, so I wanted to switch up the terrain a bit too, that's why I did it. Aditi Dash:That's cool. Chris Erwin:Closing out that last point. I think you're right, that things can be a lot simpler. And I just heard this on the Shaughnessy podcast, I think he was interviewing a coach at Berkeley, if I remember correctly. And the coach referenced fence posting, where it's that notion of you put the fence post in so you make the point, you communicate something clearly, and then three feet down the line, you put another fence post in. And you just keep repeating the same message until it's drilled into everyone's brains. Can you just be as simple as that? I love that analogy. Chris Erwin:Okay. So you're at HBS for a couple years, and then you're getting this operate experience, and then you decide to transition to La Colombe, a coffee manufacturer afterwards. Was that still part of the same vein of like, "I just want deeper operate experience. This feels right," or was there something else you were thinking about? Aditi Dash:I had gotten interested in the coffee industry when I was at Stripes, and we'd started looking at a number of companies in the space. And I also was fascinated By the coffee supply chain. And so I took a class on just international trade relations and started diving into the coffee supply chain and wrote an interesting paper on it, and started just putting out into the HBS Universe that I really want to work in coffee like, "This seems really cool. I love the product. I think it's a really interesting area." And the Universe presented an opportunity to do so while I was at HBS. So I did this independent study with La Colombe and with Chobani, on potential ways for Chobani and La Colombe to partner with two friends at HBS. Aditi Dash:And Diana, Elizabeth and I worked on this project to help think about ways that Chobani and La Colombe could partner to create new retail concepts. And so just like a consulting project, where we didn't get paid but we got credit for doing the work. And through that process, I got to know the La Colombe team. And then the other thing is just before the project started, my husband was living in Philly, and he was attending Wharton, and I asked him to go to the Wharton career fair. And I heard that the La Colombe team was going to be there. And I asked him to give them my contact information and get theirs so that I could talk to them about a potential opportunity. Chris Erwin:So you're recruiting to Colombe via like a Wharton career fair? Aditi Dash:Yeah. So I said, "Hey, can you please go? And then just drop my name and then get their card so I can email them, so they know who I am." And then that happened right before this project started. So it all kind of came together at the same time. And then I ended up applying for a full-time role, and because of the project they'd already gotten to know me. And so I received an offer in July about two and a half months after graduating from HBS and accepted the offer to start at La Colombe working for the COO. Initially working for the COO, working on some new products, figuring out margins and demand planning. And then I transitioned to working for the CEO on new products innovation, and overseeing the pilot production facility. Chris Erwin:How big was the team when you joined? Aditi Dash:It was probably in the office close to 20 people when I joined, and it grew over the two years I was there because they doubled down on CPG distribution. So they created cans, and we were selling them in places like Whole Foods and Walmart and brought on a big sales team to support that. That happened around the time I was joining/right afterwards. Chris Erwin:Got it. You mentioned in our pre-chat that I think a big thing for you there was that you were learning how to launch new product. But you are making these pretty big directional decisions for the company with not a lot of necessarily data and insights. Talk about that. Aditi Dash:So my job was to just take any idea from any part of the company and try to bring it to life working with the team. And a lot of the ideas came from the CEO and founders mind. I mean, he was the kind of guy where he had gotten to where he was by trusting his gut and his gut instincts. And so some of the products he wanted to create didn't even exist yet, and it would just be impossible to get data or market insights on those products. Like there's nowhere I could look to figure out, "Hey, would this kind of product make sense in any way? Would Nitro juice make sense?" We were working on Nitro coffee, but he said, "The world needs Nitro juice." So there's just no way to search for Nitro juice. But you can actually create it and see if it sells, and go from there, which is what we did. Chris Erwin:Got it. Was there any other type of analysis like trying to extrapolate insights from other tangential product launches to kind of fill some of the early data gaps, anything like that? Aditi Dash:Yeah. We used a lot of data from existing product launches just to see hey, like a new can in our store sells this much, and we can kind of think about that. We looked at other products and adjacent or similar categories. At the time, we didn't even have a lot of Nielsen or IRI data, so we took what we could get from wherever. I think now the company probably pays for a lot more data than we did back then. Chris Erwin:You did launch this, remind me, this Nitro product. Aditi Dash:Yes. We launched a Nitro juice, Nitro lemon and Nitro orange juice that we created in the pilot production facility and went through like hundreds of suppliers and thousands of tests and iterations, and started selling it in the cafes and people like at least in the cafes, were obsessed with it. Chris Erwin:Yeah. In terms of getting that initial data upon launch, were you doing just kind of focus groups and surveys or just using the initial sales data? How were you getting that need in information? Aditi Dash:We'd do a little bit of testing and sampling in store. The cool thing about having just a physical space and working out of a cafe all day, is that you have instant access to customers all the time all day. And so we were leveraging those customers to test out new products. And that was like the easiest thing to do. And I think that was really, really great, and I recommend a lot of the brands I talk to today to find a channel or path where they can test that in. So some days, it would literally be, hey, like making the product, and then having the baristas taste it later on. Aditi Dash:I actually ended up leveraging the baristas a lot as well, just because they were part of the company, so we could use them to test different products and they would be able to fill out surveys or be required to fill out surveys, but they were also kind of consumers because of their day-to-day lives and their interaction with consumers help them understand people a lot more. So I think leveraging the baristas was one unique source of at least limited data. And then we would basically test online where the marketing team would post something and see how much engagement it got. And that would inform sometimes product names, sometimes product directions. Aditi Dash:We had the Instagram followers vote on the next flavor. Whatever you could to leverage existing customers in different channels, was important to testing out and gathering early data. And then once we got the process approved for making the juice by the FDA process authority, then we started making just a handful of cans and selling it, adding it to things like cocktails. So it just became part of, "Hey, let's just do this every single day to see how people are responding." Chris Erwin:And in this role, were you managing a team or was your role kind of spread across different groups? Aditi Dash:I had a team that I was managing. It was made up of R&D, pilot production facility, and employees that worked at the plant. Chris Erwin:Was this the first time that you'd actually managed a team, or did you have that responsibility before? Aditi Dash:This was the first time I had managed a team, and I don't know, it might even be the last because investors don't really manage teams. The way that the investor role works, it's not about managing massive teams. But it was a really fun and unique experience. Chris Erwin:Okay. What did you like most about managing the team? Aditi Dash:I like the feeling of being part of a crew, a squad. I like the feeling that, "Hey, if we put our heads together, we could get something done." I like feeling important as a team to the organization. I think it's harder to do that as an individual than it is a team. And I liked being able to see the progress that different types of people were making, where my success was related to small successes of others that you could really see happening. And that was just, it's just a good feeling. Chris Erwin:Well, having other people to celebrate with when there's wins and there's a successful product launch. But also if things go bad, being able to commiserate with others is a nice thing, part of that whole crew dynamic. What did you find to be the hardest thing about managing a team? Aditi Dash:Convincing people that I was on their side, negotiating things like offers and raises, being the middle woman between the CEO, and people who were actually working on the production floor making the product. And so, the vision is so big and it's so amazing, and it's so exciting, but translating it into the day-to-day of like, "Hey, you need to dump these beans into the tin consistently every single day in order to make that vision come true," I think that bridging that gap of vision with execution was challenging. Definitely rewarding, but definitely challenging. Chris Erwin:Yeah. What do you think was your tactic to convince people and get buy-in on what you wanted? Aditi Dash:I tried to do a couple of things, and who knows how well it worked and how much people saw it as like, "Hey, you're pushing me," as opposed to, "You're encouraging me."? But the things that I tried to do, were giving people a glimpse into where the product was going early on, so setting like a product mission as well as that fit into the company mission. And messaging that early on saying, "Hey, this is what we're trying to do." Asking for input from people who were supposed to be giving input early on and saying, "Hey, at X date, I stop taking input just because I have to keep moving forward," setting a stop date for that. Aditi Dash:Just consistent updates on how things were going, figuring out what data points to track, so you could show performance improving, whether it was like pounds of beans processed per day, or number of cans made or number of gallons of concentrate created, figuring out those data points and writing it on a whiteboard in the production floor, so people saw it and saw the trend. I think those things were helpful. Chris Erwin:I agree. I think when teams know what they're working towards, what's the bigger mission, whether it's these really small menial tasks or big tasks, it's all in support of what the whole team is working towards. And when there's transparency and understanding, I think that's a very powerful motivator. I also believe, yeah, and empowering people. Some of the greatest advice I got from my old CEO at Big Frame was, "Hire great people and get out of their way." And I love that. And holding people big. Chris Erwin:Like if you went through the rigmarole to hire great people, then you have to trust them, and know that they're capable of great work. And I think that trust is a key thing that I constantly learn every day with my team, being able to let go. All right. We just came back from a quick break, and Aditi, you were mentioning that you have some war stories from the trenches at La