Podcasts about isrc

Send me a messageEver released a song only to watch it vanish into the streaming void after a brief moment in the spotlight? In this episode of Inside The Mix, Marc Matthews delves into the waterfall release strategy, a strategic approach to music distribution that aims to revolutionise how artists share their work and maximise their reach.The core concept of the waterfall release strategy is explained: instead of releasing singles in isolation or dropping an entire album at once, artists gradually build momentum by rereleasing previous tracks alongside each new single. The episode outlines how an artist might start with one song, then release it with the second single, followed by packaging all three tracks together for the third release, continuing this pattern until the complete EP or album is unveiled.Marc provides a practical walkthrough of how to implement this strategy using DistroKid, although he notes that the underlying principles are applicable across various distribution platforms. He emphasises the critical importance of maintaining identical metadata and audio files for re-released tracks on DistroKid, the correct and consistent use of ISRC codes, and offers practical tips to help artists avoid common pitfalls when using DistroKid for a waterfall release.Sharing his own experiences, Marc discusses testing this approach with his recent releases, "Waves," "Separation," and "Four Minute Warning." He highlights the noticeable increase in streams for his earlier tracks, demonstrating a tangible benefit of the strategy.The episode explores the potential advantages of the waterfall strategy for artists looking to maximise their music's reach and lifespan, particularly on Spotify. Marc discusses how this method can keep an artist's catalog fresh in listeners' minds, potentially trigger algorithmic favour through consistent releases, and create multiple opportunities for music discovery on platforms like Spotify. He poses the question of how a waterfall release can help boost Spotify streams and keep back catalogs relevant.While acknowledging it's not a guaranteed solution, Marc positions the waterfall strategy as a compelling option for producers and artists aiming for sustained traction rather than a fleeting moment in the spotlight. He encourages listeners to consider if this approach, particularly when implemented through DistroKid, could transform their next music release and help them effectively utilise the waterfall release strategy on Spotify.Links mentioned in this episode:Listen to 4 Minute WarningDistroKidMy Journey to 10,000 Monthly Listeners - What Actually Works?How to Release Music and Artist Strategies for Engagement and Success in 2024 with Jay GilbertDon't Release Another Song Without Reading this First: A Guide Support the showBook your FREE 20 Minute Discovery Call Follow Marc Matthews' Socials:Instagram | YouTube | Synth Music Mastering Thanks for listening!!

Today on the best synth wave chat show there is Sunglasses Kid returns to the show after almost 4 years! Edward talks about going viral on social media and pioneering the 80s POV cinematic music videos, and writing the perfect caption. They also chat Call of Duty, ISRC codes, and the problems and potential of using AI in their workflows. Edward tells the story about how he met Hollywood film composer Lorne Balfe which led to working on Beverly Hills Cop 4 and how Edward got Tim Capello involved. You can support Beyond Synth on Patreon: www.patreon.com/beyondsynth or PayPal: www.paypal.com/paypalme/beyondsynth You can check out SUNGLASSES KID here: https://soundcloud.com/sunglasseskid http://sunglasseskid.bandcamp.com/ https://open.spotify.com/artist/0jn6ofLtVkXpuH2mmV8J82 https://www.instagram.com/sunglasseskidmusic https://www.facebook.com/SunglassesKid https://twitter.com/sunglasseskid Today's Tracklist: Sunglasses Kid - “Warehouse Shootout” Sunglasses Kid - “Badge and Gun” Sunglasses Kid - “Major Heist (Album Version)” Sunglasses Kid - “Last Sunset” Sunglasses Kid - “On Hold” Sunglasses Kid - “Revenge” Sunglasses Kid - “Dangerous Romance”

Finding a surfboard in the ceiling, working as a gallery administrator, and a mission of discovery. Scott Montoya (Soft Palms, Happy Sundays, Studios For Studios) "Soft Palms, the brainchild of wife-and-husband duo Julia Kugel (The Coathangers, White Woods) and Scott Montoya (formerly of The Growlers), have announced the impending release of their self-titled debut album on July 31st via Everloving Records. The album is a feast of rich sounds and simple, comforting melodies threading together sock hop rock n' roll, scrappy dream pop, and ethereal torch songs into a sultry, spacey, and sublime journey towards brighter horizons. The entire album gives off an aura of intimacy while also creating a broader, pastel colored world—a duality achieved through Montoya's unique and meticulous recording process at the couple's home studio the Centre Of Mental Arts (COMA), and the magisterial mastering job by longtime friend and collaborator Mick Boggis (Pogues, Mötorhead, 12 Monkeys, Joe Strummer, etc.) who has served as a mentor throughout Montoya's recording career.” Excerpt from https://www.softpalmsmusic.com/about/ Scott's Metadata Links: Music streaming services don't pay much, which is a problem, but there's a good chance you're not collecting the (insulting amount of) money that they ARE paying you. Majority of the music that I've released has been released in the US, and I've signed up for the following PRO's (Performing Rights Organization) and CMO's (Collective Management Organization). Each collect different types of royalties and are not in conflict with each other. If you live outside the US, check out this list of CISAC Members and ASCAP's list of Affiliated Foreign Societies. If you live in the US, register for these accounts: Ascap or BMI (Not both) as a songwriter AND a publisher, two separate accounts. These are PRO's SoundExchange - CMO that collects performance royalties TheMLC.com - CMO that collects publishing royalties from DSP's or Digital Service Provider. Spotify, YouTube, etc There's a chance this list is incomplete so if you have any more info on types of royalties that are still out there let me know please. CODES TO KNOW: ISRC (International Standard Recording Code) every track should have an ISRC ISWC (International Standard Music Work Code) every track should have an ISWC BOWI (Musical Works Code) every track should have a BOWI ISNI (International Standard Name Identifier) - Each band member AND band/artist should have an ISNI (International Standard Name Identifier) - ISNI's are available for 10 euros at Quansic.com. Quansic also has a Data Explorer where you can see if you already have an ISNI, and search for your music to get your ISRC's, ISWC's, and BOWI numbers. IPI (Interested Party Information) IPI's are given when you sign up for ASCAP or BMI. You should have a songwriter IPI and a publisher IPI. METADATA: When an album gets mastered, the mastering engineer should embed the metadata. Metadata consists of attributes that describe the audio contents. Title, artist name, date of recording, ISRC, website, album art are all examples of metadata. This is where things get a bit hazy for me. I've been doing research on the xml file that accompanies an album and found Apple's Basic Album Metadata Example, which has the ISNI of each performer and their role in creating the album (credits). I don't know how Apple generates this xml sheet. Please help if you have any info. I made a spreadsheet that contains the metadata that would go on this Apple XML file. It has the current (as of 8/8/2024) roles and genre codes. Here's a link to the template, feel free to copy it. Soft Palms: Bandcamp: https://softpalms.bandcamp.com/album/... Instagram: @softpalmsmusic Website: https://www.softpalmsmusic.com Records: https://everloving.com/products/soft-... Merch: https://softpalms.bandcamp.com/merch Twitch: / softpalmsmusic Happy Sundays: Instagram: @happysundaysfest Website: https://happysundaysfest.com Studios For Schools: Instagram: @studiosforschools Website: https://studiosforschools.org The Mouth TV: Instagram: @themouth.tv Website: https://themouth.tv Coma Studio: Instagram: @coma_studio The Vineyard: Instagram: @thevineyardpodcast Website: https://www.thevineyardpodcast.com Youtube: https://www.youtube.com/channel/UCSn17dSz8kST_j_EH00O4MQ/videos

In this episode of, we delve into the often-overlooked world of metadata and its crucial role in the music industry. Whether you're a seasoned record label owner, a budding DIY artist, or a music industry professional, understanding metadata is essential for navigating the complexities of releasing music in today's digital landscape. Grab my FREE Metadata Checklist! http://otherrecordlabels.com/metadata Presented by Groover Use the code OTHERRECORDLABELSVIP for 10% off your first campaign with Groover -- Go to http://groover.co   --- Join us as we break down the fundamentals of metadata and explore the key information every music creator needs to know when preparing a new release. From the basics like song title and artist name to more intricate details like ISRC codes and copyright information, we cover it all in this comprehensive guide. Discover why accurate metadata is vital for music discovery, royalty collection, and legal protection. Learn practical tips for adding metadata to your tracks using audio editing software, dedicated tagging tools, and digital distribution services. Plus, gain insights into how metadata is stored and managed across various platforms and databases in the music industry. Whether you're uploading your latest single to streaming platforms or distributing a full album to retailers, knowing your metadata is the first step towards success in the modern music business. Unlock the power of metadata for your music releases.  

In this episode of JM International's ‘The Power of Music', we speak with Alex Brannson (Beatport) about how to make it in the music industry, by carrying equipment for other people, saying yes to something without knowing what it means, and by just taking a chance. Alex has a career spanning 20+ years in the music industry, and is now Senior Vice President of Music Services at Beatport and also has his own podcast ABC Music. We discuss the importance of a curious mind and a healthy dose of excitement. We cover the beginning of the digitalization of the music industry and the meaning of an ISRC, licensing and sync deals, and the difference of working for major and independent labels, and – of course – the power of music.JMI is a global network of NGOs that empowers young people through music across all boundaries. For more info go to https://jmi.net/ or check out all the amazing opportunities for musicians at https://mubazar.com/en. X: https://twitter.com/alexbransonLinkedIn: https://www.linkedin.com/in/alexbranson/?originalSubdomain=ukABC Music: https://www.abcmusic.co/projects

In this week's Parliament session, Minister for Sustainability and the Environment Grace Fu announced new measures that the National Environment Agency has put in place to strengthen its workplace safety practices and culture following an explosion at Tuas Incineration Plant in 2021, which killed two of its officers and injured one.  On this episode of Morning Shot, Edmund Ng, Director, ISRC explains the challenges behind managing workplace risk and safety issues. Presented by: Ryan Huang & Emaad Akhtar Produced and edited by: Yeo Kai Ting (ykaiting@sph.com.sg)See omnystudio.com/listener for privacy information.