Colombe. Why don't you tell me about those? Aditi Dash:There's a couple of stories that I think stick in my mind as to the highs and lows of La Colombe. One is where the FDA showed up at the plant that I was running. And I personally had almost a meltdown, because the FDA was there to check on the plant and talk to the production manager. And I actually was freaking out and was given the advice to, "Hey, you just need to leave. You need to trust that the production manager and the warehouse manager have everything under control, and that the processes that you've put in place by this point are going to work. So the best thing that you can do is actually leave. They don't want to talk to you, they want to talk to the person who is actually the production and warehouse manager, like actually working on the floor." Aditi Dash:So I let them in, talked to them briefly and just backed away, which was the best thing I could have done and ended up being a really positive review of the plant. They were very impressed with some of the changes we'd made, and ended up being a really positive thing, but helped me realize, "Hey, sometimes you just need to back away and do what needs to get done." Chris Erwin:Yeah. And did you say this was a routine check or a surprise check? Aditi Dash:Surprise. It was a surprise check. Chris Erwin:What were you concerned about going through your head of like, why you were afraid? Aditi Dash:Well, the first thing that I was afraid of was that I wore the wrong thing, because I was worried that food production facilities have specific rules on wearing lab coats inside and hairnets, and I was worried that, "Oh my God. I wore the wrong outfit on FDA day." The second thing I was worried about was that we had turned this plant around. It didn't use to be a production plant, it was just like a warehouse. And so doing food production plant and a warehouse/storage facility, you just have to follow a lot of new rules to make sure everything is in compliance. And so I was worried that we missed something or skipped something. And then I was just worried about the team. I was like, "How are they going to be able to take the FDA through what they need to know," and it was all unnecessary worries. Chris Erwin:Yeah. Going back to that theme of just like trusting the work that you've done that you did it right, and trusting the team like the team's got it. Aditi Dash:Yeah, exactly. The team's got it. The other thing that sticks out is when I think we needed a water heater, we needed hot water for something. We were trying to figure out where to get a hot water, and the folks that we were talking to stuck it out or just quoting really high prices. And this was just needed to heat incoming water from the existing water line, and it wasn't going to be interacting with the water in a negative way. It was just needed to heat the actual water through the pipes. And the quotes that we were getting were so high so it just didn't make sense for the plant. So me and the engineering manager just went to Home Depot, and he bought a water heater for the home to jerry-rig the system until we could get a proper heater installed in place. Chris Erwin:You were deep in the operational weeds, like figuring this out, going to Home Depot, getting the right parts. That's awesome. Aditi Dash:Yeah. Sometimes I was doing that. And the Home Depot there had this incredible sandwich place outside, right outside Home Depot, like a food truck. And it was just the best sandwich in Philly. Chris Erwin:Do you remember? Was it like a Philly cheesesteak type sandwich or what was it? Aditi Dash:No. It was like, you could get different meats sauteed on the grill, just like a street meat kind of cart on a sandwich. So kind of like a Philly cheesesteak, but you could also get like the whole piece of meat with peppers sauteed on it. Chris Erwin:What an added bonus. Yeah. Aditi Dash:Yeah. Chris Erwin:We're about to get to your role at CircleUp, but do you miss getting in the weeds like that with the team and figuring out those really micro ops problems? Aditi Dash:Oh my God, yeah. I do miss it a lot of times. Sometimes I walk into a warehouse or I walk into a Costco and that smell of just being in a warehouse or it's like sight of the racks just brings me back to having to go to a facility every single day. Chris Erwin:Yeah. I just watched a video on YouTube of just people really don't understand how the infrastructure of our world works. And I think this was a big theme that came out of the power grid shut down in Texas of like, "Do you know what a water pump is? Do you know what a sump system is? Do you know how electricity actually gets to your home from the grid?" These are a lot of things like, we're all connected on Zoom and we're on Clubhouse, we take a lot of things for granted. And I think that, that knowledge not only just from a survival perspective but just awareness, is really, really important. Aditi Dash:I don't think people know a lot of those basic things, and it's really sad. And I feel like, I learned a lot of those basic things by not only being in the weeds operationally, but also just by being around people whose job it was to work with their hands to fix things, to build things, to create things. We don't really do that. Most people that I know in my life are on their computers all day, and our hands are not used to actually make, do or create anything other than spreadsheets or PowerPoints. Chris Erwin:I mean, look a very real thing for a lot of the consumer companies that you invest in were their manufacturing product. And if they have something that's impacted on their supply chain or their manufacturing line, that can shut a company down for days. Loss of revenue, major issues, and you need to have expertise to know how to do it, versus living in spreadsheets and numbers. So cool. All right. So let's talk about CircleUp. I think you were at La Colombe for a couple of years, and then you go to CircleUp in 2018. What was the impetus for that transition, and how did you meet the CircleUp team? Aditi Dash:I met the CircleUp team through somebody I used to work with at La Colombe. So a friend from La Colombe, actually the same guy that I had my husband track down at the Wharton career fair. He introduced me to the CircleUp team after he left La Colombe. And so he introduced me to this team at CircleUp who was a new team for the company, and they were responsible for investing a relatively new fund, $125 million venture fund. And he had gotten to know them just through his work in the consumer space and knew that they were hiring for somebody at the partner level, somebody who had some experience on the operation side and on the investing side. And so that's how the connection was made. Aditi Dash:The first conversation was with a woman named Allison who's no longer at CircleUp, but she was also somebody who had worked in investing, got an operating role and then joined CircleUp. So kind of walked me through her path and her process of joining. And she was just like, it was very clear that she was really sharp and excited to be at CircleUp. And I got excited about the opportunity, then flew out to San Francisco to meet the rest of the team. They interviewed me and ended up making me an offer that I decided to take. So it was traditional in a lot of ways, but network-based in some ways. And I think what just excited me about the role was the ability to go back to investing. Aditi Dash:I thought I was going to be in operation side for 10 or 20 years, but I felt like I had a crash course at La Colombe and at Blue Apron. And like I told you, I realized that I didn't need to learn some magical operating secret in order to understand the basics of operation. So I felt like I was ready to go back to the investing side, I missed talking to tons of companies and tons of brands. I missed feeling like I was out of the loop on new trends. And so I was really excited to come back to a world where I got to go back to building relationships, making investments, making money. And so that kind of led to me joining CircleUp. Aditi Dash:Between La Colombe and CircleUp, I tried to start a company actually. I tried to start two companies and both of them were really, really tough. So one was a company that I was working with my friend from HBS on. It was called Be As One Foods. And what we wanted to do was create foods for your insides and outsides, similar to a company like Gold or even something like MUDWTR. We were planning to launch products that had superfoods, adaptogens in powder form that you could use for your insides and outsides. And my friend, Ana lived in Peru, I was in the US, and so we were going to launch this company together, and realized that it's really, really, really hard to be in a long distance relationship with a co-founder. And so we decided to just stop doing Be As One Foods. Aditi Dash:And then the other one that I was trying to start was a company called Dollar Fresh, which I met with several investors on but ended up not pursuing it and joining CircleUp instead. But Dollar Fresh was a concept that was all about getting fresh foods for $1. So imagine like the dollar store version of Sweetgreen, and having very, very simple small portion foods for $1, $3 and $5 flat price points and making the margin work. So I hired a chef, I got the menu done, I scattered a bunch of locations to open up a restaurant. But what convinced me not to do it full-time was actually working at a restaurant on the weekends. And for a while I was at La Colombe, I started working at the salad place on the weekends as a volunteer, and just helping out this one woman salad shop owner in a location that I thought would be really exciting for this business. And it just was way harder than I realized. Chris Erwin:And maybe not as glamorous as you were expecting. Aditi Dash:Not glamorous at all. I mean, I wasn't expecting glamor, but I also wasn't expecting feeling like physical defeat either. And I think that if you own a restaurant, you start a restaurant, there is a lot that goes into physically and emotionally creating this place that other people are eating, that just felt very draining for where I was at that point in my life. Chris Erwin:It's like an instant feedback loop where you can see, are customers liking the food that you're putting on the table, but also you're seeing very quickly do the financials make sense at the end of the day? Aditi Dash:They usually don't. The financials usually don't make sense for a restaurant. Chris Erwin:So it seems that you were scratching an entrepreneurial itch that's there. Do you think that itch has been satiated? Aditi Dash:I think that it's been satiated for now. I can't say it's been satiated forever. There are many, many ideas that I have all the time about interesting things to do. I don't think that's going to go away. I just think that right now I'm adding a lot more value to my life and my community as an investor. And my goal is to help other entrepreneurs for now. Chris Erwin:Got it. Okay. So let's talk about that, and your role at CircleUp. What do you feel that your mandate is there, and what's your personal focus? Aditi Dash:Find and invest in high growth consumer companies. And my focus personally is to look for different spikes in different areas that I find interesting, and build relationships with those companies as early as possible. I'd love to be the first person that somebody asked for advice when they're building a startup that could become a big startup. But I have to balance that with like managing my time accurately. So I try to put out, like just for myself a list of areas that I want to focus on for the year and for the quarter. And that helps me narrow down, "Hey, where do I want to focus my time?" And then the rest of it is kind of like inbound, and I have my list of priority companies and list of priority entrepreneurs that I'm just trying to build relationships with. Chris Erwin:And actually, we're going to talk about your 2021 predictions, which I think are like your key themes of investing for the year. But before that, curious, how do you think that your personal investor brand has changed from when you were at Stripes and when you were at Morgan Stanley Expansion Capital? How has that evolved as you've become more senior? Aditi Dash:I think the biggest change has been a focus more on innovation and new things, and then the second part is trying to be more of the person that is giving advice from a place of, "Hey, I have done investing for a little bit, I have done operating for a little bit, I can give suggestions, as opposed to back then it was much more sourcing for the sake of sourcing rather than building relationships with founders and helping them get an understanding of different problem areas or getting advice. Chris Erwin:Got it. What channels do you think are most effective for you to build your brand, where there's just proliferation, where you can be on Clubhouse, you can be on podcasts like this, you can be writing newsletters or on Medium? What do you think is most effective for you? Aditi Dash:It depends on the day. For community events, it seems like LinkedIn is really good. Clubhouse seems to be getting better, but I'm very drained at the end of every Clubhouse that I've done. So I'm trying to find new energy levels to do that more and do a show and things like that. I think Twitter is really like it works really well. I've met companies on Twitter, I've met founders of service providers. I was looking for a company that is bringing tech to the world of PR, and I just put it out there on Twitter and met this amazing company out of Boston that is creating a marketplace for people who are looking for PR. So just very strong, I think space to build a brand and to do brand and company discovery. Chris Erwin:I have to ask, why do you find Clubhouse exhausting? Aditi Dash:I think Clubhouse feels a little bit like LinkedIn, where it's something that feels like I have to be there because everyone else is there and I have to post there, but it's not something that is a place that I can use like Twitter to have like a two-way conversation. So I think Clubhouse kind of feels like a one-way conversation which can feel exhausting to me because I get energized off of that interaction that I have on something like Twitter. I haven't quite found that on Clubhouse. It feels like when people speak to each other at least in the bigger rooms, it's like panel-type questions. Aditi Dash:It's not as informal as it seems like it was when it first started. Now, it seems very structured, it feels like going to a conference. Like when we used to go to conferences back in the day, I remember feeling at the end of the day, just drained from like, "Oh my gosh, I don't want to hear another lecture, and I don't want to walk by another booth." That same feeling is happening to me at Clubhouse. I'm like, "I don't want to listen to another room." I think that when it initially started and it was more informal, and you could just jump in and out and talk to people and it felt more like a two-way conversation, that was cool. Chris Erwin:I like that. I think like know thyself. I think there's some people that can do this like one-way broadcast talking to hundreds, thousands, millions of people, get really energized by that. But there's also people that it's like that interaction, even if like there's a one-on-one that's three hours versus a 30-minute panel talk, that people are energized by that experience. And I think I relate to that, because I'd much rather have this kind of intimate conversation with you Aditi that, yes, other people can listen in on. But admittedly like, look, my firm we write about all things audio and podcasting all the time. It's one of our specialty areas. Chris Erwin:But admittedly, I haven't spent a lot of time in Clubhouse because I very much believe in focus. I'm focused on podcasting. I'm developing another one, and I like Linkedin and I also post on Twitter. And something else right now, while we're still refining our content brand and identity, it feels too much. And then I feel like it's our content brand then is diluted. But I very much agree, I like the interaction. I think it's very fun and very rewarding. Aditi Dash:Do you ever worry that you're missing the Clubhouse? Not the boat, but the opportunity to be early in building a brand? Because I have heard that people who were early to Twitter or early to Instagram, and now even early to Clubhouse, are the ones that are like they already have hundreds of thousands of followers just because they were first. And it's going to be hard for the next person to do that. Chris Erwin:It's a fair question. But I also think about, "Well, then why don't I have a micro cast yet? Why don't I have X yet? Why don't I have Y yet?" So Clubhouse seems like it's probably a priority relative to the rest, but there's so many different channels that I've just not chosen to go into yet. And so the hardest thing for me that I stand by is I'm saying no to it. I just got other things in the business that I'm focused on that are more important, and that's that. Aditi Dash:Are they more revenue driving? Chris Erwin:Yep. It's revenue driving and there are some marketing things that we're also working on as well. And team building, like I think people are everything, and so we're working on building our team right now and empowering the right people. And that takes my time and focus too. Let's talk a little bit about some of your investing themes, Aditi. So this was I think on one of your first 2021 predictions that I'd love to learn more about, hormone health as purchase criteria. And I think that there was some terminology I was unfamiliar with, but like ensuring that products don't disrupt your endocrine system. Can you talk a little bit more about what that means? Aditi Dash:In the world of personal care products and food, there is a drive towards just products that aren't disrupting your hormone system. So like your endocrine system is basically your hormone system. And if it gets messed with, your hormones can lead to a lot of issues related to hypothyroidism, hyperthyroidism. Disclaimer, I'm not a doctor, I don't understand exactly the diseases that come with it, but there has been some data showing that certain chemicals that we surround our lives with, disrupt our endocrine system. And when our endocrine system is disrupted, it can lead to all sorts of issues, especially related to like fertility, hair loss, skin issues, lots of different things. Aditi Dash:So for people who are just becoming pregnant or new moms, they make a big point, and doctors say this too, to avoid certain personal care products that can disrupt your body's natural system. And there are a lot of different things that people are trying to avoid. So in the world of personal care, I think the EU bans 1400 ingredients that cannot be used in personal care, and I think the US bans under 10. And so there are a lot of products in the US that are not banned by the EU and have some data associated with some sort of disruption or issue on your health. Maybe not statistically significant, maybe not done in mass studies over time, but there's some links that have come up. So shoppers are starting to avoid more and more of these chemicals. But there's no umbrella term for it. Aditi Dash:So like, what are you going to go and shop for when you're trying to have products that are healthy and natural? And the words clean, the word natural, those have lost their meaning as some companies have jumped on the bandwagon with, "Hey, we're clean," but clean doesn't really mean anything. I think that people are just going to think more about hormone health. I've seen some companies that allow you to do testing on the hormone side. I have a friend who is a Gen Z and runs a Gen Z marketing and insight agency who I was talking to, and she was saying that many of her friends, if they feel bad or if there's an issue, they end up getting their hormone levels tested. It's becoming a more common test to figure out what could be causing any kind of issues that somebody might be having. So I think that there's going to be something where hormone health is just going to be really important as a purchase criteria for Gen Z. Chris Erwin:That's helpful. Yeah, something that totally was not on my radar. But something that was on my radar that I think that has probably attracted us to, I think we just got to know one another maybe a few months ago, but I think that you look at like the intersection of media and commerce, and a lot of like brands making moves into media. And so you talked about, I saw a prediction about creator platforms will add brands. And I thought this was a really cool one like Patreon or OnlyFans. And I know Vice just went to OnlyFans, and then Rebecca Minkoff just did something on OnlyFans as well for New York Fashion Week. She had like 1500 pieces of collateral that she wanted to give her most engaged fans access to and kind of stir up her Fashion Week moment. I really like that. Chris Erwin:And then two, I like how you said that there's going to be like the next major show that you love, that you're going to watch will be made by brands. And I think that's a really cool one. We've seen a lot of brands start to launch different kinds of media companies, I think of Glossier launching Into The Gloss, Casper launching their Woolly publication, even the Casper Sleep Channel. So I think this is like, it's just started to happen but there's going to be a lot more of it. Any additional insights that you want to add to that? Aditi Dash:First, a couple of shout outs. There are brands that are doing this that I'm super excited about. There's a brand called Fly By Jing, that has incredible Asian-inspired sauces and condiments that's launching via OnlyFans. And there is a brand called Mid-Day Squares, which is filming every single thing they do every single day, and putting out consistent content. And they have an aim to be a media company in addition to a chocolate company. So I'm super excited to see some of this happening. Aditi Dash:And then in terms of additional insight, I just think that our physical and digital worlds are merging, and people's money is going to start going to both physical and digital goods in a combined way. So I'm really excited to see that happening. On the other side of it is spending on digital goods, which is happening already. And then digital companies working in physical goods. I just think it's all going to come together. Chris Erwin:I'm going to add in one of our predictions too that is, I think we've seen a lot of commerce brands acquire or invest in media brands. You saw Hasbro do this with eOne. But I think you're going to start seeing kind of the reverse like MeatEater, a churning investment, they started as a media brand, just bought First Lite over the past year and a half. And then they also bought FWF, and there was another kind of game calling company they just bought too. I think that reverse trend is going to happen more and more. Something to think about for your investing criteria. Aditi Dash:Yeah. And for our acquirers and exit. Chris Erwin:Yeah, exactly. And then I think another one you talked about was I think you said we're going to see more, I'm probably not pronouncing this right, but is it Ibotta? Aditi Dash:Yeah. I think, technically, it's Ibotta, but this is an app that you can use to get discounts on food and beverage products at places like Walmart. So you open up the app, and it gives you discounts and cashback for