Pujya Sir K.C.Narayana ( KCN ) Messages  (Meditation, Raja Yoga, Training, Spirituality, PAM - Pranahuti Aided Meditation, Divinity, Divine Service & Research, Babuji Disciple) Pujya Sri Ramchandraji's Disciple & Founder of  “Institute of Sri RamChandra Consciousness”  *Messages delivered by Pujya Sir K.C.Narayana ( KCN ), Hyderabad, India.  Dedicated his life for the Spiritual service of Pujya Sri Ramchandraji's Pranahuti Aided Meditation, Research, Meditation Trainings, Audio Messages, Books & SatSangh   For Meditation Info Contact: www.sriramchandra.in  Biography: kcnarayana.org Episode Notes: MOULDING IS THE PRECEPTORS BUSINESS 1.1. The theme of this seminar as we all know is taken from the article Methods of Training of our Great Master Sri Ramchandraji Maharaj of Shahjahanpur. This article was addressed to Preceptors/ prefects of Sri Ramchandra Mission in the year 1970 in a conference of Preceptors/Prefects at Tirupati. This talk forms part of the Audio CD of our Master which has 6 talks and a song sung by him released by ISRC. I may be permitted to use the term trainers, instead of using Preceptors/prefects every time hereafter in this paper. 1.2 All of us are aware of the tendency to think that every thing in this system of sadhana is done by the Master and the trainer as well as the aspirant, has precious little to do. This tendency of thinking was present even by 1969 and many trainers tried to disown their responsibility in the spiritual training that is being imparted in the system. It was the usual practice by then to say that the aspirant has nothing to do except to take the introductory sittings and attend the satsanghs (meditation sittings in groups) and annual/ biannual/quarterly gatherings organized by the institution. The individual sittings were optional. No effort was made to evaluate the progress made by the aspirant and it was being said that everything is left to the Master. And a very specious argument was given that to try to know ones' condition or stage of progress indirectly means that one has no faith in the Master. Thus a situation arose in the implementation of the system which promised through its books “Towards Infinity”, “Reality at Dawn” and “Efficacy of Rajayoga” a practical and verifiable system of sadhana, where no responsibility for guidance and no assistance in evaluation were forthcoming. Master was always proud of his system and was confident that he trained many to become masters. In his catholic approach he used the term master for the preceptors also in many of his writings, but these were conveniently made to be understood as referring the Great Master alone and the trainers slowly abdicated their responsibility for training and accountability to progress of the aspirants. The article, ‘Method of Training' has to be read therefore keeping in view the main theme of the Master namely clarifying the points in training and the role of the aspirant, the trainer and the Master. 1.3  If we ponder over the word ‘training' it becomes clear that there can be no training without moulding. But it is also true that Master used to talk about transformation. While we use the word moulding usually with reference to material objects we use the term transformation in the case of living beings. However moulding or transformation implies first of all change from the existing position or status. Therefore it is incumbent on the part of aspirants that they should be prepared to accept change in their ways of living and behaving as also bring in changes in their attitudes and priorities. It has been our experience that while almost all aspirants want to get ‘Realized' very few of them ever think of being prepared to change. This refusal to change and sticking to their familiar ways of living has been the main cause of lack of desired level of progress achieved by them in spite many sessions of offering of Pranahuti. 1.4  Before we go into the practical aspects of imparting training, there is need for us to be clear about the system itself. Is our system based on a type of evolutionary philosophy or is it a devolutionary. Further it is also necessary to note that our Master asserted that we are returning to our Home Land. In this context it is also necessary that we should be clear about the concepts of Destination and Home Land. Master in his message dated May 1970 stated “... if we pause a little and consider the problem (the Destination) we will surely come to the conclusion that you are sailing towards your own Home, wherefrom you have been snatched away by the irony of Fate.” Home Land and Destination clearly mean that the goal is something that we are aware of already. But our Master has stated that the spiritual journey is towards the Infinity. By definition, Infinity, has no end point and is ever moving forward. Again the concept of Nothingness as the goal, presents us a picture where we find it difficult to integrate the same with the concept of moulding. 1.5  ‘Human transformation is the goal of life' and/or similar expressions have been made by the Master and Dr.K.C.V. That Dr.K.C.V. bears a background of Aurobindonian thinking is unquestioned. Many times he said that what Sri Aurobindo promised namely the descent of Supramental Consciousness into the human life, is what Sri Ramchandraji delivers and the influx effected in fact is from a much higher level. Thinkers who subscribe to the theory of evolution (it may be noted that evolution is not a fact that has been observed but is only a theory advanced by Darwin and others) naturally hold the theory of change or flux. To put it in brief the contention is, life is not about doing, it's not even about being. Life is eternal becoming. It cannot exist without eternal becoming. Fundamentally, the whole story of evolution is a story of experimentation and change 1.6  However the philosophy of Raja Yoga is closely linked to the Sankhyan philosophy. Swami Vivekananda, while answering questions on Darwin's theory of evolution said that the last word on evolution has been stated in the Sankhyan system. He agrees with the Sankhyan system that there is no evolution without an involution. This same theory was held by Sri Krishna in the Pancharatra agama stating that the souls are in Pravrtti or Nivirtti paths. We were once pure and simple consciousness patterns expressing the Divine and we lost our balance and are now trying to restore the same, are the principle that should be fully grasped by us. 1.7 Swami Vivekananda stated “According to the philosophers of our country, every being is a perfect Soul, and the diversity of evolution and manifestation of nature is simply due to the difference in the degree of manifestation of the Soul. The moment the obstacles to the evolution and manifestation of nature are completely removed, the Soul manifests itself perfectly. Whatever may happen in the lower strata of natures' evolution, in the higher strata at any rate, it is not true that it is only by constantly struggling against obstacles that one has to go beyond them. Rather it is observed that there, the obstacles give way and a greater manifestation of the Soul takes place through education and culture, through concentration and meditation, and above all through SACRIFICE......The attempt to remove evil from the world by killing a thousand evil-doers only adds to the evil in the world. But if the people can be made to desist from evil- doing by means of SPIRITUAL INSTRUCTION, there is no more evil in the world.” He adds further that “In the animal kingdom we really see such laws as struggle for existence, survival of the fittest etc., evidently at work. Therefore Darwin's theory seems true to a certain extent. But in the human kingdom, where there is the manifestation of rationality, we find just the reverse of those laws.....The highest evolution of man is effected through sacrifice alone. A man is great among his fellows in proportion as he can sacrifice for the sake of others, while in the lower strata of the animal kingdom, that animal is the strongest which can kill the greatest number of animals. Hence the struggle theory is not equally applicable to both the kingdoms.” Man's struggle is in the mental sphere. A man is greater in proportion as he can control his mind. When the mind's activities are perfectly at rest, the Atman manifests itself. The struggle which we observe in the animalkingdom for the preservation of the gross body has its use in the human plane of existence for gaining mastery over the mind or forattaining the state of balance.' 1.8  Swami Vivekananda also stated that Sage Patanjali has not advocated the theory of evolution and held that all were once involved in the Origin and they are all returning the Source. He adds further “Patanjali holds that the transformation of one species into another is effected by the “in-filling of nature.” I would request you all to ponder over this ' in-filling' and the Pranahuti that imperienced by us and also think about the possibility of transformation of ourselves through such in-filling. 1.9  Master stated “Life is the awakening of the state of Being. When we brought in our share of the awakening state, every function of the material existence commenced. In the beginning, it was more in relation with Divinity from which life started. With the progress of life, actions continued having their effect according to their nature.” He says that because Actions are very strong since they are connected with life, their misuse produced wrong effects and the whole frame of the body became a human factory with every faculty forming its own centre and started pouring out what has been collected thus far. When the span of life of a particular being ended a form afresh was assumed with the accumulated grossness and this process continued for several lives. Thus he says we have formed poles according to our Actions and they became very strong. Finally all this led to a condition where we remain embraced by the commands we receive from different centers each for the faculties. 1.10  Somehow due to the company of pious persons or due to good environment we got an opportunity to think of our original condition. Master says if we searched for a proper man to guide us in this pursuit and that thought touched the core of our being, it would produce a kind of trembling, and that would lead us to the proper man who is really spiritual. If there is any short fall in this we unfortunately land ourselves into the hands of gross persons and we do not attain the stage of entering our Home Land. Master says it is the responsibility of that person who promises to guide in the path, to destroy the poles we have formed due to unbalanced thinking. Thus if every thing is regulated the original state of our being comes to view and we begin to realize the awaken ness of Divinity which first fell to our share. (See the origin of rings of splendor in Path of Grace.) 1.11 Thus we see clearly the Master is referring only to the process of return to the Home Land and we are not talking of evolution proper as understood by Scientists, Philosophers and Psychologists. But the process of return to the Home Land is the process of gradually annihilating the Ego and becoming Self less. Such a self less person, who has reached a state of Void/Nothingness, naturally is in tune with the power of manifestation and his participation in that process is natural and Divine. The gradual process of becoming that has led to the theory of evolutionism is sought to be explained in this system as a gradual peeling up of samskaras/ impressions collected by the individual expressions of the Life energy. In tune with the Hindu conception regarding rebirth, Master implicitly holds that the human individual has gone through many lives before he came to be expressed as human in the path of return to the Home Land. But the beauty of the system is that while returning to the Origin/Centre we arrive at a state of pure Divinity and we are exhorted to use this condition to help others finds their return path to Home Land. The Commandment 9, has this implication is a point that we had many occasions to discuss. 2.1  Master in his message in May.1970 stated that “The soul, is longing to feel its characteristic which has gone out of sight, and this insignificant being is seeking fellow pilgrims to march on the path of freedom.” The point of great importance here is, Master is not restricting any one to try this system. According to Hindu tradition human beings can be classified according to the goals they entertain, as Kamarthi (seeker of desires), Artharthi (seeker of wealth), Dharmarthi (seeker of virtuous path) and Moksharthi (seeker after Freedom). That there are several types of people among human beings is unquestionable. Are all of them fit for spiritual training? Further we know that we cannot classify a person as purely Moksharthi or Kamarthi. The same person may at different times have different goals as also the person may have at the same time more than one of these goals. Spiritual training under the system advocated by our Master can be given to all. However Master classifies aspirants into five types, 1) Selfish 2) Fazli 3) Ahli 4)Devotee and 5) Murad. 2.2  The selfish persons among the seekers are interested in material benefits and are those who join the Satsang to achieve their selfish ends. They resort to flattery as the means to satisfy the Guru/God and leave the Master any way, either because their wishes were fulfilled or denied. 2.3  The Fazli disciples are those who come for meditation occasionally and are generally carried away by the pious environment and pleasant atmosphere. They have no goal clarity and are best called time passers. They may be regular to satsanghs or Annual congregations etc., but are those who do not practice the system as advocated by the Master. 2.4  The Ahli type of disciples are those with better samskaras and are willing to practice sincerely the system. 2.5  Master says some of them may graduate to the 4th level of disciples called Devotees. Some of these are such that they start from the beginning with the condition of Devotee and bear love and devotion to the Master. They know love and devotion to another person means obedience to him in every sense of the term. Persons of this type possess all the characteristics that is expected of an aspirant. 2.6  From among the Disciples few graduate to the level of Murad that is one who is the cynosure of the eyes of the Master. The Master never forgets them and he is the beloved of the Master. 3.1 While discussing the issue of ‘moulding' we should be clear as to whom we are referring to. It should naturally refer to the keen seeker rather than casual visitor. The aspirant should be one who would yield naturally to the Trainer leaving aside all his personal notions about the path and the correctness or otherwise of the path he has been treading if any. His aim should be to acquire naturalness and for this the Master asserts surrender and cooperation are the twin sisters who help the aspirant in the path. 3.2 Master stated that the abhyasi proceeds in two ways and both arenecessary,by the effect of transmission and his own efforts. The light which the trainer infuses travels to the different centers and a sort of vibration is felt by the abhyasi even at the higher points. The other thing which the Preceptor does, is to start Yatra to the different regions and centres. 3.3 The main point we have to be clear about in this context is whether all those who ostensibly seek the assistance through transmission can be given the same and also whether moulding of the seeker even with regard to goal clarity, determination to transform is also the task of the trainer. Unquestionably the Original Prana or Pranasya Pranah is that which is transmitted. While the force is the same the level from which the Pranahuti is offered can vary is a point that was clearly elaborated in the first issue of the Journal Imperience. This it is easy to observe depends on the level of approach of the trainer himself. Therefore it becomes necessary that the trainer always abides by the Master, in Him and for Him. This is a responsibility that clearly vests with the individual trainers and they have to put in every effort in this direction. 3.4 Our Master has explicitly stated 1) the various practices to be followed by the aspirant, 2) the role of the trainer and 3) the role of the Master. 3.5 The topic of the seminar is ‘moulding is the preceptors business.' Therefore we shall confine ourselves to the role of the trainer, without forgetting that he is essentially an aspirant. The trainer assists the aspirant in reaching the goal through various methods given by the Master. In order to successfully accomplish the task he uses Pranahuti. Pranahuti is the tool used by the trainer to foment with his own internal divine will power the various conditions in the aspirant and thus give him a satisfaction that he is in the hands of a competent person. The internal spiritual condition of the trainer is such that persons sitting near him automatically feel a certain amount of calmness or peace. This also encourages the aspirant to pursue the path sincerely. The self of the aspirant has to be turned to Divinity. This has to be done so that harmony is developed by him and his Self (Ego) is reduced. The trainer has the knowledge of centers and the energy they contain, and he exercises his will to direct the Divine power coming to him towards the aspirant. Various methods have been given to the Trainers so that they may introduce Divinity into the abhyasis who are dormant. The trainer has also to do Yatra in the case of aspirants who are not able to progress on their own even in initial stages. This is sought to be done through fomentation of the condition into the aspirants system. 4.1  By these efforts what is the moulding that is effected? Master states that ‘So long as there was the Balanced state we had no form of our own. We have simply to unfold ourselves and restore our own Balance which we had lost.' 4.2  We had observed earlier that there are different types of people. We also know that there are five sheaths covering human beings: these sheaths are well classified as the 5 kosas in our tradition. But there was no effort made to evaluate/ classify human beings according to the kosas. The simple point is that all the kosas are there in every human being and therefore no such rigid classification is possible. However we know some are governed more by some kosas more than others. In any society there are bound to be individuals at different levels of growth and maturity, not only intellectually but also morally and spiritually. Master in his own way said that the end of philosophy is religion, and the end of religion is spirituality. We find very interesting researches done by Psychologists of the present day who are trying to restore Soul to the Science of Soul (Psychology- Psyche=Soul, Logy= Science) which it almost lost a Century ago. 4.3  It is agreed in the circles of Transpersonal Psychology as well as Integral Psychology that there are streams of consciousness. They have been classified as mainly consisting of certain basic characteristics identified as typical of each stream. That all existence has been understood as a stream of Consciousness, we all know is the basic tenet of the great Sage Nagarjuna. His philosophy of Alaya Vijnana is something that swept the scholars of his day and most of the present day philosophies of Consciousness use his terms and terminology which went to the West via the Eastern China and Japan. Broadly the streams are classified as 7or 8 categories. But clearly some of them are contrived and are patterns into which an effort is made to somehow accommodate the entire human population. However they have done service in pointing out certain inherent contradictions in the content of consciousness. They are relevant for us in as much as we are trying to balance the contradictory forces in our consciousness pulling us at different directions, through the wholesome influx of Pranahuti. Pranasya Pranah is the basic core of any type of consciousness and has therefore the inherent capacity to bridge the gulf between two or more streams of consciousness that are in collision path in us. 4.4 It is however necessary to note that these streams of consciousness which perhaps can be better compared with strands in a rope never exist totally independent of the other. It should make an interesting study of research to find the origins of these strains or strands in the very make up of the content of consciousness which is itself a conglomerate of the physical, vital, lower mental, superior mental and the planes of equanimity. When we tend to classify human into types we invariably get into the problems particularly when we demand total separation of the types from each other. Even very great reformers and sages have tended to think in terms of pure Sattva ( Suddha) and having failed to find it in the Universe have said that the matter of Sri Vaikuntam is that and the bodies of Eternal Beings is composed of that type of matter. However for the one who knows and feels in the real sense Impurity is as much a myth as Purity. Thus if we keep in view that wholesome attitude it will be possible to find the following strains/strands/streams of consciousness in society in general and the individuals in particular. Their being present in the individual consciousness is the matter of concern for us. Magical: Persons whose thinking pattern accommodates this stream of consciousness think partially in animistic terms, magical spirits, belief in good and bad spirits which either bless or curse and in turn decide the events that occur. There is belief in the spirit of ancestors and an effort to work out lineage with persons who are gone for ever and a strong bond in the clan or tribe. In many persons we find this type of consciousness co-existing with more advanced features of consciousness, many times including rationality. In the case of persons who share this type of consciousness the Self is not fully developed and is dependant on magical and mystical means. If one set of rites and rituals or magical charms fail another is resorted immediately else their self collapses under the weight of lack of confidence in self. These magical are different for different cultures and societies Power Gods: Persons whose thinking pattern accommodates this stream think in terms of settling the accounts and through power (muscle or otherwise) control and dictate others- their main motivating principle is power and glory. Terrorists and war maniacs belong to this category. This is a streak of the animal instinct that somehow persists in the human- perhaps civilizations built and destroyed based on the muscle power and animal characteristics contribute to our thinking in this pattern. The self development in these cases is dependant on perceived capacity to inflict pain on others and ones' own muscle or money etc., power. The Self is bonded by these and any failing to the body or its prowess can inflict a stunning blow to the self. The conformists: Persons who partake in this stream are very decided as to what is right and what is wrong and they know it fully. Violating the code of conduct or rules is abhorred and punished if possible, if not the culprit is severed of his connections with the family/village/or any other group to which he belongs. Any lapse in following the norms leads a sense of guilt and severe punishments are given and accepted. These persons who follow the norms, rules, regulations and restrictions that are imposed by an avowed authority that is usually a religious figure or book or tradition, generally pass off as saintly persons in society which appreciates their holding the rigid hierarchies. The consciousness here can be totally against freedom of spirit of others and conformism is the only principle recognized. This pattern in consciousness is common to find and in fact any society at any given point of time is ruled only by the influence of these persons. The self here is under severe bondage but it enjoys the credits that are showered on it by the society and many times is not even aware of its bondage. This is one of the toughest bonds that required to be broken in the path of freedom of spirit. The explorers: Persons who partake in this stream are not convinced about the existing strict code of morals and rules governing life, they question everything of religion, every rite and routine. They claim to be having a scientific temper and want equality, fraternity and liberty to be the same for all the human population irrespective of the race, religion, gender and such other divisions. They do not accept any hierarchy in the relationship of the ruled and the ruler, between man and woman. Interestingly they raise a question why should God be male? They have no moral compunction to utilize the resources available even if it were to be for exploitation through intelligent maneuvers. They have no difficulty to use the baser instincts in the advertisement and propaganda of their products and give all types of specious logic to defend themselves. These persons have sought to use the available knowledge gained by explorations in the nature of mind for their personal gain, or call it corporate advantage and gain. This is particularly so in the food and cosmetic and fashion industries. They choose all attractive means to debase the human thinking and all the time say they are upholding the freedom of the individual to choose. This type of consciousness is unfortunately seen in almost all the human beings of the present day and this is one of the toughest problems facing one who seeks to transform the content of consciousness of aspirants seeking to realize their true nature. The self in these cases is under delusion and is totally lacking direction in moral and spiritual plane. Imagine the extent to which the program of awareness of AIDs goes and unabashed marketing of condoms and other means to protect oneself and not even a single person is there to call the buff and plead for a sane sex order. Note also the importance given in spiritual discipline for the practice of celibacy in grhastha ashrama. 5. The sensitive seekers:. Persons who partake in this type of consciousness are committed to communication as a means for developing fraternal bonds. They agree that human beings must be freed from greed, avarice, jealousy and believe in developing humane relationships with a symbiotic approach to all problems. While the desire is there to attain harmony and understanding amongst all, they end up with seeking and trying all the time to find means through which they can succeed to communicate to others their point of view. They are heavily dependant on the rationality of human being and think that rationality can itself solve the problem though it is always frustrated in its attempts and the explorers and power gods have their way. The simple fact that the explorers and the power gods constitute the majority of human population is enough to have their way at the least through the brute majority they command. The self in these cases is having a taste of the expansiveness and is ready to come out of the shackles. 6. The holistic super conscious men: These are very few in the human population who through their relentless struggle in their inner selves seek to generate harmony and good will amongst all the human beings and enable them develop true love amongst all sentient beings and devotion to the Supreme Consciousness that rules the Universe. Apart from abiding by Truth and Reality in all its aspects these persons enjoy a tranquility of the most superior type which bridges the gulf and the possible perceived differences and lives and moves in the sphere of harmony, understanding, compassion, co-operation, co-existence of all beings, love and direct non interfered one ness which helps them share and make the words of sacrifice meaningless in as much as it is only a service to ones' own very Being. They experience the inner oneness of all and find there is no disharmony essentially in nature. Disharmony and dichotomy are the products of thinking patterns that do not seek the good of all but only of a few to the detriment of others interests. For these persons there is no individual self and therefore no individual interest. They cross the borders of Egoism and naturally their performance is always marked by a fragrance of natural perfection, unifying all others efforts and exhibits a coordination that is better expressed as cohesion. The self in these cases can be taken as expanded and the bonds of animal and human realms and regions are broken and they are free moving and having their being in the realm of pure consciousness. 5.1 It is therefore obvious for us that we should tend to strengthen this last strand more and more. It is in this context the Prayer at 9 P.M. gains importance. It is now positively proved that the thinking of groups of people located in different parts of the world does influence others and its influence is felt even in inanimate objects of experimentation. This one task of moulding our selves and thereby others appears to be of paramount importance. 5.2 The words of wisdom of our Master has been our guiding points for contemplation and meditation. It is relevant to recall a few of his statements in this context. “Spiritual training starts with inner cleaning or purification of Chakras which is the most essential factor in spiritual training.” “Pranahuti is the only effective process to introduce immediate change to regulate the inner tendencies of our mind so as to effect our gradual transformation.” “What Pranahuti does for the spiritual uplift of an Abhyasi and removal of complexities in a short time, independent efforts cannot achieve even in a full decade.” “The light which the preceptor infuses travels to the different centres and a sort of vibration is felt by the abhyasi even at the higher points.” “In (our) system all the methods of doing are for the preceptors and becoming is the job of the abhyasi.” “It is the power of Pranahuti alone that can curtail this duration of travel from one spiritual stage to another, and enable the course of thousands of years to be covered within the span of one life.” “Only a person capable of transmitting Divine Grace through the Yogic process of Pranahuti is fit to become a Master.” “Transmission gives a new life to the sleeping condition of man and prepares for the highest approach reserved for human beings.” “A man is not fit to impart spiritual training unless and until he has developed the capacity of fomenting his disciples with superior force which is all and all.” 5.3 These are but a few of the pearls that are collected at random. How can the trainers do this duty is what we have endeavored to explain in our trainers manual. But most important is the development of Special Will. Will is a word that has almost become the weakest in our vocabularies and every action of ours is sought to be explained by different models and theories of motivation. Our Master has stressed the importance of the development of Special will in his work “Towards Infinity.” For developing this Will it is obvious that it is to be used for A good cause, with no selfishness/self interest With noble intention, With total faith in the Sovereign Principle of Justice, And for a Balance that follows Justice. Needless to say Faith in the Master is a must; Faith in the nobility of attempt is a must along with Faith in the deservancy of the effort on the part of the aspirant Coupled with Compassion and Love And an unfailing determination to succeed in the attempt 10. With a pious and unblemished character that alone accompanies any Divine effort. 5.4 It is obvious for developing these characteristics it is not enough to wish piously and hope that the Almighty will grant the capacity. It is the most essential tool without which any method in the manual or else where will not work While referring to the development of Sensitivity Master has stressed the importance of purity and in this context of development of Special Will it is all the more important. 5.5 It would be prudent to conclude this paper with the prayer O Master Thou art the Ocean of Bliss We are all seated in it The waves of Thy Ocean are passing through us Removing all the dirt and disease.  