An industry veteran of over 25 years (at the age of 40), Rob Gross has worked in every corner of the United States for a plethora of companies, from international indies to the largest majors. He has worked for Universal Music Group, Fontana, INgrooves, Dine Alone Records, Interscope Records and currently the Vice President of Marketing at BMG, out of Los Angeles. Rob has been involved in running global marketing campaigns with The Rolling Stones (2016's Grammy-winning Blue & Lonesome), Vanessa Carlton, Pussycat Dolls, Run The Jewels and more, but finds a deeper focus with artist development with artists such as The Struts, Kelsy Karter, Billy Raffoul, Nightly and more.

BODS Mayhem Hour welcomes Chase "Sludge" Reagan of Awaken. I talk to Chase about Awakens debut single, “Behemoth” off their upcoming record, “Monsters & Machines” via INgrooves....plus much more !!!!!   #Awaken #BODSMayhemHour Learn More About #Awaken at  Facebook: https://www.facebook.com/awakenofficial/  Site:  Twitter:  Instagram: ________________________________ If you're new, Please Subscribe!: BODS Mayhem Hour YouTube Channel https://www.youtube.com/c/BODSMayhemHour247  Follow BODS Mayhem Hour: Website: http://bodsmayhemhour.com  Facebook: https://www.facebook.com/BODSMayhemHour/  YouTube: https://www.youtube.com/c/BODSMayhemHour247  Twitter: https://twitter.com/Bod24  Instagram: https://www.instagram.com/bods.mayhem.hour  Twitch: https://www.twitch.tv/bodman247  Spotify: https://open.spotify.com/show/5dpB4oBaxifyzIj4bF6gSP  Apple Podcast: https://podcasts.apple.com/us/podcast/bods-mayhem-hour/id1495876975  Podbean Podcast Site: https://bodsmayhemhour.podbean.com/  Iheart Radio Podcast: https://www.iheart.com/podcast/269-bods-mayhem-hour-56955566/    ( Intro & Outro Music By Downtrend )

PsychedPerspective: https://www.youtube.com/channel/UCFpRmigJCJ40uKboWIu5G2g In this video I discuss why I vote

This week, we are reminded that the same grace that we would want to be extended to us, we must remember to extend it to others. #lovingmyneighbour #asmyself Credits: You Don't Love God (If You Don't Love Your Neighbor) Artist: Rhonda Vincent Album: All the Rage, Vol. One Licensed to YouTube by INgrooves (on behalf of Upper Management Music); UNIAO BRASILEIRA DE EDITORAS DE MUSICA - UBEM, LatinAutor - SonyATV, PEDL, Sony ATV Publishing, LatinAutor, and 8 Music Rights Societies https://www.youtube.com/watch?v=IR2rpVd5Lwo Listen also on: Anchor - https://anchor.fm/staceynem-wilson Breaker - https://www.breaker.audio/broken-for-gods-glory-ministries Google podcast- https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy8xOTI1ZDc4MC9wb2RjYXN0L3Jzcw== Overcast - https://overcast.fm/itunes1518474974/broken-for-gods-glory-ministries Pocket Casts - https://pca.st/lgyj2654 Radio Republic - https://radiopublic.com/broken-for-gods-glory-ministry-WDaD5v/episodes Spotify - https://open.spotify.com/show/5Z4f5slFFyJl66x3ZhNrif Online-store: https://teespring.com/stores/by-staceynem-2 Email: staceynemwilson@gmail.com --- Send in a voice message: https://anchor.fm/bggm/message

Baltimore-based rapper, musician and entrepreneur Wordsmith makes hip-hop with a strong motivational message. His mission is to entertain and educate through a message of purpose while providing clean, quality, marketable Music for the Masses.  In 2009 Wordsmith opened his independent label NU Revolution Entertainment and since its inception distribution and licensing deals with INgrooves, AWAL, United Masters, Redeye and APM Music have helped the company flourish. Releasing 5 albums and a host of singles over the years Wordsmith became a Grammy Voting Member for his numerous songwriting credits and earned winner of Best Rap/Hip Album for Perspective Jukebox at the 16th Independent Music Awards.  Wordsmith continues to use this platform to strengthen partnerships with major brands like Netflix, ESPN, NFL Network and WWE to name a few. 2019 brought prominent features in the hit shows Russian Doll (Netflix), Unbreakable Kimmy Schmidt (Netflix), Preacher (AMC) and Skam France (UK TV), while several of Wordsmith’s songs have shown up in movies, video games and online videos throughout his career. Recently, Wordsmith’s music was featured on the hit TV Show ESPN First Take!  Continuing to expand his company Wordsmith partnered with the US Department of State to fund performances and workshops in countries around the world to strengthen cultural ties. To date Wordsmith has brought his influential music to Azerbaijan, Haiti, Belarus, Lithuania, Latvia, Estonia, Angola and Ukraine.  Always looking for a new challenge a chance meeting with Tonya Robles, VP of BSO, brought an opportunity to write new narration for Carnival of the Animals with the Baltimore Symphony Orchestra. A second opportunity came when Wordsmith was asked to host the 2018 BSO Gala with special guest Cynthia Erivo and in June 2021 he will join the 250 year anniversary of Beethoven’s birth with a new interpretation of “Ode to Joy” and new original text for Beethoven Ninth.  Still, with Hip Hop being Wordsmith’s first love he has collaborated with notable acts Chubb Rock, Skyzoo, Camp Lo, Sadat X, Jaz-O, Ruste Juxx, Grand Daddy I.U. & his cousin Roc Marciano over the years. https://wordsmithmusic.com/ https://www.instagram.com/wordsmithmusic/ https://www.facebook.com/Wordsmithmusic https://twitter.com/wordsmith https://www.youtube.com/Wordsmith

In The Music Real Episode 13, The Pushworth Group team catch up with Australasian Operations and Project Management at Ingrooves Music Group (Universal Music Group), Rick Butterworth, to see how he has been faring in lockdown. Ingrooves was founded in 2002 with a mission to create the “digital record label of the future”. And with the Music Business landscape, changing thanks to lockdown, this is an important interview to tune into. And – of course – once again – your success as a Music Artist is all about your brand story. Its not often that Artists get such frank and realistic advice. Tune in to help build your Music Business. https://themusicreal.com.au/2020/06/03/its-all-about-the-brand-with-rick-butterworth-in-grooves-music/

Robb McDaniels is a media and technology entrepreneur ( https://en.wikipedia.org/wiki/Entrepreneur ) , investor ( https://en.wikipedia.org/wiki/Investor ) and current CEO of Beatport ( https://en.wikipedia.org/wiki/Beatport ). Beatport is an online record store, founded in 2004 as the principal source of music for DJs. In an era dominated by streaming, Beatport has grown its download sales over the last few years. Robb began his career in finance after graduating from Trinity College in Hartford, CT. He then spent four years at Marsh and MacLennan in their investment banking and structured finance unit. During his tenure at Marsh, he moved to San Francisco where he founded INgrooves ( https://en.wikipedia.org/wiki/INgrooves ) in 2002. He built the company into a full-service distribution and artist services operation. Under his leadership, INgrooves managed North American digital distribution for Universal Music Group ( https://en.wikipedia.org/wiki/Universal_Music_Group ) , as well as more than 4 million songs for thousands of artists and labels. As CEO, he grew the company from nothing $130m revenue and nearly 200 employees. Just before becoming Beatport’s CEO, 2016, McDaniels launched Faction Entertainment; technology enabled artist management platform, which he wound down in 2018. Through discussing his past ventures, Robb provided unique perspectives from across tech, finance and media. His past wins and challenges shed light what it takes to execute an idea from conception to operating at a global scale. Email me at justin@toolkit.fm with any suggestions, comments or questions - I appreciate you listening!

People who follow me know that I started my career in the music business and I am still very much connected with it. It was a fascinating business when I started in the 90s and I think it is today again a very fascinating business as technology has changed the industry so much that I would call it today the music tech industry. Distribution channels, income streams and marketing strategies have changed and evolved dramatically in this century and of course the music and the artists, too. In this episode, I talk to Alex Branson, a music business expert, who has been on the forefront of the digital transformation of the music business. After many executive roles, VP International at Ingrooves being the most prominent one, Alex is today an independent consultant, working on fascinating projects with Empire, Facebook, Beatport, Rotor Video and other companies. He has also launched his own music industry podcast ABC Music Talk. I gave Alex a hard time, going through his whole CV, as his career really leads us through all the big music biz changes of the century. Some of the questions I ask Alex: - Why did you leave Ingrooves? (31:57) - Why did you decide to start your own business? (37:15) - What is the difference in the life of an executive in the music business to the life of an entrepreneur? (42:07) - How do you see the future of major labels? (46:17) - After streaming, could you imagine what the next level of distribution could be? (55:55) - What is your advice for someone who wants to start his career in the music business today? (1:11:28) This talk with Alex was a great deep dive into the music industry and led us from the golden age in the 90s through the digital evolution into the new golden age, the music tech reality of today. Pull the trigger and become a Business Artist! Find your purpose and make money living it. Join The Business Artist Club here: https://www.businessartist.club More info about Alex Branson: https://www.abcmusic.co https://www.instagram.com/alexbranson/Fb https://uk.linkedin.com/in/alexbranson