The artist-entrepreneur-investor Mr Eazi has no on-off switch. Who he is in the recording studio, on stage, and on the boardroom are the same. With business and music, Mr Eazi has found parallel industries that allow him to be the same person.He's founded both emPawa Africa and Zagadat Capital to feed his business appetite. The former invests into African artists and helps them scale. Meanwhile, Zagadat Capital invests into tech startups, most of which are inside the continent. Then there's Mr Eazi, the Afrobeats artist. He's collaborated with the likes of Beyonce and J Balvin, and also taken center stage at Coachella. After taking time away from music amid the pandemic, Mr Eazi is back in album mode now. Holed up in Cape Town currently, Mr Eazi has plans for two new albums this year.I caught up with Mr Eazi to cover his never-ending pursuits in music and business. Here's everything we chatted about:[0:22] How Mr Eazi is balancing artistry and entrepreneurship[1:40] Similarities between music and startups[6:19] Taking equity stakes in artists and what an “exit” looks like[10:50] How Eazi measures success for Empawa artists [13:00] Eazi's investment thesis for startups[18:10] Startup success trends in Africa [21:30] Lack of capital is biggest challenge to Africa's startup scene [29:45] Raising awareness within the continent[32:20] Biggest obstacle that African artists face [36:52] Uncleared sample on a Bad Bunny song[40:45] Impact of Western companies investing into Africa[47:35] Mr Eazi is in album modeListen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Mr Eazi, @mreaziThis episode's sponsor is Symphony. Put your fanbase growth on autopilot with the first AI-powered platform that brings all your artist marketing workflows in one place. Learn more at symphony.to/trapitalEnjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapitalTrapital is home for the business of music, media and culture. Learn more by reading Trapital's free memo.TRANSCRIPT[00:00:00] Mr. Eazi: part of me deciding to be an artist was reading the book, the Jay-Z book, Empire State of Mind. And that was when I saw it clearly and I was like, oh, wait a minute like this music is a business and the music gives you access, it gives you access to capital, access to the network it puts you, gives you a seat at the table[00:00:20] Dan Runcie Intro: Hey, welcome to the Trapital Podcast. I'm your host and the founder of Trapital Dan Runcie, this podcast is your place to gain insights from the executives in music, media, entertainment, and more. Who are taking hip hop culture to the next level.[00:00:48] Dan Runcie: All right. Today we have the one and only Mr. Eazi, the artist, entrepreneur. How you doing man? Welcome to the pod.[00:00:56] Mr. Eazi: I'm good. I'm good. I'm chilling. What's, going on[00:00:59] Dan Runcie: Me. I'm good, man. Trying to keep up with you. Trying to keep up with you, man.[00:01:03] Mr. Eazi: I'm trying to keep up with me, bro.[00:01:06] Dan Runcie: Well, let's talk about that because you are someone who sits at this intersection of artist, investor, entrepreneur, and you are doing all of those three jobs and more. And it's also happening at this moment where the entire continent of Africa is booming from an entrepreneurship perspective, booming from a music perspective.[00:01:29] How does it feel right now? How are you operating being at the center of that?[00:01:34] Mr. Eazi: To be honest, I just feel like it's a blessing to be born or to be existing in this time. where like you said, everything is just like taking shape and, you know, yeah, it's exciting and it is for me. It's like every day I'm seeing opportunity left and right and just figuring out what is fun and what is doable and just, you know, going from thinking, oh, I'm an entrepreneur, to oh, I make music. And, it's similar cause it's products at the end of the day, on the bottom line, it's like you're selling music or you're selling some other product. And I thought they were two different things, but you know, I'm seeing how it's one and the same.[00:02:17] It's just exciting to realize that I don't need to be two different people like I still be the same me and operating both walls.[00:02:27] Dan Runcie: So how are they similar for you approaching both music and startups?[00:02:32] Mr. Eazi: So I feel like every artist is like a. because the artist has a brand, has a feel, it's like a service product, it's an emotional product, right? And every artist, you know, that IP, there's an IP with every artist, and the artist usually needs investment to scale. And like coming from, like when I went outta school straight into an incubator program called 440NG and I kind of, there I learned how, you know your idea and your business, you know, you have the idea, you put it together, you iterate as the business keeps on going. So what you thought was the business at the beginning, you know, your customers could give you feedback and then you realize it evolves, it accelerate and you are trying to be as lean as possible and grow to the point where you have that critical volume to sort of like ask, what's the word as, proof that this is a valid idea either via customers or via revenue. And then you try and get to, you know, you try and scale, and you figure out what's your, unique value proposition is, and that's like where the startup, what's your unique value proposition?[00:03:46] Who are your customers? What's the idea? You take it to market, you test it, you go get investment. And it's the same thing with every artist so at the time where I decided to do music full-time, I was in an incubator program, and so I just started to see the similarities with the music. I'm like, okay, let me test it, put it out, people listen to it, you know, gimme the feedback, you know, and the point where I decided I was gonna take the music as a business was when like I got the first person reach out to me and say, Hey, I want to pay you for a verse. So that was the first signifier to let me know that, okay, maybe I'm onto something.[00:04:22] Then I started to have my early fans then Lauryn Hill reached out and said she wanted me to come play at her show. And I thought it was a fluke until I found myself in America performing in Lauryn Hill, coming out to say, I love you, thank you so much for coming. And like all of that is like with a business, with a traditional startup, it could be different things, but for me, the revenue, the number of users, aka the fans, all of that were signifiers.[00:04:51] And then I just needed, you know, the capital to take it to the next level, right? So I think those are the similarities, and I've tried it when I started emPawa it was at the beginning, it was to test if they were one and the same. So I was like, okay, Y Combinator send, you know, picks a few, start a couple of startups, you know, does incubator program put funding and whatnot to them?[00:05:18] And then maybe 20% of them you know, end up working on, and I did that with 100 artists across 11 African countries, over 30,000 entries then picked 100, then gave them the same amount of money, created the emPawa YouTube channel to host their videos, service it the same way, and in the end, start to see the ones that organically started picking up.[00:05:41] And we had success with that. So for me it was like, oh, wait a minute it's one and the same. I've proved this. And that's when emPawa then turn from, you know, the, program I was doing to actually full service music company, because I had proved that it was the same and in the same way you invest in a song.[00:06:01] I remember the first Joeboy song, the visualizer cost me $500, and then the song ended up having like 30 million views in like a year. And you know, Joeboy just went boom, boom, boom, boom, boom. So, I start to say, okay, there is a process here and perhaps we could do it with other artists, you know? So to answer your question, that's how I see both as, you know, one and the same in a way.[00:06:28] Dan Runcie: That makes sense. And I wanna talk about emPawa specifically because this is you bringing so many of those startup concepts to music like you said, you saw Y Combinator is doing. How could you apply that here? The difference though is that with Y Combinator, the promises of course, an exit, so they're hoping this companies get acquired.[00:06:47] They're hoping that they go public in music though. What does that look like for you as someone that is taking equity stakes in the artist? What does your return look like? What does your exit look like?[00:06:59] Mr. Eazi: So, I mean, first off, the return is like when you invest, you know, you invest to create the content, you put it out, put some marketing, and you start to see, you know, the streams coming, the revenue coming, the artist is now doing live shows, getting endorsement deals, you know, you could get four, 5x, 10x multiples, you know, and time.[00:07:24] so that's, one. But secondly, like on a developmental standpoint, you could develop the artist and then a big label comes and says, oh, we wanna upstream. So upstreaming is like a sale. It's like an exit, and you could still have passive rights to get passive income, on the artist. So those are like the kind of like returns and the kind of like exits.[00:07:48] Plus you could just invest in the IP, buy it up, and next thing somebody wants to sample it and then they have to write you a big check. And it could happen now, it could happen in like 10 years, in 15 years time, you know, you could have a record just lined. I'll give you an example, recently the Joeboy record that didn't make it to the Joeboy is one of my artists.[00:08:09] The song didn't make it to his album, and so we then licensed the song to a guy called Lakizon, you know, he puts out the record, you know, there's not so much thought to that. I wake up one day, Bad Bunny has put out, an album and I'm just listening to the album cause I'm a fan and I hear a record there and I'm like, basically what I was trying to say is, so you have that record that didn't make it to the album, Right? And it's just there and we license it to this guy and the next thing the record appears on a Bad Bunny album.[00:08:43] And that's like the biggest artist in the world last year by a lot of metrics. And so that's like an example, you know, an exit because you make this record and then boom, and the upsides are like, you know, so high. And right now on the market, even if you wanted, you are seeing, you know, my mentor, one of my mentors, Merck Mekadalas, you see how many multiples from 10 to 23, 24xlast year's revenue on, you know, buying rights for music. So I think there's multiple exits and even just the music and music IP as an asset class has been proven to be a valid asset class by Merck and the likes. For instance, I was, I was part of the deal, the KKR deal that bought, I don't know if you saw that some time ago, that bought a law of the rights, including the Weeknd et cetera.[00:09:36] I was part of that deal, via one of the companies, and you could see how you could see what an exit looks like. So there's multiple exits for music, whether it's an upstreaming deal from the label or it's a straight up acquisition of the catalog, or it's just multiples of revenue, the artist is now beginning to earn or if your label, you could get your entire label could become upstreams or you could go into a JV type situation.[00:10:06] Dan Runcie: So that speaks more to the flexibility that's offered with being able to invest in music. It isn't just this one time event that you're hoping for as a startup investor.[00:10:17] Mr. Eazi: Yeah. 100 percent.[00:10:19] Dan Runcie: Yeah. Yeah And with that too, you mentioned that you have a hundred artists that at least came through the first cohort, over 30,000 had applied and when you are measuring your success for them, I'm sure that each of the things you mentioned are the things that you hope for, but along the way, what are some of those key performance indicators or what are some of those things that you're looking for to hope that traction can be gained to hopefully get to the point where you do have, positive financial event that comes.[00:10:51] Mr. Eazi: I mean, it starts with like hyper local recognition. So, you know, I give example, there was this like I think she was 18 or 17 at the time, Nik, her name is Nikita and she's from Kenya. She had joined the program, she didn't make it to the top 10, but we put out the video and you know, that song started to gain local traction in Kenya even though she didn't make it to the Final 10.[00:11:17] And by local traction, I mean like number of downloads, it made it to radio, you know, it made it to press picking it up. And even though she wasn't part of the software and I didn't give her full on funding, she got signed to Universal. So for me that's a testament of like the success and those are like KPIs like, okay, does it get to radio in your local country?[00:11:40] Does it get, you know, that local, you know, appreciation from the fans in your country? And then when does it start to transcend, and there's nothing wrong with you having a popular song in Kenya or in Tanzania, but by the time it starts to go from Tanzania, you know, to rest of East Africa and then comes to the west, you know, those are the things you look out for and, you know, next level is by the time you start getting booked for shows based on the 1, 2, 3 singles you put out,[00:12:11] Dan Runcie: That makes sense. That makes sense. Let's shift gears a bit to startups, because I know that's the other space that you're actively in. What is your thesis for investing in startups?[00:12:22] Mr. Eazi: Right now, what I do is like, you know, I can bring some form of value to. So when I look at like the idea, or like when my team, you know, sends me some deal flow and we kind of walk through it, it's like, okay, aside the money, what else can we bring to this business? You know? And if I'm able to spot some extra form of value I can bring to help the business kill.[00:12:53] Then I want to invest, you know, it could be marketing. Can I add some marketing? Can I add some of my experience here? Can I leverage on my network in this other side? Aside the money, and most of the investments I've been making haven't been personal. They've been via my collectives, Zagadat Capital, and Zagadat Capital is basically, for now, it's 12 people like myself, young, successful African boys or girls who usually, you know, find it boring to speak to the financial guys and you know, have some form of liquidity. And so when we get the deal flow, and I just look at who's in the collective and who can add value, then we bring it to, the collective and then we invest.[00:13:45] So it's majorly been, it's like 90% being Africa focused because I feel like there's so much opportunity, on the continent and also on the sentimental level. The amount of impact the investment does when it's, on the continent makes, is something that's bigger than just the money.[00:14:07] And the money is great like, you know, we've seen a lot of African companies hit and cross a billion dollar evaluations to become unicorns. so you know that, can happen. But at the same time, the impact, and it's always fun when I go to an office that I'm an investor in of the like employees, they're excited that Mr. Eazi is in our office and Mr. Eazi is a shareholder like, you can't buy that. And I think that's what I always wanted because like part of me deciding to be an artist was reading the book, the Jay-Z book, Empire State of Mind. And that was when I saw it clearly and I was like, oh, wait a minute like this music is a business and the music gives you access, it gives you access to capital, access to the network it puts you, gives you a seat at the table and you know your merch, merchandising could be like the three cap that chance the rapper does, or it could be Uber or it could be, you know, Power Pay, which I've invested in that, you know, is the number one mobile money focused payments aggregate on Africa doing over 1 million transactions a day, you know, and so it's, different things and I know how I can bring value beyond my, cash it and just watch it grow. And it's exciting[00:15:28] Dan Runcie: That makes sense. So that collective, that operates a lot like a syndicate. You all are sharing deal soon where you can add value. What stage do you normally invest in and how much money are you normally putting into startups?[00:15:41] Mr. Eazi: You know, it's different like we've done like some seed stage. we did a company that was looking at listing last year on the LSE. We've done growth stage as well, so it really depends, it depends on where it comes to us, and it could be as low as, you know, 25K check, which just gets maybe if it's a 25 K check, I might just take 50% of it and just say, Hey guys, do the rest, and I just put it on the platform we use and boom, boom, boom, everybody just clicks and it's, done. Once it's done, it's done like I just invested in a platform called Ruka Hair, and it is a startup that, you know, provides hair for, people of African descent based out of London.[00:16:30] And that was a small check for, and it is growth stage, you know, so it really varies. and there's no rule. Yeah.[00:16:41] Dan Runcie: That makes sense. Yeah, keeping it flexible and gives you the opportunity to see everything that's coming through. What are some common trends that you're seeing? What are some things that you're seeing from the founders or from the startups that are coming through, especially the ones that are getting markups and getting closer to exits?[00:16:59] Mr. Eazi: I'm seeing like, you know, companies that solve fundamental, problems. You know, and I know there's so much bars on FinTech, it's like everybody just gets a hardon for African FinTech. But like, for instance is, if this products are solving specific, like there's a company called Eden Life, which I invested in.[00:17:26] And what this company does is like, you know, there are a lot of people like myself who, we don't in town enough, like enough for us to like have a chef and all of that. And we have very busy schedules, so we want like meal preps delivered to us and we want like our laundry picked up, you know, that's a very middle class, sort of like early into the job market, like pre family kind of types. And so that kind of product is a product that's like valid because like you're solving a particular need, you know, or PISA for instance, that are invested in. So PISA gives remittance based lending.[00:18:13] to, people in Mexico. So you know, the love Mexicans in the US sending money back to, Mexico to their family and their loved ones. And PISA uses that data of how much you get your current every month like my mom and dad, I put them on allowance. Like I pay them an allowance every month, Right? So we use like, by the way, for clarity they don't need it like they're good, but it's just something I do. And the other people in cultures like African culture, like in Africa, it's a pride for you, even if your dad is a billionaire, like being able to do something for your dad is like, it's like a pride.[00:18:53] It's like you've achieved, right? So you have people sending money back home, you know, either to Mexico or to different parts of Africa to either family that need it or to do stuff with it, like build a house back home or to help the family school fees or whatever, or just out of sentiment, like, it's like paying your tithes.[00:19:15] I don't know if you're Christian, it's like when you pay 10% of your income to the church. It's something like that. and then there's all that data, all that data because it's like salary, right? it comes every month, usually on a certain day. So PISA uses that information to provide loans to people.[00:19:34] And that's like a need, that's a specific need. So that's what we are seeing, Yeah.[00:19:40] Dan Runcie: What are some of the bigger challenges right now for startups in Africa?[00:19:45] Mr. Eazi: I think one of the biggest challenges is, you know, getting funding and you see a lot of, like African startups, YC has been doing a great job, but there are, you know, and like, future Africa, which I'm part of and I'm an advisor, you know, investing in these projects. But raising fund is like so hard.[00:20:07] There's still a hesitance when it comes to African startup raising funds, especially at seed stage. And usually this is not a lot of money. It's like from 20K checks to like even hundred is a lot of money, you know, but that 50 k to, get you into flight mode. So I think that's the biggest issue is not lack of ideas, it's, you know, getting funding, especially local funding that's not a lot of local funding sources. There's few options like the YC's and it's hard to get in generating that local funding is still a problem as a lot of the, you know, organizations and a lot of investors are still trying to understand this whole tech investment and valuation.[00:20:55] I have my uncles ask me, you said this company is, is what, $20 million? Do they have 20 million cash in their account or do they have, buildings? Where's the building? Where's the physical asset, you know, it's that culture going from brick and mortar to technology and understanding evaluation and all of that.[00:21:15] And, then you have sectors that are now like so hot that valuations are going crazy you know, And you have, like, depending on what sector you are, a lot of the countries are just catching up to technology. And in some places there are no laws written for the kind of products you are creating.[00:21:38] So if you're not in sync with the regulators, the regulators might pass a law that is detrimental to your business and all of a sudden you wake up one morning and your successful business is now killed just like the motorbike railing company. I forgotten the name in Lagos. That was really growing and then with one day regulations like no motorbike, transportation in Lagos, boom, dead.[00:22:04] So, I think it's not just in Africa-peculiar problem. It's like, for instance, with crypto and, you know, a lot of, you know, countries trying to understand what is going on. So you're having innovation outpacing regulation and you know, if there's no proper interaction you are having like regulations could just like be the end of use.[00:22:28] So I think access to capital, and in some sectors, depending on your sector, regulation as well could be a major setback.[00:22:38] Dan Runcie: The access to capital piece, I could see that, especially since the friends and family round is such a key piece, or having the angels outta there, such a key piece to help make that happen. But if the people that have the financial means are fewer and far between, you know, whether it's folks like you or others that are in your syndicate or maybe some of the other co-investors you have, that means that the deal flow that you all get is heightened even more so because there's just so fewer other places, which makes you all needing to be even more selective, I can imagine, than you maybe otherwise prefer to be. I mean, how do you feel in that perspective as someone that wants to see the space grow, but you know that you can't back everybody even though you know, I'm sure inherently you wish you would, but you still have your own rubrics. You still have your way that you evaluate things, and that likely has to be even heightened given the number of deals that you're seeing.[00:23:32] Mr. Eazi: Yeah, I mean like, well one of the things I pray, I have some days, fuck you money. Do you understand? To just like, because like 1.2 billion people in Africa on the continent. And it's like, if you think of the amount of money that comes back to Africa from the African Diaspora, it's like, I think it's like over a trillion dollars a year.[00:23:54] So there's so much opportunity. And, but like you said, what this does is it makes things a little bit harder for people, you know, entrepreneurs who need the money and the proof is in the pudding. Like I always say, like although it takes time and things are changing, don't get me wrong, things are changing.[00:24:15] They are more local, VCs, funding, but like I probably know like five people with networks over a hundred million, right? But now, for me to get to the point where, and these are people who've, amass all this wealth with brick and mortar businesses. So now you know, there's a job to do to sort of like show proof, show validity that, hey, I invested at this point, it's not for Gen Z it's not a pyramid scheme.[00:24:50] And like show people and then you get more people, coming in. And I have seen like some of my friends who are like billionaires now start to set up separate funds to say, okay, you know what? I don't really know what this tech thing is about for, but you know, put the money in future Africa or put it in some other fund and try to learn.[00:25:11] So it's more sort of like publicity and sometimes the drop, the setbacks are when there's a big startup out of the continent that then runs into all sorts of scandals and then, you know, it causes five steps backward. And that's not peculiar to Africa like, I mean, you seen what happened to ftx, right? So that happens everywhere.[00:25:35] The only differences, you know, because it's still kind of new. It causes more negative effects, you know, so I think there needs to be more education, more pr to the successes of these companies. Every success is a success and should be, you know, communicated and things would get better because there is capital on the continent.[00:26:00] There is like lose capital on, the continent looking for where to invest, you know? So I mean, things are changing like Future Africa. I always keep mentioning Future Africa, like they've been able to show that, you know, they know what they're doing. There is a method to the madness. They could deliver results in terms of like revenue, you know, they invested in Move, which is a company that provides, you know, the cars for Uber drivers and it's, you know, I think it's now a unicorn and that's like a very particular need because, you know, drivers need cars, but they don't have the capital to purchase the cars, right? And going through the banking routes, you are gonna have to bring collateral, your mom's name, your grandmother's house, plus the high interest, you know, so they've identified, and this has been a problem, it's still a problem to today that they've been able to solve.[00:26:54] So I think the more people know about this, the more education, the more things will open up.[00:27:01] Dan Runcie: The PR piece you mentioned is interesting because from my side, living in the states, I'll see the articles about a company like Carry1st, which I do think has had a fair amount of PR, I feel like one of their announcements got an got an article in the Hollywood Reporter, so I remember seeing things like that, but I feel like it does become fewer and farther between, at least from what you are seeing, from the awareness of some of these[00:27:27] Mr. Eazi: Yeah, you're correct and it's not so much I understand why like there's a lot of PR outside looking PR like you said, you know, New York Times, you know, LA blah, blah, blah, because that's where the money's coming from, right? But like, I'm talking more intra-Africa PR like for the money on the continent, you know, because that's like easily, like it's right there in your face, you know, there's enough money in Lagos for them not to be any need to raise capital from outside . You get what I'm saying? There's so much capital in Lagos, like from Lagos, you feel me? Or from Rwanda, you know, and, Rwanda is trying to position itself as startup, you know, pro-startup investing, you know, so there's money on the continent and it's like[00:28:22] that's what I mean by PR and publicity and awareness. if I wasn't friends with, like, I met in, was co-founder of, Flutterwave with and then Andela, you know, and then Move. So three unicorns, right? And, you know, we've been friends and we've been investing together. if there was not that proximity to him or to Shola the founder of Paystack that got bought by Stripe, I wouldn't know that this was going on.[00:28:50] You feel me? Maybe, you know, I wouldn't have known. So that's what I mean, you know, because like every A-list, Afro-B artist can be you know, can be invested, you know, so that's exactly what I mean.[00:29:08] Dan Runcie: It is interesting you bring up the music piece because I'd be curious to hear how you feel some of these challenges that African startups may face. How do the African artists themselves fare in that regard? Do you think that they have similar challenges with funding or with regulations in that way?[00:29:26] Mr. Eazi: There's regulation issues, like for instance, collecting, publishing revenue on the continent. It's a joke, right?[00:29:34] Dan Runcie: Why is that?[00:29:34] Mr. Eazi: Or collecting streaming revenue because like for you to be able to collect publishing revenue, you need the government to enforce the laws for the radio stations to pay you, you know, publishing royalties on the music they place for the bars to be able to pay for what they play, like for the use of your music. So you need strong in a lot of African countries, these laws are there, but there's no enforcement because I would say it's worse for creatives because people still look at the creative sector as a joke.[00:30:08] The orange economy is like, ah, that's not really business like that's just young people with dreadlocks, just singing and dancing and jumping across the world. Yes, they hear the music everywhere. Yes, now things are getting better because they're seeing teams at the Grammys, they're seeing Burna Boy, you know, and whiskey doing Madison Square Garden, but there's not a lot of education for them to really understand the business of music or creativity.[00:30:36] So even, I remember like two years ago I spoke to almost all the bank MDs, or three years ago, almost all the bank MDs in Nigeria trying to convince them on why music is a business is a valid business, but I couldn't get funding. And that's me being a successful African artist showing the revenue, showing all of that, like I once got on a panel with, you know, a financial institution that was meant that. they have a fund, they have like a 500 million dollar fund for investing in creatives. And I was on a panel with somebody there and the person said, oh, it is impossible to protect music IP, it is difficult to protect music IP, and I was like, whoa, whoa, whoa, whoa, whoa, What? And like, are you kidding me? Like, there's Shazam technology, there's like, every song has an ISRC code and like if you upload the song in Kenya or in in Afghanistan, like on YouTube, like it will pick it up instantly. So when you have a situation where you have an institution that has up to a billion to invest in creatives. But you are having the key stakeholders who decide who gets what telling you or speaking out confidently and saying is hard to protect the IP, you know, then that just shows you where it sucks. So there's still a lot, but I feel like that's why there needs to be more education, you know, just like for startups to music, to let people realize that this is a business, like there's revenue to be earned. Not just live revenue, like streaming revenue, publishing revenue, especially now that the world is looking to Africa. Like you're seeing early starters jumping on Afro Beats records, like, what's that song?[00:32:31] Essence, Essence was a hit song before Justin Bieber jumped on it. It was already a global smash. Peru was a, global smash before, Ed Sheeran jumped on it. So you are having like pure Afro Beats records in our local language produced locally in some hotel room in Lagos, you know, going on to be big songs globally without any major support from without necessarily, you know, I know A and R like support, like his producers locally. And you're seeing this, so you do know that this is the time, or you know, like the example I gave, you know, Bad Bunny, you know, sampling a Joeboy record and putting it on his album, putting an Afro Beats record on his album, you know, that's an ex example.[00:33:18] Dan Runcie: And by the way, that was declared properly and like I'm about to go, you know, go crazy with the lawyers to make sure I get my bread. And more importantly, the writers and the producers get, their due credit and revenue and, you know, Did Bad Bunny's team reach out before this?[00:33:39] Mr. Eazi: No, no, no, I literally just listened to Bad Bunny's album and I just heard Joe Boy's voice at the end of the record, and I was like, I've heard this record before. And then I realized is a record, I didn't make it to his album. And I'm like, wait a minute. And then my team start speaking to them since May of, last year.[00:33:55] And it's just back and forth to the point where I'm like, okay, you know what, you guys have had fun with this. Like, I'm just going brazen on this, let's get lawyers. Let's make it like a proper lawsuit. But what I'm trying to, or you have, you know, Beyonce, you know, doing the Lion King, the gift and having created from all of Africa put it so like, you know, you are having Drake, you know, with Whiskey on one dance you're having Ed Sheeran, Justin Bieber jump on multiple Afro Beats records that are Afro Beats records. You're having people more and more people sampling Afro Beats records, you know, and maybe not giving proper credit or do, or you are having, like I once produce. and was on co-produced and wrote and featured on a record involving Bad Bunny on the Joint album and Afro Beats record.[00:34:45] So you're seeing is becoming more global and global. So we need to be able to tell these stories to the funding sources back home to establish that this is indeed a business. So it's education the same way education for the startups, but even more for music because music was never, and creatives, you know, was never looked at as a valid business.[00:35:09] It was looked at as things, people who don't graduate from school or people who just wanna be jokers do. But right now people are sitting, wait a minute, wow, that artist bought car that artist's bought a house. that artist did this, did that or Grammys or this, that, that. So, but there still needs to be more information back home to the business side of the music to know that behind that sold out.[00:35:36] MSG is a check, and behind that billboard is a check, you know, and even the TikTokers, like I was speaking to someone at the bank and explaining to my bank MD friend that, you know, I showed him a lot of payments, like TikTokers in Nigeria are getting paid as much as $10,000 to put up a post on their TikTok.[00:35:59] 17 year old, 18 year old, you know, and I had to show this and he was like, what? Are you serious? And then he went back to ask his kids. And find out that, oh wow, this is a thing, you know? So it's that education, I mean, because there is the capital on the continent, it's just like, how do you get it?[00:36:17] And it is a lot of work to do to basically explain and explain and explain. And one needs to have the patience. And it's hard to do that while still running my label, doing everything I'm doing, putting out music for myself, you know, so, you know, but thankfully I'm not the only one doing it, Don Jazzy is doing it.[00:36:39] Olamide is doing it. They're more examples. So one way or the other people are saying it.[00:36:44] Dan Runcie: How do you feel about the investment in African music that has come from the West? So thinking about Universal Music group opening up record label in Africa and some of the other majors having different concentration in Nigeria or elsewhere, how has that been and what type of impact has that had, if any, on your end?[00:37:07] Mr. Eazi: I mean, I think it's good. It's a good signifier because all these labels were in Africa from the years before Fella, right? You had all these labels in Nigeria before, you know, the nationalization where, you know, the government had passed that all the companies should be nationalized and the labels got sold to local owners.[00:37:26] So you are just having, you have Majek Fashek that was on the late, late show, the late night show in 1991, bro. So when people say, oh, African music is then becoming popular. It's been popular. And it's coming back again with technology and everything. So I think it's good. I think the more, you know, major labels coming to Africa, but not just as, or let's test to see what happens.[00:37:52] But the more investment that comes, the more structure there will be for the business and the more signifiers, you know, to show people who wanna invest, you know, so yeah, I welcome it. And I think there should be more funding and there should be more, like the local companies should be autonomous, you know, I think that's been the only drawback with the majors, pardon of me, I might be wrong. Don't quote me where you are seeing the local, you know, Universal Nigeria or Sony or whatever, you know, that lookout team not having a lot of, autonomy in the checks they're writing to the artists or taking those risks they have to get approval from maybe South Africa or, you know, London or LA.[00:38:43] Meanwhile, everything is happening on the ground in Lagos, so you are having distributors. So I think a lot of the most recent successes have been by more distributors than record label in breaking artists. So more like Empire or ONErpm or the Orchid or emPawa or, you know, Believe, because these distributors are more flexible and have been able to give a lot more autonomy to the local guys who are running, these local companies to write those checks because like, what is somebody in London like with all due respect, like I always say this as a joke. There's no songwriter in the world that would've written, I don't care how many Grammys you've, gotten, you cannot write Soco, Soco, Soco, Soco, Soco, baby.[00:39:42] You. That's the Wizkid song, you can't write that song or, one of my favorite artists Wande Coal, there's a part of his song where he just spits jibberish, like he don't mean anything, like it's a vibe. So like without due respect to your A and R ears, you don't know the music like even me, I'm from Nigeria, but I always have to be updated.[00:40:09] So there needs to be more investment and more autonomy. But I love it like the more labels come in and the more distribution companies come in and there's this competition, the more money is invest invested. And when you invest money, then you start to structure it then you start to say, Hey, why are we not making as much money locally?[00:40:29] Okay, let's invest in touring, you know, in Nigeria, in on the continent. let's go lobby for enforcement of collection of royalties. So, yeah.[00:40:40] Dan Runcie: Have you seen any success stories from the major record label side in Africa yet?[00:40:48] Mr. Eazi: There's none that comes to mind in terms of breaking an artist. So you have Wizkid signed, you have Diplo signed, you have Burna Boy signed. you know, and this is like A-list, A-list, right? But if you look at all the artists that have broken Buju for instance, initially signed to Burna Boy and then Empire, broke him, you know, that's Buju, Fire Boy via Empire and Olamide's YBNteams, you know, independently broke with, her record. I think she's been upstreamed now. So in terms of sort of like carrying that conversation, you know, outside to the rest of the world, yes, I'm sure there's been a lot of success like the Wizkid record, you know, Burna Boy, entire Renaissance.[00:41:44] And you could go on and on, but in terms of actually finding an artist and breaking the artist, there's not a lot of successes. And I think that's down to autonomy because, you know, you have some executives moves from the label to the distributors and do well, you know, we just understanding you know, how to a and r and how to put our music, on the continent, and you can't just bring like somebody who's of Nigerian descent and just expect that they don't understand. Like, I am Nigerian, but every time I go back to Lagos, I'm like, whoa, the sound has changed, you know? So that underground on the ground, you know, and there's a lot of work.[00:42:31] Dan Runcie: Definitely, and yeah, I know that there's so much interest, but like you said, if they don't have the control or the ability to really make decisions on their own, I can easily see why an Empire or some of the other distributors have been able to have success there. But Mr. Eazi, man, this was great. I feel like you gave us a snapshot of where everything is right now on music and investing side.[00:42:53] But before we let you go, for you, what's big on the road for you still beginning of the year? What's big on the deck for you? What do you got coming up?[00:43:02] Mr. Eazi: I mean, I kind of like needed a break from putting out music and touring and when COVID happened I was like, oh, thank God, like because I was battling with, oh, if I should, I pause, like it was just routine doing the same thing and it was like too much for me. So I was able to have that pause, and put some of the attention towards like growing emPawa with my co-founder.[00:43:27] And then leaving it to him to sort of like, you know, and come back to iterate, iterate change the model, blah, blah, blah, build the team. And I just went off and started doing like investment and putting more time in the startups I was investing in. And now, I'm in Cape Town recording. I'm putting out two albums this year, one in September and one in, I think April or May.[00:43:55] So I'm just recording that now and I feel like, and now I want to go back on the road, but not first as my usual live band touring, but first as sort of like a curator, where I bring like, you know, the way Major Lazer tour where they have the sound system with Walshy and Diplo and Ape Drums. But instead of Diplo and Ape Drums, I select like the DJs, maybe one playing Afro Pop, one playing Ama one playing something else.[00:44:27] And I am the Walshy Fire, sort of like putting it together, hype man MC. So that's what I want to tour. The first part of the year once I put out the Chop Life album, so that's called Chop Life. To chop life means to enjoy life. So I'm making an sort of Afro dance album that I'll put out first and then I will talk as Chop Life sound system with doing these parties.[00:44:53] you know, of majorly Afro Beat parties, sound system across the world. And then I dropped the album, the second album, and I taught as, okay, this is my album tour. So that's the plan. Hopefully I'm able to complete the first album. The second album is done, it is just in mixing a mastering, that's the September one.[00:45:13] It's done just in mix. And my string phase and then this first one, I'm recording. That's what I'm recording right now. Recording downstairs.[00:45:21] Dan Runcie: Nice. Nice. Well, looking forward to all of that, man, and thank you. No, this has been a pleasure. And yeah, so people that wanna follow along and keep up with all that, where should they go to follow you?[00:45:30] Mr. Eazi: Follow me everywhere on social media @mreazi, M R E A Z I, Mr. Eazi. Yeah, everywhere, everywhere on social media.[00:45:44] And I wanna see you at one of my shows. You have to come maybe when I do the parties, where are you right now?[00:45:49] Dan Runcie: Me, I'm in San Francisco[00:45:51] Mr. Eazi: Cool. I'm, sure I'll be coming around LA, San Fran, at some point[00:45:55] Dan Runcie: Yeah, come through.[00:45:57] Mr. Eazi: I'd send you an invite,[00:45:58] Dan Runcie: Definitely, definitely. All right, man. We'll talk soon.[00:46:01] Mr. Eazi: All right. Have a good one. Thank you.[00:46:03] Dan Runcie Outro: If you enjoyed this podcast, go ahead and share it with a friend. Copy the link, text it to a friend, post it in your group chat. Post it in your Slack groups. Wherever you and your people talk, spread the word. That's how capital continues to grow and continues to reach the right people. And while you're at it, if you use Apple Podcast, go ahead.[00:46:24] Rate the podcast, give it a high rating, and leave a review. Tell people why you like the podcast. That helps more people. Discover the show. Thank you in advance. Talk to you next week. 