This interview we have special guest Dovley.About Dovely:Creating her own path as a recording artist, musician, music producer, DJ, actress, director, writer and otherwise entertainment powerhouse, Destenee “Dovley” Mckenzie isn’t afraid of pushing the expectations of what an artist is capable of. A native of Boston Massachusetts, Dovley began dabbling with the piano at the tender age of 4. At 13 she asked her mother for Fruity Loops as a Christmas gift. She began recording vocals with Margo Thunder and taught herself Cubase, Reason and Pro-Tools. Her mother moved to Los Angeles to help her pursue a career in the entertainment industry. In Los Angeles she has met and worked with George “Funky” Brown from Kool and The Gang, Ted Greenberg, Ceelo Green, Morris Hayes, and Prince. Dovley has performed at some of the biggest venues in Los Angeles including including the Staples Center, House of Blues and The Tonight Show with Jay Leno where she performed with Ceelo Green. Dovley hosted her own nationally syndicated radio show, “Destenee’s EDM Power Hour”. She also expanded her resume as a Television screenwriter, director and producer of her own TV series, “Fashion Dolls” on the Fashion One Network garnering over 400 million viewers in 170 countries worldwide. Following her TV Debut, Dovley began writing and developing various television projects including “Festival Season”, a comedy pilot she wrote, starred in, and directed, inspired by her experiences in the music festival industry. Dovley’s relentless and entrepreneurial nature shows yet another card in play scoring distribution with Universal Music Group’s Ingrooves for her Cromadiscope Music Consortium and Cromadiscope Records imprints, as she is preparing the release of her newly completed album, “Beautiful Chaos” in early 2020. Most recently, Dovley opened Chroma Studios located DTLA, a creative space where she plans to develop TV Shows, Music, and Film.“I was brought up believing in unlimited potential. I’ve always felt that if you try hard enough you can truly do anything and because of this, I never shy away from a challenge.” - Dovley

Robb McDaniels is the CEO of Beatport and venture advisor at Dubai-based investment company TechInvest. Originally a DJ, McDaniels founded INgrooves in 2002, where he served as CEO until 2014. (INgrooves manages North American digital distribution for Universal Music Group, as well as thousands of indie artists and labels.) In 2017, McDaniels joined Beatport. He has led the company during a period of growth, which includes the launch of Beatsource (Beatport and DJcity‘s digital music service for open-format DJs). See acast.com/privacy for privacy and opt-out information.

Robb McDaniels always knew he wasn't going to spend the rest of his life working in merchant banking, where he started his career. He knew the pull of the dance music scene that he loved so much was going to get him in the end. Yet when he started his first company, to bring the UK dance music he loved to the USA digitally (this was pre iTunes...), he couldn't even name all the major record labels... Roll forward a few years, and that company - INgrooves - was handling digital distribution for over four million tracks in the States, and counted one of those labels, the Universal Music Group, as a client. Robb was in demand as a music industry investor, while his entrepreneurial streak led him to start a management services company, which ended up working with names like Thievery Corporation and Paul Oakenfold. Nowadays he heads up electronic download store Beatport, and is spearheading that company's drive into streaming with Beatport LINK, as well as expanding its reach to the more mainstream pop, Latin and hip-hop music scenes via its collaboration with DJCity: Beatsource. In this episode of Tales From The Dancefloor, Robb looks back over his rise, shares some great stories from the music industry, and gives his thoughts on what comes next in dance culture.

   Episode V -- Slavery is Bad. Writing Assistance – Jason Mangelson, Joel Gyebi-Quarcoo, Lily Forceskie Music:  Ain’t Misbehavin’ – Fats Waller : SME (on behalf of Seniors); BMG Rights Management, LatinAutor, UBEM, LatinAutor - SonyATV, SOLAR Music Rights Management, EMI Music Publishing, Warner Chappell, CMRRA, ARESA, ASCAP, and 9 Music Rights Societies Pineapple Rag – Scott Joplin : AdRev for Rights Holder (on behalf of Valuable Records); Warner Chappell, UMPG Publishing, and 8 Music Rights Societies Spring (pt. 1) – Vivaldi Hot Boyz – Missy Elliot: WMG (on behalf of Atlantic Records); União Brasileira de Compositores, Wixen Music Publishing, LatinAutor, CMRRA, UBEM, Warner Chappell, PEDL, SOLAR Music Rights Management, ASCAP, LatinAutor - Warner Chappell, and 17 Music Rights Societies Superstar – Carpenters : UMG (on behalf of A&M); UMPI, BMI - Broadcast Music Inc., SOLAR Music Rights Management, LatinAutor, Sony ATV Publishing, LatinAutor - SonyATV, Abramus Digital, SODRAC, CMRRA, Music Sales (Publishing), Reservoir Media (Publishing), and 14 Music Rights Societies Suspicion Main Theme – Alfred Hitchcock Mr. Rogers Theme : The Fred Rogers Company (formerly known as Family Communications Inc.)  Premier Bal – Sidney Bechet : SME, INgrooves (on behalf of nagel heyer records); SODRAC, and 4 Music Rights Societies La Grange (Remix)  – ZZ Top Morning (Peer Gynt) – Grieg 

In this episode of Gospel #ForTheCulture, Danyelle (@UnfitChristian) discusses the Federal Government Shutdown of 2019, the presidency of Donald Trump, and the religious culture that got us in this mess in the first place! Get Tickets to “gOD-Talk: A Black Millennials and Faith Conversation Series”: Tickets Get the Gospel #ForTheCulture Devotional from Our Bible app! iOS | Android Become a Patreon today! For as little as $2 a month, you'll get exclusive bonus content and early access to all new Gospel #ForTheCulture podcast episodes. To subscribe, click here: https://www.patreon.com/UnfitChristian // Official Merchandise is available on ShotOfHenny.com Credits: “I dunno” by grapes is licensed under Creative Commons BY 3.0 "stereofield - Nocturne.", "wylse & N E T W O R K - Universe", and "Afrosamuraiist - Jump Start" by Ridgeline is licensed under Creative Commons BY 3.0 "Satan, We're Gonna Tear Your Kingdom Down" by Shirley Caesar from the album Great Gospel Classics: Songs of Praise & Worship, Vol. 3. Licensed to YouTube by INgrooves (on behalf of Sonorous Entertainment); Audiam (Publishing), and 3 Music Rights Societies.

In the latest One And Done, we welcome to the show comedian and podcaster Adam Avitable to talk about one of his favorite stand-alone stories, The Flash #163, "Heartbeat"! Join us as we cover how this issue dangles perilously between the two most ground-breaking runs on the character, how it embodied the end of an era for comics storytelling as we knew it, how it might just be the best introduction to The Flash you could ever offer a new reader, and how to defeat Batman using only a fire escape, an alarm clock, and some dirty rags. Get back home to Linda in time for snuggles by downloading here! Find us on Facebook: https://www.facebook.com/GraphicNovelism Itunes: https://itunes.apple.com/us/podcast/graphic-novelism/id1005133566 Stitcher: http://www.stitcher.com/s?fid=68076&refid=stpr  Twitter: https://twitter.com/GraphicNovelism Tumblr: http://graphicnovelismpodcast.tumblr.com/ Music used: Neuro Rhythm by Jens Kiilstofte https://machinimasound.com/music/neurorhythm/ The Flash Theme by Blake Neely ℗ 2015 INgrooves (on behalf of WaterTower Music); ole (Publishing), Kobalt Music Publishing, and 7 Music Rights Societies Jurrasic Park Style by MasterTracks  Licensed under Attribution-NonCommercial-NoDerivatives 4.0 International (https://creativecommons.org/licenses/by-nc-nd/4.0/) FURTHER READING Read "Heartbeat" on Comixology here! Follow Adam on twitter! And check out his podcast, "Dating Kinda Sucks"!