Amazon announced on February 24 that it will integrate its logistics network and SmartCommerce, a suite of SaaS products built on Amazon Web Services, with the government of India-backed Open Network for Digital Commerce (ONDC). Ericsson has announced the largest layoff in the telecom sector in the current economic slowdown, Reuters reports. Also in this brief, Nokia has announced the G22 – a smartphone with a backplate made from recycled plastic that can be removed easily for DIY repairs; and the latest on how India is stepping up its semiconductor efforts. Notes: Amazon will integrate its logistics network and SmartCommerce, a suite of SaaS products built on Amazon Web Services, with the Open Network for Digital Commerce (ONDC), the open networks-based ecommerce protocols backed by the Indian government. “This will be Amazon's initial collaboration with ONDC as we continue to explore other potential opportunities for stronger integration between the two in future,” the company said in a press release on Feb. 24. In some smartphone news, Nokia has designed one of its next phones to make it easy for repairs, with a design that harkens back to the early years of mobile phones. The Nokia G22, developed by Finnish manufacturer HMD Global, is a standard smartphone with a 6.5-inch screen and a 50-megapixel main camera, but it's the phone's outer shell and insides that make it special, CNBC reports. The handset includes a recyclable plastic back which can be easily removed to swap out broken components, according to CNBC. With tools and repair guides from hardware repair advocacy firm iFixit, a user can remove and replace the phone's cover, battery, screen and charging port. More on Scandinavia, Telecom equipment maker Ericsson will lay off 8,500 employees globally as part of its plan to cut costs, Reuters reported on Feb. 24, citing a memo sent to employees and seen by the news agency. While technology companies such as Microsoft, Meta and Google have laid off tens of thousands of employees citing economic conditions, Ericsson's move would be the largest layoff to hit the telecoms industry, according to Reuters. In some semiconductor industry news, India's minister of state for electronics and IT, Rajeev Chandrasekhar said last week that India Semiconductor Research Centre (ISRC), a private, industry-led research centre, will soon be launched and the existing Semiconductor Laboratory is being modernised and pivoted into a research fab that will be co-located with the ISRC. The minister was speaking at the opening of the second Semicon India FutureDESIGN Roadshow, on Feb. 24, in Bengaluru. The Government plans to introduce an educational curriculum as part of the Future Skills programme, Chandrasekhar said. “It has been developed in collaboration with industry experts and academics. A large number of colleges will have new degrees, new electives, and new certification programs in VLSI.” “We are actively working with fab companies to create on-the-job training type of internships for students in the semiconductor space,” he said, according to a government press release.