„Es ist ganz wichtig, dass man immer versucht, flexibel zu bleiben.“ Ich habe Désirée Vach von Snowhite Records getroffen. Sie ist aber nicht nur Musiklabelgründerin und -inhaberin, sie ist ebenfalls Vorstandsvorsitzende des Verbands unabhängiger Musikunternehmen e.V. (kurz VUT) und sie arbeitet für INgrooves. Ich möchte herausfinden, wie man ein Musiklabel gründet und führt. Auch sieht sie Gutes im Streaming.

"The Sade Champagne Show" (Season 3 EP53) Each episode is full of Inspiration, Encouragement, Entertainment, and Empowerment. Join us with Celebrity Guest Billboard Charting gold selling artist BLAKE LEWIS!! Blake Lewis first came to national attention as one of the most unique contestants ever to compete on American Idol, and long before that, as a teenager, he was well-known as "Bshorty" in Seattle's a cappella, hip-hop, and rave scenes. But with the release of his ambitious and completely independent third album, Portrait of a Chameleon, Blake is taking things to a whole new level. The follow-up to the critically acclaimed Audio Day Dream (which sold 350,000 copies and spawned the top 40 single "Break Anotha") and Heartbreak on Vinyl (the title track of which went to #1 twice on Billboard's dance charts), Portrait of a Chameleon is "fun, sexy, and positive. I'd call it 'future pop,'" says Blake. His new album is on Audio Day Dream Records and distributed through InGrooves. The album also features the hard-hitting, bass-in-your-face "Your Touch," the soundtrack to 2013's Microsoft Internet Explorer 10 campaign — which starred Blake, played on more than 19,000 theater screens across the U.S., received more than 1.2 billion impressions, and has already sold 130,000 copies worldwide.ords and will be releasing their newest studio album this summer.  Also featuring a brand new Mind Right, Game Tight segment with castmate MICHELLE MORGAN and Entrepreneurs on the Move segment where Sade will be sharing how she became an entrepreneur as a child and some of her favorite tips. Call-in @ 323-693-3043 and press "1" to stream LIVE and CHAT with Sade, the cast and her guests. Presented by: GrindHard Radio. #SadeChampagneShow

On this episode WLPWR and Brian Onrea talk to BeatStars CEO Abe Batshon and they discuss.Him growing up in the Bay Area of California and being neighbors with the legendary Spice-1His initial job working for music distributor Ingrooves as an intern turned executiveWhy he felt the need to form BeatstarsWhy a producer or artist should use the site versus traditional methods of shopping beatsWhere Record label placements fit into the equationWho are some of Beatstars success storiesFollow Abe Batshon:@AbeBatshonAlso discussed:Should artists and producers use their platform promote their social/political beliefs outside of their music.Music Industry and Business etiquette/best practices Please rate, comment, and share!@WLPWR@BrianOnrea

Episode 26 of the JanuaryOne Music Podcast features a selection of old and new tracks which JanuaryOne enjoyed playing out most in June and July 2015. Including Stephan Bodzin, Loco Dice & Kölsch!1. Singularity (Original Mix)Stephan BodzinHERZBLUT2. El Gallo Negro (Original Mix)Loco DiceINGROOVES3. Rollercoaster (Original Mix)AndhimMONABERRY4. The bumps (Original Mix feat. Pete Tong)John MonkmanSUARA5. Leave me (Original Mix feat. Habischman)Hot Since 82CLUBSTAR6. Need you now (Dennis Ferrer Remix)Hot ChipDOMINO RECORDS7. Others (Wild Beasts Remix)NimmoKITSUNE8. Firefly (Original Mix)BontanTOOLROOM RECORDS9. Bloodline (Original Mix feat. Tomas Hafffding)KölschKOMPAKT

Music Biz 101 & More is the only radio show in America that focuses on the business side of the music & entertainment worlds. Hosted by William Paterson University's Dr. Stephen Marcone & Professor David Philp, the show airs live each Wednesday at 8pm on WPSC-FM, Brave New Radio. In this episode, Donna Ross, sales & marketing strategist at INgrooves, explains what INgrooves is and does, how independent distribution works, what's going on in music retail today, and much more. Enjoy the talk, listener tweets, and see what you can get out of this. Like what you hear? Tweet us anytime: @MusicBiz101wp Engage and Adore us on The Facebook, The Twitter & Instagram: www.facebook.com/MusicBiz101wp twitter.com/MusicBiz101WP instagram.com/musicbiz101wp/

Fredag morgen på Trondheim Calling fikk vi besøk av Toby Peacock fra Ingrooves og Juan Vandervoort fra Pias. Etter å ha diskutert hvilke band de vil ha med seg på dagens festival fikk de låne tidsmaskinen vår for å se en konsert og for å sette sammen et band. Det ble en tur til Manchester 1977 og en til Belgia i 1979, og et band som - ja - du må nesten høre selv. Så hanket vi også inn Per Tronsaunet som entusiastisk kunne fortelle om gårdagens konsert med Moviestar.

Intelligent Storage: Digital music distribution and technology company INgrooves is growing rapidly, signing contract after contract to distribute music for independent labels and artists. The company had originally deployed a traditional storage platform from a large manufacturer, but as their business expanded, they found that the storage expansion they needed was too costly and began […]

Andrea Leonelli from Digital Music Trends interviews Dave Zierler from INgrooves. The post SXSW 2014: Dave Zierler, President at INgrooves. appeared first on Digital Music Trends.

Lexzona Muzyk presents "KOCO RIDDIM" which is featuring some of the icons Artists in Reggae Music. Capleton, Teflon, Beenie Man, Delly Ranx and Sizzla. Plus up coming Artists like Smokiz, Glama and Furious. Artwork done by Reinardo Chung from the famous Mental Chung Creative Lab. Available on May 7, 2013 World Wide to all Top Digital Music Stores Executive Producer: Alanzo [Anisworth] Dixon for Lexzona Muzyk Marketed & Distributed by Mark [BUG] Wilkins for http://www.LocksmithRecords.com KOCO RIDDIM TrackLists: 1. Capleton - Dem A Bass 2. Sizzla - Badmind Set Dem 3. Teflon - Bun Style 4. Beenie Man - Me Neva 5. Glama - Gi Me Weh You Got 6. Delly Ranx - Like & Dislike 7. Smokiz - The Way You Hot 8. Furious - Me Nuh See Dem 9. Koco Riddim (Instrumental) 10. Digital Booklet - Koco Riddim Credits Credits: Artwork by Reinardo Chung @ www.MentalChung.com All songs Recorded and Mixed by Anisworth for Lexzona Muzyk Marketed & Distributed by BUG for Locksmith Records