ISRC codes generate money for you, in short, use them! You can generate codes here: www.ppluk.com (I forgot to mention it's free to join!) Join us on our Facebook Group: Music Survival Guide Community Come and follow us on Instagram! We are at: Music Survival Guide Podcast Phil's Page Phil can be found at: www.philthemixengineer.com Phil can be emailed at: Phil@philthemixengineer.com If you want to get in contact with us at the podcast, email us at: musicsurvivalguide@gmail.com

Recording Artists Dr. Pastor P Archie & Dr. Pastor Bonjaretha Archie is a husband-and-wife independent gospel music duo group, and they are both Pastors/Founders of “Born Twice Street Ministries” and “Another Chance to Serve Street Ministries” here in Montgomery, Alabama. The Archie's have a radio show that broadcasts on Hallelujah 104.3 every Sunday at 7Pm and on Praise 96.5 Monday thru Friday with Inspirational Quotes. God called them both and ordained their marriage to get the glory through unification. The theme scripture for Born Twice Ministries comes from John 3:3 “Jesus answered and said to him, most assuredly I say to you; unless one is born again, he cannot see the Kingdom of God.” Our Ministry is based on giving and serving the communities by showing love, feeding the hungry, housing the homeless, and Introducing Jesus Christ. The Archie's are Kingdom Minded Soul Winners, Pastors, Speakers, Soloists, Song writers, Recording Artists, Liturgical Praise Dancers, and Performers. The Archie's are multitalented Artist that sings different types of genes such as Contemporary, Traditional and Urban Gospel with an R&B Jazzy sounds. Their inspirations are expressed to diverse groups by encouraging others that they can overcome obstacles, challenges, and setbacks in life no matter what they are going through. Our Music and Video is registered with BDS and Sound Exchange and is coded with ISRC & UPC Codes. The Archie's can also be followed on all social media and their music and be purchased from www.drpastorparchie.com. Dr. Pastor P. Archie https://www.drpastorparchie.com https://www.facebook.com/DrPastorPArchie https://www.youtube.com/channel/UCWiKG8DtvrjcA8UrrD2SyKw https://www.instagram.com/drpastorp https://www.tiktok.com/@drpastorparchie https://twitter.com/pastorarchie1 Dr. Bonjaretha Carter Archie http://drbonjarethacarchie.com/ www.facebook.com/DrBonjaretha https://www.youtube.com/channel/UC6pUGsbFh8mA6NLccaZ9hjQ https://www.instagram.com/drbonjarethacarchie/ https://www.tiktok.com/@drbonjarethacartera https://twitter.com/bonjarethaA Our music is available on all digital platforms. Our song Titled “Always On Time” is being played on Internet Radio Stations and has charted at #11 and Terrestrial Radio Stations in different States. Listed below are some of the Digital Platforms, Titles, ISRC and UPC. https://www.iheart.com/artist/dr-pastor-p-archie https://soundcloud.com/drpastorparchie https://open.spotify.com/artist/1SQ6pYgbnh3jPdeTim3iKV?si=nDDC9HkPSNCQArSEWNQnwA https://www.amazon.com/drpastorparchie https://music.apple.com/drpastorparchie --- Send in a voice message: https://anchor.fm/keith-paul6/message Support this podcast: https://anchor.fm/keith-paul6/support

On this episode of the music is my business podcast I hosted a live Q and A session about:  How to maximize sync license on R&B/Soul Producer? Is it good idea to exclusively sign 100% of your publishing over in perpetuity to a music library? If I do sync under a different production name, do I need a separate registration with ASCAP? How should loops be used with sync beats and what types are safe? When you purchase all your ISRC codes for all of your music, where are all the plays you can detach those codes as far as streaming goes? Follow Clint on IG: https://www.instagram.com/clintmusic Watch Clint on Youtube: https://www.youtube.com/aclintjr Link To Resources: https://www.clintproductions.com/linkinbio Urban Mixing Made Simple - https://www.clintproductions.com/courses Road To 10 Placements - https://www.roadto10placements.com

David A. Dodd is the head of the globally recognized International Sustainable Resilience Center, Inc (ISRC), and having dealt with two near death experiences, David has a unique take on resilience at both the macro and micro scale. After surviving his two near death experiences, he was determined to make a positive impact on this world. In 2005, when Hurricane Katrina hit, David shifted his focus to disaster recovery and resilience. In 2011, while crafting an economic recovery strategy for Japan after the Fukushima Tsunami, the idea of the International Sustainable Resilience Center was born. ISRC is dedicated to furthering the United Nations 17 Sustainable Development Goals and is one of 8 Public Private Partnership (PPP) Specialist Centers of Excellence affiliated with the United Nations Economic Commission for Europe International PPP Centre of Excellence. ISRC strives to improve disaster resilience and sustainability worldwide by specializing in providing "People first" PPPs that are sustainable and enhance disaster resilience, as well as integrating sustainability and resilience into PPPs of all types, globally. Think he's prepared to take on a challenge to make his own life more sustainable? Find David A. Dodd Online: The International Sustainable Resilience Center (ISRC) Homepage David A. Dodd on LinkedIn Find me online: This Sustainable Life: Solve For Nature Podcast: https://anchor.fm/solvefornature Blog: https://verdantgrowth.blog/ YouTube: https://www.youtube.com/channel/UC24IiwM0BPQ-_3DVz2KnuVw Twitter: https://twitter.com/VerdantGrowth Facebook: https://www.facebook.com/realverdantgrowth Instagram: http://instagram.com/verdant.growth or http://instagram.com/verdantgrowthofficial --- Support this podcast: https://anchor.fm/solvefornature/support

Fredrik snackar med Tomas och Dennis från Undeco om Youtubes API:er, musiklicenser, och standarder däromkring. Undeco har byggt en tjänst som hjälper till att hantera musiklicenser på Youtube, vilket tvingat dem ner i åtskilliga kaninhål. Till exempel Youtube-API:er med dokumentation som var aktuell 2013, standarder där fält är obligatoriska men inga regler finns för värdena, och mycket mer. Allt inom områden såpass nischade att Stack overflow inte är till någon som helst hjälp. Mot slutet berättar Tomas och Dennis lite om miljön man valt att utveckla i - vad sägs om PHP ihop med serverless på Amazon lambda? Det funkar bra trots att ingen pratar om det, och läskiga räkningar har inte uppenbarat sig. Det svåra tänket är att sluta förutsätta ett filsystem. Avsnittet sponsras av Länsförsäkringar, som kraftsamlar och investerar för ett digitalt kundmöte i landslagsklass. Surfa in på Lf.se/itjobb för mer information om att jobba på Länsförsäkringar! Ett stort tack till Cloudnet som sponsrar vår VPS! Har du kommentarer, frågor eller tips? Vi är @kodsnack, @tobiashieta, @oferlund, och @bjoreman på Twitter, har en sida på Facebook och epostas på info@kodsnack.se om du vill skriva längre. Vi läser allt som skickas. Gillar du Kodsnack får du hemskt gärna recensera oss i iTunes! Du kan också stödja podden genom att ge oss en kaffe (eller två!) på Ko-fi, eller handla något i vår butik. Länkar Tomas Dennis Undeco Stim Cora music - licensierar musik till privatpersoner Youtubes CMS/Youtube studio Content ID - Youtubes grunka som kollar om man innehåller musik under copyright ISRC-koder - international standard recording code DDEX IWK - ICE work key - som STIM använder för att identifiera verk. Fascinerande ogooglingsbart, så länken går till organisationen bakom nyckeln Youtubes partner-API - ibland känt som Content ID API, kärt barn har många namn SOAP Länsförsäkringar - veckans sponsor Lf.se/itjobb - för mer information om att jobba på Länsförsäkringar Mikael Nyman PHP Serverless Amazon lambda S3 Object keys - S3:s “filnamn” PHPspreadsheet Laravel Jobs i Laravel Taylor - som utvecklar Laravel Hiphop VM Octane - Hiphop för Laravel, typ Titlar Jag bjöd in mig själv Den stora frågan Är det någon som äger den här låten? Musikrättigheter Någon har inte angett rätt information någon gång i tiden När Youtube försöker vara smarta De tänker på allting som att det är fysiskt Ett Exceldokument och en mapp Du kan glömma att du kan googla det här Aktuell ifrån 2013 Youtubes hörn Youtubes källare Ungefär tusen En MP3-fil med licenser Lokalt har vi ju ett filsystem En liten monolit En serverlös monolit