Kimberley Locke gained fame with her participation in the 2003 American Idol® television series where she was second runner up to Ruben Studdard, and in 2007 she garnered media attention for her participation in VH1’s “Celebrity Fit Club.” Locke is excited to release her new dance single, “Strobe Light,” a collaboration with “Idol” judge and producer Randy Jackson’s Dream Merchant 21 label and Ingrooves with Cutfather (Christina Aguilera, Santana, cat Dolls) producing the track. “Strobe Light” is slated for release April 6, 2010. For the past six years, Locke has been actively involved with Camp Heartland, a national non-profit organization committed to improving the lives of children and their families impacted by HIV/AIDS. She has also worked with several HIV/AIDS related charities, including the Elizabeth Glaser Pediatric Aids Foundation, YouthAIDS, and the Davy Foundation. In November 2007, Locke was presented with the Red Ribbon Award in recognition for her extensive charitable efforts as an HIV/AIDS activist. In addition to various tour dates and performances, Locke has branched out as a television personality and host, and oftentimes provides hosting duties at red carpet events for “E!,” “Extra,” and “The Insider.” She has hosted GSN’s “World Slam,” MTV’s “Little Talent Show” and co-hosted several episodes of ABC’s “The View.” Locke is currently attached to host and executive produce “Making the Curve,” a developmental reality show competition that will put together a supergroup of plus-sized women, which has garnered major interest from several networks. get Kimberly's music and new single at www.kimberleylockeofficial.com

WE HAD to RESCHEDULE KIMBERLEY LOCKE FOR A FUTURE SHOW.. STAY TUNED Kimberley Locke gained fame with her participation in the 2003 American Idol® television series where she was second runner up to Ruben Studdard, and in 2007 she garnered media attention for her participation in VH1’s “Celebrity Fit Club.” Locke is excited to release her new dance single, “Strobe Light,” a collaboration with “Idol” judge and producer Randy Jackson’s Dream Merchant 21 label and Ingrooves with Cutfather (Christina Aguilera, Santana, cat Dolls) producing the track. “Strobe Light” is slated for release April 6, 2010. For the past six years, Locke has been actively involved with Camp Heartland, a national non-profit organization committed to improving the lives of children and their families impacted by HIV/AIDS. She has also worked with several HIV/AIDS related charities, including the Elizabeth Glaser Pediatric Aids Foundation, YouthAIDS, and the Davy Foundation. In November 2007, Locke was presented with the Red Ribbon Award in recognition for her extensive charitable efforts as an HIV/AIDS activist. In addition to various tour dates and performances, Locke has branched out as a television personality and host, and oftentimes provides hosting duties at red carpet events for “E!,” “Extra,” and “The Insider.” She has hosted GSN’s “World Slam,” MTV’s “Little Talent Show” and co-hosted several episodes of ABC’s “The View.” Locke is currently attached to host and executive produce “Making the Curve,” a developmental reality show competition that will put together a supergroup of plus-sized women, which has garnered major interest from several networks. get Kimberly's music and new single at www.kimberleylockeofficial.com

Kimberley Locke, a pop/R&B singer, is excited to release her new dance single, “Strobe Light,” a collaboration with “Idol” judge and producer Randy Jackson’s Dream Merchant 21 label and Ingrooves with Cutfather (Christina Aguilera, Santana, Pussycat Dolls) producing the track. “Strobe Light” is slated for release April 6, 2010. In the past few years Nashville native Kimberley Locke, a pop/R&B singer, has had eight Top 20 Adult Contemporary hits, three #1 Dance hits, and eight #1’s across various Billboard charts. She also had three #1 Christmas singles which led to a holiday tour with Dave Koz, whom she dueted with on the classic, “Please Come Home for Christmas.” She gained fame with her participation in the 2003 American Idol® television series where she was second runner up to Ruben Studdard, and in 2007 she garnered media attention for her participation in VH1’s “Celebrity Fit Club.” Kimberley will be on the show this week as her new single drops April 6th, and I am so honored to be able to bring her to you. If you have any questions for Kimberley, please submit them now to djjoshk@hitzradio.com , so I can ask her, and she will read your emails and answer your questions personally. Interview Scheduled for Thursday @ 4:20 Right after the 4Play @ 4. This is the interview as it ran on HitzRadio.com with me on Thursday, April,8th @ 4:20PM ET. a Full 20 Minutes with her. Thanks to all who tuned In. Make sure you Listen Weekdays 12-5PM, However Every day most of my interviews are @ 4:20PM. I go in-depth with them.

Minimal meets Beats meets Melody. Change comes with perspective. 1, Efdemin "Stately Yes" (Dial) 2, Pigon "Beau Monde" (Dial) 3, Reboot "Three Rows" (Raum) 4, Daniel Steinberg "Uptown" (Front room) 5, GummiHz "Robo" (Mobilee) 6, Ben Klock "October" (B pitch control) 7, Sebo K & Metro "Transit2 Scuba remix (Get physical) 8, John Tejada "Artificial Body" (Palette) 9, Bogdan Rhadoo "Platonic" (INgrooves workout) 10, Gaiser "Withdrawal" (M_Nus) 11, Loco Dice "How do I know" Cassy remix (Desolat) 12, Minilogue "Inca" (Wir) 13, Tolgan Fidan "All pressure is relief" (Vakant) 14, kiki & oliver koletzki "Dont forget to go home" (B pitch control) 15, Monika Cruse "Changes of perception" (Term)

[Warning] This episode contains explicit language and explicit themes. Listener discretion is advised. The young grasshoppers takes a leap and reviews non-fiction material. Tom Stanton's book harbors tremendous scenes of jubilation and celebration, as well as illustrates the depth of darkness that sometimes distorts humanity. Horrible acts of racial terrorism are performed by a Michigan organization calling themselves the "Black Legion" in the very town where three different professional sports team reach the peak of their sport. There is a lot of history, a lot of facts, a lot of somber reflection, and as usual some laughs. Enjoy! Tune in every Tuesday for a new episode of The Broken Shelf. Follow all the Legionaries on twitter: Danny: twitter.com/legionsarchive The Tsar: twitter.com/TsarAlexander6 Allen: twitter.com/blkydpease Spangar: twitter.com/LSFspangar ~Credits~ Original Sound Cloud image provided by Kobo.com at www.kobo.com/us/en/audiobook/te…ity-of-champions-1 Original cover art owned by Tom Stanton, and Lyons Press. The Broken Shelf icon created and published by "The Broken Shelf" and Danny Archive. Podcast Opening recorded by Delayne Archive and edited by Danny Archive. Accompanying Opening music: Title - "Dreams Electric" Artist - Geographer Provided free from YouTube Audio Library Intro Song - "I'd Love It" Original Artist - William McKinney Performed by - Benny Carter & His Orchestra Album - The Classic Years Licensed by INgrooves (on behalf of P.E.R Records); Peermusic Sound used under public domain Podcast edited by Danny Archive using Audacity. Download Audacity here: https://www.audacityteam.org/ This podcast is fair use under U.S. copyright law because it is (1) transformative in nature, the audio is a journalistic commentary on popular media (2) uses no more of the original work than necessary for the podcast's purpose, the claimed duration is an edited clip for rhetoric, and (3) does not compete with the original work and could have no negative affect on its market. DISCLAIMER: I do not own any of the materials (music/artworks). All rights belong to the original artists. If you are the content owner and want to remove it, please contact me at legionssoulfood@gmail.com. Thank you! ~Follow Tom~ Facebook: https://www.facebook.com/tomstanton Website: https://www.tomstanton.com/ ~Do Us A Favor~ If you downloaded the podcast via anything else other than Sound Cloud, maybe check out our Sound Cloud, give us a follow, and listen to a few more of our other tracks. Sound Cloud was there from the beginning for us and no matter what the others provide it was and is our host. Thanks! Sound Cloud: https://soundcloud.com/user-377177156