My guest on this episode is music industry veteran, Jay Gilbert. Jay wears a lot of hats. He's a musician, photographer, marketer, speaker, and music executive. Jay has worked as a creative consultant to many record companies and artists. He hosts The Music Biz Weekly Podcast, is a Co-founder of Label Logic, and runs the weekly music newsletter Your Morning Coffee.Label Logic helps artists, managers, and labels grow their audience and optimize their presence across all platforms. Jay's newsletter is curated to give a weekly snapshot of the new music business. It's everything you need to know, delivered to your inbox every Friday morning.I talk with Jay about his shift to being a content creator. We talk about life as a musician, working in the music industry, and being a photographer. We also talk about his management company, and his advice for creators wanting to build their audience. Jay also shares some behind the scenes stories, and much more.In this episode, you'll learn: Simple hacks to grow your newsletter Defining and reaching your target audience Low-budget tricks to instantly add new subscribers Jay's #1 metric for becoming a successful creator Links & Resources ConvertKit Ben Barnes People Jeff Moscow Travis Tritt Ali Abdaal ConvertKit's Creator Sessions Music Connect (MRC) Chartmetric Viberate Soundcharts Pollstar Cherie Hu Amber Horsburgh Glenn Peoples Bobby Owsinski Bruce Houghton Hypebot Sound & Vision Music Technology Policy Nancy Wilson Roblox Jay Gilbert's Links Follow Jay on Twitter Your Morning Coffee newsletter Ben Barnes 11:11 on People.com JayGilbert.net Label Logic The Music Biz Weekly Podcast Episode Transcript[00:00:00] Jay:The harder I work, the luckier I get. You make your own luck. You see these people, and you're like, “Wow, that guy just blew up on TikTok or, Twitch, or on Spotify, or Apple Music!” Sometimes that happens. Not very often, and it usually it's a lot of hard work.[00:00:26] Nathan:In this episode, I talk to Jay Gilbert. Jay's a music industry veteran. He's been at it for a very long time. What I love is that he's also made this shift into being a content creator, as well as being a musician and a photographer. So many incredible things. He's got this newsletter about the music industry called Your Morning Coffee, and he's grown into over 15,000 subscribers.It's the thing that everyone in the music industry is reading every Friday morning. We talk about how he grew that, his passion for the music industry, how the industry has shifted, what's working, what's not. He also runs a management company called Label Logic where they're partnering with, artists and managers, and doing these album releases, and so much else.He's got all these behind the scenes stories, and a lot of advice that is not only for the music industry, but also for any creator looking to build an audience, and endure long enough to get noticed, and to build a brand and everything else. It's really good towards the end.I also sneak in some selfish questions about what would he do to grow ConvertKit; what's his advice for ConvertKit entering the music industry.Jay, welcome to the show.[00:01:39] Jay:Hey, thanks for having me, Nathan. Good morning.[00:01:41] Nathan:Good morning.We'll dive into some of your background, what you're working on now, but you actually had a pretty big project launch today.What did you launch today?[00:01:54] Jay:Well, when you launch a big project, sometimes it's like a wedding. You have all this planning, planning, planning, and then boom, there it is. It was pretty exciting this morning. We've had to keep quiet about this project. It's Ben Barnes, who is a pretty famous actor, but most people don't know he's a brilliant singer songwriter and pianist.We've recorded this really great record. We've got some amazing videos, given his relationships in that area. They're quite special. We launched a window of exclusivity this morning with People Magazine.So, if you go to People.com, you'll see. the video is debuting. It's pretty special, and we're really excited about it. It gets released tomorrow. The song's called 11:11, by Ben Barnes. It's pretty cool. I think you'll dig it.[00:02:53] Nathan:Nice. Yeah. If anyone doesn't recognize the name, Ben Barnes, he plays Prince Caspian. I've been a fan of the Narnia series and all that for a long time. I think my kids actually just rewatched Prince Caspian two weeks ago.[00:03:09] Jay:Have you seen shadow and bone yet?You got to check out shadow and bone. My, my wife and I binged watched it. And he's, he's brilliant in that, but it's a really cool series.[00:03:21] Nathan:Nice. Okay. So maybe with that, of like a snapshot of, of what you just launched, Let's talk about, a little bit about, logic[00:03:32] Jay:Sure.[00:03:33] Nathan:You know, what types of projects you do. And then we can go back to like the road to get.[00:03:38] Jay:Yeah, well, Label Logic was born out of my partner, Jeff Moscow, and I working in the major label ecosystem for years and years. And we finally got to a point where we were meeting one day for coffee and said, you know, we started our own.So we both worked at universal for a long time. He was there 20 years.I was there 18 years. I worked at Warner music, for five years managing Amazon's business for we at ADA, globally, which was fantastic. but we decided to do our own things. It's about seven years ago, give or take,[00:04:16] Nathan:Yeah.[00:04:17] Jay:We started talking to. Some clients that we had at universal and we sort of became the label infrastructure for some management companies.One of our long-term clients and friends is doc McGee, who you might know, manages kiss. And he managed, you know, Motley, Crue and Bon Jovi and Diana Ross and the Supremes. Anyway, doc is a mentor, a friend and a client. And we came in and one of our first projects was working with him and his stable of artists.And what was exciting about that is that you'd have some artists that were new developing artists. They're never played live before all the way to people filling up arenas. And so the release cycles would change out and it was very dynamic and very exciting. So. That's what Label Logic is all about. We typically are sort of the label infrastructure, for managers, some artists, you know, we also work with some labels and distributors.I think one of our most exciting projects was taking and creating this thing called resilience music Alliance, with the principals there and they signed the artists. We did, you know, the marketing and digital strategy and help them get all the planes flying in formation. And w you know, we won a Grammy last year, so it was really exciting just going from zero to 60, you know, just building something with your own two hands.[00:05:46] Nathan:Yeah. So what is the, for someone who's outside the music industry and they're like this. Just magic. Somehow you find artists and then somehow that goes all the way through to your album releases. When he grabbed me, things like that, like, what are the specific things that, that you're helping out on and playing in?What, what's your role there?[00:06:06] Jay:Yeah, good question. It really is the unsexy nuts and bolts things about setting up a release, everything from securing ISRC codes to shooting the album cover to making sure the, the album is recorded and delivered on time. It's all the creative surrounding it. You know, all of the banners and videos and press release and bio, and there's so much of this to do.That we organize it all. And then we help, excuse me with partners. You may need a publicist. You may need somebody to work sync licensing. You may need somebody for March, right? There are all these different things that you need to do. And we basically, we like to say that we're planners, but we're also problem solvers because every single project is different and has different needs.We recently launched a new album by Travis Tritt. Fantastic record. His team is button. They are experienced. So we took on really more of a, more of a planning role putting together the marketing plans. But then we have some artists that have never released music before. So it's a little more handholding, you know, all those certain things, because it's not about gaming the system today.It's really more about optimization. People always come to us and they say, well, I got to get on this plane. or I want my YouTube numbers to be up and we have t-shirts printed that say a playlist is not a marketing plan, right. Because our playlist important. Sure. They are, but that's down the road.There's so much to do before that. And really when I talk about optimization, when it comes to YouTube or DSPs like Spotify, apple music, Pandora, Deezer, it's not about gaming the system. It's about optimum. Right. And when you do that optimization, whether it's with your website, DSPs, press, any of that good things typically happen.[00:08:02] Nathan:What's an example of some of that optimization that, works rather than, you know, maybe what people are latching onto is is a magic bullet.[00:08:12] Jay:Yeah, couple of obvious ones. Let's take YouTube and Spotify, Spotify, because you can do more with Spotify than any other DSP. As far as you can change out your image, your banner image, your, your avatar, your artist image. You can add, I think 140 images. to your profile, you can put your social links, you can put your bio, there's, all these things that you can do that you can't do.Other places, not all of them.[00:08:38] Nathan:Yeah.[00:08:38] Jay:So, you know, you'd be surprised how many times we'll go look at somebody's Spotify profile and it's an old image and there's somebody in the photo that's not even in the band anymore, or it's just, it's just dated. And you look at the bio and it's, it's dated one of the first places we look, is someone's Spotify profile.Is it updated? YouTube is a really great example. Optimizing for YouTube is so easy and yet a lot of artists miss it. YouTube is not just a place to go drop your music. YouTube is something that, you know, through their community, through your, your artist page. So many things that you can do with that, the common mistakes we see is an obvious one.You know, the name of the videos should be artists titled. Artists title version, and they're mixed up and they're all over the place you want to optimize for that search, right? You want to, for example, the thumbnail, sometimes you go in and look at people's videos and there's literally a picture of somebody blinking is the cover of the video.[00:09:44] Nathan:Right. Cause this is what will, what YouTube selected randomly.[00:09:47] Jay:Yeah. And, and as you know, you can, they'll give you like three or four choices and you can pick one of those, but you can upload any image you want to be on though. And so we have actually a deck that we put together on YouTube and we show these examples of like, here's Lizzo and look at this. It's perfect.It's a beautiful photo of her. And it's, and then you look at the description, you know, is there a smart URL in there? You know, so. I don't recommend people put Spotify, apple, Pandora, Deezer, Amazon music, just put a smart URL in there. Have somebody click on that and then they can choose the platform, whether it was.Downloads, probably not physical, digital, YouTube website, all of that stuff. It's so easy to do. And then also in that description, anything that somebody might care about, who, who shot it, who produced it? Show me the lyrics, you know, give me put all that information in there. So it's, it's searchable. there that's, those are a couple of simple examples of optimization.[00:10:44] Nathan:Yeah. You know, it's interesting. one of the earlier guests that have the show, his name's Ali doll, and he's a YouTuber and he's got 2 million subscribers who's channel and he's just built this incredible, business. And I always think about YouTube as like him optimizing, you know, video like thumbnails and all of those details.Like obviously Lizzo is doing the same thing or really her team is doing that. Right. But it's, it's the exact same. game just in two different industries.[00:11:13] Jay:Yeah, it is. And another way to optimize YouTube, for example, and you can watch what you know, Justin Bieber's doing, and you can learn a lot from those things. one of my favorite writers and marketers is Amber Horsburgh and she did kind of a breakdown of. Some of these marketing campaigns, including Justin Bieber.And one of the things that you see is something we stress all the time. YouTube optimization. You don't just post your concept video or whatever your music video, you still have like five videos, six videos, meaning, you know, you want to have that concept video, but you also may want to lyric video. You may want a stripped down video.You may want a live video, right? there's so many like a pseudo video. It goes by a bunch of different names, but I know you've seen these where it's just the album art. And the audio bed. And sometimes people look at those and go, well, why that's not a video? Why is that on YouTube? Well, that's because YouTube is the number one destination to listen to music.It's not Spotify. Right? It's, it's YouTube people create playlists from those, you know? so it's really important to. Optimized for all of these platforms. And that, that means socials, you know, Facebook, Twitter, Instagram, YouTube, as well as the DSPs, as well as all of these. And again, it's not gaming the system.The problem we run into sometimes is people will come to us and they'll say, oh, well, you know, I, I bought these spins or I bought these lights. Well, now you're in trouble because number one, you can get pulled off of Spotify, right? in January 750,000 tracks were pulled off of Spotify for using bots and spin farms.Right. So[00:13:05] Nathan:Quickly,[00:13:06] Jay:Very careful[00:13:07] Nathan:Someone spinning up a whole bunch of computers and bots to go listen to the song on Spotify to be like, look, I now have a million plays.[00:13:17] Jay:Right?[00:13:18] Nathan:Um[00:13:18] Jay:Yeah. But they're not real, right.[00:13:20] Nathan:Yeah. Okay. I I've definitely seen that on Instagram, Twitter. But like, yeah, it makes sense that, that it exists on[00:13:28] Jay:Yeah[00:13:29] Nathan:First thing that you look at when, when I, like, when we're looking to book an artist for a creator sessions or, or some, one of our other projects, you know, you're, you're, it's that first source of credibility of like, oh, wow.That has two to 2 million plays this. Person's getting a lot of traction.[00:13:44] Jay:But what we look at instead of looking at those numbers, we look at engagement and when you look at engagement, sometimes you see the audience grow and that's going up, up, up. But if you don't see the engagement growing along with it, Then you know, that those aren't real people, because when you use bots and spin farms to Jack up these numbers, yes, it's dangerous because it can get you in trouble, but it screws with all of your, data, which is so important, right?The, what you really want. is Engagement. You want people to like, yeah, you want people to follow, but you want people to listen, share comment. That's real engagement, man. You get that. Uh that's that's the prize.[00:14:29] Nathan:Yeah. So let's go back. as you're getting into music, what, like, in the, in the early days, what was the hook for you? What, what brought you to the whole industry?[00:14:39] Jay:Oh, my gosh. Well, my, my family's musical, you know, my brother, you know, he's a Writer record producer, graphic design artists. my mom played piano. My grandfather played sax and big band. You know, I started a little high school band and ended up, you know, touring in bands and playing, writing, recording. So I kind of got to know how the sausage was made and, and I loved working in record stores.I worked for an indie record store. I worked for tower records for five years. There's so much fun.Um and[00:15:08] Nathan:Been in the industry.[00:15:09] Jay:Yeah, I've always been in music and, working at universal was just such a joy. learned so much. yeah, I've always been surrounded by, by music ever since I was little kid.[00:15:21] Nathan:What's something as a,[00:15:24] Jay:Oh[00:15:25] Nathan:If you're talking to an outsider, maybe a common misconception they have, know, someone who's a fan of music then you're like, oh, this is actually how it works that you find yourself explaining or,[00:15:37] Jay:Oh, my gosh, we could talk for days.[00:15:39] Nathan:Yeah.[00:15:40] Jay:I wish people understood that the harder I work, the luckier, I get, you make your own luck. You know, you see these people and you're like, wow, that guy just blew up on TikTok or, you know, Twitch or on Spotify or apple music. Sometimes that happens not very often.And it usually it's a lot of hard work, you know? I asked an ANR person before the. You know, how do you choose who you signed to your label today with all of this data? And he said the same way. I always do. I look for that line up around the block for people to see him play, right? So it's, it's a new music business and we can now see with all this data what's going on.But I think the common misconception is there's a similar. There isn't a silver bullet, you know, it's, it's a lot of hard work and it's a lot of finding your tribe. And I say that a lot because you need to find your audience. I talk to people all the time about finding that audience and they think they know who their audience is.If you talk to any manager, artists, they, they they'll have a sense. Like, well, my demo, my artists or my, my fan base, I mean is 25 year old. But there are three audiences, right? There's one sales streams and downloads. So the commerce side to the butts in the seats. So when you're touring, who's actually out in the crowd, right.And then three, you know, kind of the social side of it. Facebook, Twitter, Instagram, those three audiences, rarely aligned completely. And there's always something to learn. I was talking to an artist recently who thought that. Their crowd was 25 year old, females, because that's who they saw in the crowd.But if you look at the other data, that's not who's quote unquote consuming their music. So there are a lot of misconceptions, but, I heard this really great line about data and analytics. It's like a lamppost. You can use it to aluminate or you can use it to lean on. And most people use it to lean on, like, see, I told you that's, that's what I thought my data is.But really, if you go in and look at all this, analytics, you'll find that there's always something you can learn in there about your audience and how to reach your audience.[00:17:57] Nathan:I like that because I catch myself doing that of like, Let me go dig for the data that proves the point thatI already my existing worldview and that they were having that debate. Yeah. See, this is what proves it. And you can go back and, and[00:18:14] Jay:Right[00:18:15] Nathan:The data say almost whatever you want.If you come at it with that[00:18:18] Jay:Yeah, absolutely. And today there's so many great places to find data like real great data. Like for example, you know, it used to be called SoundScan right now. It's called MRC connect. Same thing. You can get real numbers for sales, streams, and downloads. That is so helpful. And you can see data from previous releases and kind of get a sense of that.There are these great platforms like chart, metric and vibrate and sound charts, where you can go in and see what playlist was I added to which ones, where I dropped off of what position was I in? How many times was it skipped? You know, there's so many great data platforms out there, but it's almost like there's too much, you know, you need to kind of focus on what, what do you want to do?You know, some people want to route a tour, So that's really easy. You can kind of see what markets you're over-performing in. You can download data from Pollstar and see if you played in those markets before, you know, how did you perform? So we're really big on data, but you kind of have to look at it carefully and decide what you're trying to learn from it.If that makes sense.[00:19:30] Nathan:How do you think about the intersection, between the different platforms? Like, if you're actually say we're promoting it to her or, a new album release or something like that, what are you recommending as far as where artists build, you know, build their audience. and then, yeah. How do you think about the intersection when it actually comes time to drive?[00:19:49] Jay:Yeah. And that's, that's a great question because it's so different for every artist in every release, right? So you kind of have to look where, where is my. You know, they may, maybe they're still buying physical. Maybe you're a jazz artist and that's a, still a, an album format. So you want to look at Amazon.You want to look at places, indie retail, where people are buying the full album and they want to experience that way. then you look at maybe EDM or country, every kind of genre and mood has its own nuances. I think it's really important to find out who your audience is, what their behaviors are. And then a real simple thing is when it comes to social media, so many artists today, they have so many choices and it's not just writing and recording and touring.Now they got a post on socials and create videos and comment. I mean, it's so much, so what we tell people is take a step back. What are you killing? Yeah, right. And a lot of them it's Instagram, right? Some of them it's TikTok focus on that. You don't have to be all things to all people, you know, find out where that crowd is, where your audience is and really work that, and then kind of grow it from there.And hopefully you'll get to a point, like we were talking about Lizzo, where you have a team surrounding you that can attack all those different platforms.[00:21:16] Nathan:Yeah, think there's a tendency. I see this in founders and entrepreneurs and marketers, like all across the board. I've, we're so used to failing at things like trying things and failing. They like tried this didn't work and in order to continue to be a founder or a marketer and you have to try the next thing tried that didn't work tried that didn't work, this, it worked.[00:21:38] Jay:Yeah[00:21:39] Nathan:So then I tried this and it didn't work and this, and it didn't work. And you're like, hold on. But what about the thing that did work and, you know, we move on so quickly and we see like every case study of[00:21:49] Jay:Yeah. And it's so different per artists. So the thing that you just described as spot on, but let's say we did that for Ben Barnes. Well, our next artist, we got to start from scratch because the things that worked for Ben probably aren't going to work for Travis Tritt. There they're totally different animals.So I love trying things. I love trying new platforms and, you know, there are a handful of things that really work across everything. And so you kind of start with those in your marketing plan, like. Tools is bands in town. Now everybody knows bands in town. It's got like 55 million people have this app on their phone and it says, Hey, Nathan, you know, the accidentals are coming to your town in a couple of weeks and you're like, oh cool.And then you can buy your ticket and stuff. They look at your music library, but what a lot of people don't know is that you can go in there and look at how many people are attracting. Right. And usually it's thousands. You know, you look at these artists, they don't even know they have thousands of trackers and bands in town.Well, you can reach out to them for free and say, Hey, I've got a new release coming out. or I'm going to be in a, there's a tour and I'm going to be in your area. But what's really exciting about bands in town is that I can look at like competitive artists fan bases. So if I know that my artists. You know, then maybe there, they would appeal to the Chainsmokers crowd.I, for 5 cents an email, I can target them and say, Hey, you guys dig the chain smokers. You, you might dig this too. So there are a lot of little platforms like that, like you were talking about, which is so important. You got to try. All the time. And you know, as Paul Stanley said, the road to success, isn't from here to success.It's failure, failure, failure, failure, success.[00:23:37] Nathan:Yeah, for sure. Are there any trends going on in the music industry now that concern you things where like, as, as you've watched it develop, you're like, I'm not sure where this is headed and I'm not sure that it's going to be good for the artists. Good for the fans and any of those things.[00:23:51] Jay:Not a lot. I think it's, it's changed while we've been having this conversation. The music business is evolving so quickly and you know, I do a weekly podcast and newsletter for the music industry and we break down the stories every week and it's so fascinating to me. How quickly it's evolving. And, you know, for example, you see companies like hypnosis and primary wave and BMG buying up all of these rights.And you're wondering like, well, they're paying these huge multiples what's going on here. And some of these heritage artists are getting hundreds of millions of dollars. And then in the last couple of weeks, you've really seen these stories about interpolation. Coming out, meaning that instead of using a sample, they're just using the melody of a Olivia Newton, John or Taylor swift song in a new song.And it, no one's getting sued because they're crediting the writers and they're paying the publishing and you may find two or three interpolations in one song. Olivia Rodriguez recently, there's so many. Of these things that are evolving so quickly, TikTok, it just blows my mind sometimes how fast you can gain an audience there, but it's one of the hardest platforms to gain real engagement.So you can gain those numbers, but how do you hold onto them? It reminds me of some of these artists that are on these talent shows, you know, American idol, the voice America's got talent, whatever you got to grab that audience. Once they're off that show, you have to engage them quickly or it's gone. cause you'll have huge numbers from being on those shows.But if you don't engage with that crowd and keep them interested in, you'll still have those big numbers of YouTube subscribers and followers. But the engagement just drops right off the cliff. So as far as the trends that concern me, I think the biggest thing we touched on, you know, people who try to buy likes, follows spins.I just, I think that's horrible and it's so dangerous for their career. we always tell people. We manage 20 careers. you're, you're managing one yours. You need to take that really seriously. And, we, we advise against trying to game the system. I have a friend of mine who's really big in SEO search engine optimization and, he's very good at it.And he always tells me. These people come to me and they've messed with their website, for example, to get it to come up in search. And he laughs and he says, look, Google's got, Google has like 200 highly trained engineers working on this stuff. And you think you're going to trick them with your little, you know, metadata trick, you know, maybe for 10 minutes, but it's always best to have a plan, have a marketing plan.Optimize for everything. you do that and avoid some of these pitfalls. Yeah. Those are the things that concerned me. It's just people trying to, find a shortcut.[00:26:58] Nathan:Yeah, that makes sense. you dropped a bunch of things in there that I, I want to talk about and dive into, but maybe starting with the music back catalogs that are being purchased, those rights, I'm always super curious about things like that, because. You know, as a creator, you're working on things that feel like they're in the moment.And I have a few friends who are successful authors who are pretty prolific, like they'll write a book year, a book every other year. one friend said like, basically like putting out annuities where you have this, this thing and add you as you add to your catalog. It just. Let's say this book is going to sell $50,000 worth copies its long tail every year.Like clockwork, time you come out with a new one, it adds that there's another 50,000 a year, plus it gives it a little bump. And so you see creators who are these big spikes, and then that's kind of it. You also see creators who are continually adding to the back.[00:27:54] Jay:Yeah.[00:27:55] Nathan:Like explain more for anyone who doesn't understand on the music side, why these catalogs are so valuable and why, you know, people are paying[00:28:04] Jay:Yeah.[00:28:04] Nathan:Of millions, hundreds of[00:28:05] Jay:Yeah Well, it's just math at this point. What's happened is with streaming. Now there's some predictable. There's some planning involved. So if you have a catalog, you know, you look at like Stevie Nicks sold hers, or at least a big portion of it. And Bob Dylan, there's a predictability now that there wasn't before on how much revenue that's going to generate on, on two sides, one the publishing, right?For the, for the songwriters and then the master, you know, so with that predictability comes, some of them are just banging. You know, they come in there and they say, okay, this catalog is worth this much money. And this is how much it makes over a year. Let's say it makes a hundred thousand dollars a year.Well, we're going to pay you for 10 years or 20 years worth and cut you a check right now. So we call those multiples and some of these companies are paying super high multiples and almost jacking up the price. It's kind of a land grab in some respects. So. It really doesn't help a new developing artist a lot right now.But if you've co-written songs with people and you've got music out there, There, there is money to be had there. If you want that big payoff, some people are selling off their publishing. Some people are selling it off for a term. Some people are selling their masters off and it makes sense for somebody let's say Stevie Nicks, cause she's in her seventies.Now it's a state planning and she can, you know, get all of that money and help her family and whatever. So I'm not necessarily against. At all. but what I really love is watching how these companies are now going to exploit that catalog. And I mean that in the best possible way, exploited, how are they going to generate the right revenue?And that interpolations that I talked about a minute ago. That is one way, you know, there was a story last week, and they talked about primary wave having, you know, these writer's camp. And using their top 40 or 50 tracks that they have the rights to, and having these writers write songs surrounding those melodies.And again, those writers will be credited those writers and the publishers and all of that, but that's kind of the new trend too. So yeah[00:30:35] Nathan:Yeah that's fascinating. it'll be interesting to see how it keeps developing Another thing that you talked about a little bit is, uh your newsletter, which I want to get into, what, like so many people consume content, what was the thing that made you switch and say Hey, I want to be to be one of the, people on the creator side, commenting on the industry and building an audience[00:30:58] Jay:Yeah[00:30:58] Nathan:That's like, it feels like you've been more of a behind the scenes guy for a long time. And now there's a little bit of at least you're going to be a front of house for all the behind the scenes people.[00:31:11] Jay:Yeah, no, that's, that's a good point. I think what happened was I had left Warner music group and I was deciding do I want to start my own company. Do I want to go back working for a major? And I got this email from Sean Rakowski who used to be the head of sales for ADA. And all it was was about a dozen of.These songs and albums that he had found that were really good. And he was sharing it with a hundred people. So I called him up and I said, this is cool, but you know, why are you doing this? And he said, well, I'm kind of between jobs. I don't know where I'm going to go right now. And I just don't want people to forget me and the light bulb went on and I went, I'm going to do that.So I did something you're not supposed to do. And that is, I created an email and just basically sent it to a couple hundred people in my. my contacts, you're typically supposed to ask for permission, but I just decided, you know what, I'm just going to do this and what do I love Well I love music and technology.So I'll just do a recap, every week and what I knew at the time. was that People don't like to read. I love reading stories on technology and music, but not everybody does, but they want to know what's going on. So I put an image and then just a two, to three sentence blurb. So even if you don't read those top dozen stories in your morning coffee, you can read that little blurb and go, oh, okay.Well, this is going on. You know, here's some changes that here's some platforms that are coming up. This is what's going on with the music modernization act or NFTs or whatever. And. All of a sudden. It started to grow. And that little newsletter to a couple hundred people is now over 15,000 people and we have advertisers and now we have a weekly podcast, we've been doing for a year where we break down the stories.So I didn't have this grand plan of, I'm going to create this newsletter for the industry. And no, I just didn't want people to forget me while I was deciding. What my next career path was going to be, and it was a happy accident. I just stumbled into it. And then next thing you know, some of my favorite artists subscribed to it.Some of my favorite managers subscribed to it and they'll send me notes. What do you think about this? And then. The last thing I'll say on it is it wasn't intended for business. It wasn't intended for me to make money from, but what's happened is people will read your morning coffee and then they'll call me up and they'll go.I think I need to hire Label Logic to be my label infrastructure for this. And so it's brought us business, but that, wasn't what it was intended for originally.[00:33:43] Nathan:Yeah, it's fascinating how that worked. Cause you, you position yourself as the expert, the person with the pulse on the industry I mean, it's not even like a deliberate thing. You don't have to say that you just. Are the[00:33:56] Jay:Cool[00:33:57] Nathan:Sent, like sending out the content and people are like great, thanks for doing that.So I didn't have to go compile it from different sources. And, and you find that you have your own platform.[00:34:07] Jay:Yeah[00:34:07] Nathan:Some, what are some of the things that worked as far as, growing it, maybe deliberate things that you put in, beyond the, organic growth and sharing[00:34:17] Jay:Yeah, I think that, the thing that really helped us is really like, if you're a wedding photographer or a real estate agent, all of your business practically is word of mouth. And a lot of the growth that we have for your morning coffee comes from people just getting it, and forwarding it to their staff, you know, I'm saying, Hey, have you seen this?And that's where we've seen that growth.I think the things that I did that really. helped Keeping it to those blurbs and not trying and having that image. People are very visual. I've seen other newsletters that are just a mountain of text.[00:34:53] Nathan:Yeah[00:34:53] Jay:Not many people are going to dig through that. So I wanted to make it.Very accessible to somebody who's really busy at an airport. They can just look at it on their device and and get a sense of what's going on. The other thing that, again, by accident, I started reaching out to some of these writers, like you had mentioned earlier, speaking with Sherry who, I reached out to Sherry, you know, I've had her on the podcast, we've had conversations.I have a great deal of respect for her in her writing people like, You know, Amber horsepower. I mentioned, Glen peoples, Bobby O Sinskey, you know, Bruce Hoten over at Hypebot. After a while I started developing these conversations in relationships and I would be on their Podcast. They would be on mine.I would write articles for Hypebot Hypebot would promote your morning coffee of the newsletter, a very symbiotic kind of relationship with all of these writers. And the level of debate and the level of communication has just enriched my life. Having these conversations with people, you know, like Amber and Glen peoples and saying, well, what do you think of this?I dunno, what do you think of this? You know, for example, I, I met this really smart young marketer, Maddie Elise, who runs her own company and she was doing some really great analysis on bots and spin farms. Like how can you tell if you've been bonded and we got into these conversations and she posted some really great articles online.I put them in your morning coffee. It's been a wild ride, but it's, it was unexpected that I would have these conversations.[00:36:36] Nathan:Well, It's amazing how Yeah. Like in any industry, Like working in sales, the music industry has all connections and relationships.[00:36:45] Jay:Yes[00:36:46] Nathan:Could spend forever people one on one Hey I'm I'm coming to your city I'm in LA I'm in Nashville I'm in Atlanta Like now we're in a you know like trying to get one connection into the next and coffee and everything else to try to build up that now. Or you can kind of take take a step back and say, all just going to start a newsletter and then get like, thousands and then people that follow it. And then[00:37:10] Jay:Yeah[00:37:11] Nathan:You would like really slowly be like working up relationships to get to the point that you've talked to is like oh, Hey, I wrote this thing.Would you mind throwing it in the newsletter And like,[00:37:22] Jay:Yeah[00:37:23] Nathan:Also come on on my podcast, let's chat. And it's just this shortcut to relationships and amazing.[00:37:27] Jay:Yes, absolutely. And I'm a big fan of networking, music business association conference, one of the best on the planet. You know, you go there. The, the great meetings are the ones, while you're waiting in line at Starbucks, you know, you meet all of these people. And it's then like at the last music business association conference, I was standing in line talking to some publicists.Well, publicists are so great because they're on the pulse of everything. There are people like, you know, over at shore fire or the great team at rock paper, scissors who matches technology and music in their publicity campaign. And now they're sending things to me. Hey, have you heard about this new platform?Hey, you might want to interview this person because they've got this new thing. And so it, it becomes this thing, but you had mentioned like sitting down and having coffee with people. That's what I did with Amber Horsburgh I've. I read some of her deep cuts, things that she has online. She has done marketing at a high level.My partner, Jeff and I have done marketing at a high level. We called her up, met at the one-on-one coffee shop and just had an amazing.Chat, as you know, when you sit down with somebody who's enthusiastic about the same things you are, whether it's music, sports, whatever, you can talk all day. Right. And I love meeting these people and that's kind of how, like the, your morning coffee Podcast.My, my cohost is Mike Etchart, who did sound envisioned radio. He and I can sit and talk for hours about. This, these stories. So every week we do the podcast, we record it Sunday morning at nine 30 and it goes live on Mondays. We talk for a half hour to an hour before we hit record. We just sit there and, oh my gosh.Did you see that documentary on 1971? No. Hey, have you heard that new record by, you know, Ben Barnes, whatever it is. And because we have such a passion for it. And I think that comes out in the newsletter. It's not a dry kind of thing. and the last thing I'll say on that is the other side, these relationships I've developed are like with attorneys who write stories.There's this one guy, Chris castle, who has a website called music technology policy. And I. You know, put some of his great articles in your morning coffee, cause they're really smart ass, you know, sassy stuff and had him on the podcast. And now I'll call him up from time to time, you know, like what do you think of this?And it's just, this whole kind of network is it's really.[00:40:02] Nathan:Yeah, that's amazing. Is there a favorite moment or something like that, where, uh or opportunity that the newsletter has created for you? Like, we talked about a lot of connections and stuff like that, but one where, you know, you're like, Oh wow, this is, this is a fantastic opportunity that wouldn't have come.If I hadn't built it.[00:40:20] Jay:Oh my gosh, so many of them, but I'll tell you, at a high level, getting to speak to people that I admire respect that that's thrilling. But one great example recently was for our one-year anniversary of the, your morning coffee Podcast. we had Nancy Wilson from heart on and did an hour long interview with her.Now I grew up in. I grew up on heart, Nancy and I shopped at the same record stores. I saw them play live many, many times, huge fan. so that was pretty cool and knowing her as well as I do her career, her music, all of that. Mike and I had an amazing, interview with her and that's something that we just wouldn't have had, without this via.[00:41:10] Nathan:Yeah, that, that kind of thing is so fun of like, almost getting to have a conversation, you know, as peers and all of that with someone that you're like[00:41:21] Jay:Yeah.[00:41:22] Nathan:However many years ago would be freaking out Right. now[00:41:25] Jay:Right. I was in the, I was in the crowd, right. Cheering along, and now we're having a conversation about things and that's probably the most thrilling part of your morning coffee. The newsletter and Podcast is the level of debate. The level of people that will call me and say, I disagreed with that piece.Or I'd like to write an op ed or, you know, Th that's pretty thrilling because look like we said, this music industry's changed while we've been on this call. So if you want to keep up with it, you can follow some of these great, writers. And, you know, you mentioned Sherry who, you know her, I subscribed to her Patrion.I love the research that she does. And I've learned so much from that. But if you don't want to read everything by all of these marketers, then there are. Vehicles like your morning coffee, where you get it for free every Friday, you just glance at it and get a sense of what's going on. And then if there's, there's something that really interests you, you click on it and you can read deeper.[00:42:28] Nathan:Yeah. Yep. I like that. Um what are some of the things that you're looking to do next for your morning coffee of how to, how to grow it further? What's sort of the milestone.[00:42:37] Jay:Yeah, we're I really want to grow it. and we're looking at, you know, networks that we could be a part of. we've got advertisers now, which is nice. you know, we're not going to get rich from it, but it's nice that we have, and we can pick and choose, you know, who those advertisers are. We're not going to advertise for baked beans.We have some really great digital music sponsors my goal. Two things. One, I really want to grow the audience. I'm thrilled with the growth that we've had. and the quality cause I use MailChimp. So I can go in there just like constant contact or any of these other great platforms. And I can see who's who's subscribing which ones they opening, you know, what are they clicking through?What device are they on? And I love it when people who I admire and respect are. And I want to grow that as well. So grow it, grow the quality of it and, you know, just continue to build that audience.[00:43:39] Nathan:Are there specific activities that you're thinking of to grow it where you're like, oh, this was working. So I'm going to do more of that, whether it's ads or promotions or, any of those things[00:43:49] Jay:Yeah, I, it sounds pedantic, but we always say you do more of what's working and less of what doesn't And I know that sounds silly, but we do that with every platform. You look at YouTube or you look at your socials and go, wow, that post really over-performed, Well do more of things like that. And I'm looking at like with your morning coffee, there are certain articles that I just know are going to get high clicks.People love lists. You know, here are the seven things that Nathan thinks you should do. People love bullet point lists, but I try not to, do the cheap applause thing, I could do the whole thing full of that, but there also has to be something in there for you to eat your vegetables.There has to be a little bit of analysis. You know, the one that comes out tomorrow, there's a breakdown of, you know, the first half of the year versus the first half of last year. Not everybody wants to dig into the data like that. So I try to make. it You know, balanced that way. the other thing I'd like to do is partner with.Other people, for example, one of the reasons I have such a high, you know, viewership is the folks over at Hypebot every week they put my newsletter and Podcast in their newsletter that goes out to a lot of people. so they're, a great partner for us. We love, we love HighSpot, but if I can get more people, you know, you're standing on the shoulders of giants, so to speak, I would love to have, the.Orchard Ingrooves ADA, you know, Warner music group, Group use your morning coffee and send that out to their artists, labels, and managers, that sort of thing. That would be the next step.[00:45:33] Nathan:Yeah, that. makes sense. like those partnerships end up being so big. And I've seen that with a lot of newsletters where they're doing cross-promotions or they're saying,[00:45:42] Jay:Yeah.[00:45:43] Nathan:Hey do a takeover Where, like,[00:45:47] Jay:Right.[00:45:48] Nathan:You know, Jay's writing the entire newsletter for us this week. If you want to follow more of what he does, you know, and you need to this newsletter swap or a bunch of things.[00:45:57] Jay:Yeah, those takeovers are really important. I did one last week with symphonic distribution, I did a little Instagram takeover and immediately had, hundreds of new subscribers to the newsletter. we always tell people there's two reasons why nobody is buying or streaming your new release.One is they've never heard. of you Two they've heard of you, but they didn't know it was out. Those are two things that you can correct with proper marketing, touring advertising, those types of things. And it's the same with the newsletter is I need to get it in front of people because, every week I get a note from somebody like, oh, I just discovered your podcast, or I just discovered your, newsletter.You know, and I don't have big budgets to advertise, you know, put it in billboard magazine or, whatever. but that's my goal.[00:46:54] Nathan:Yeah I like it. some of my favorite podcasts interviews are Witten. The host starts asking really selfish questions like[00:47:02] Jay:Okay[00:47:03] Nathan:Direct advice that they want. So I'm going to do that now. So uh ConvertKit right So we're creating a marketing platform, email marketing platform for creators where Uh like quick context We're 70 people on the team[00:47:19] Jay:Wow[00:47:19] Nathan:Year in revenue, in like mostly in the blogger podcast or newsletter space, but then the last year has been this push into, into music. So we've got a whole range of artists from Leon bridges to Tim McGraw. we bought, a platform called fan bridge, at the beginning of this year, but we're like new to the spaceAnd so coming in. What advice would you give either to, you know, ConvertKit or to any of these, you know, I'm sure there's plenty of other players who are, trying to come into the music industry, really serve artists, be good citizens of the community. Like what advice would you give as far as how to grow, How to get more artists on the platform and[00:48:02] Jay:That's a great question. I think the first thing you do is you collaborate and we tell people all the time, if, when we're taking an artist in to meet with a digital service provider or a platform you listen first and you say, How can we partner? How can we collaborate? Not what can you do for me? So some of the obvious things, right, would be, the music business association, right?Portion, her team over there are phenomenal. You have conversations with them, you sponsor their events, you get involved in their live streams and that community. Right. I think that's, that's kind of where you start, as you become. A partner, you know, you collaborate, people who, all these people that you mentioned that have these great, you know, newsletters, whether it's, you know, Sherry who, or Amber Horsburgh or, you know, Bobby, Osinski, all of these things.You, you reach out to them as you're doing you partner with them, you see, like, how can we collaborate together? How can we work together? How can I help you to grow your audience? And once you become. Part of that network, part of that community. Let me back up. my old boss used to tell me, everybody wants to give you advice.Nobody wants to give you a job. So when you go to somebody, don't ask them for something, right? And this isn't directed at you. This is at the larger audience. Don't go in and say, Hey, I need this. Can you do this? For me? People are busy, right? They've got a thousand emails that they're, they need to respond to.But if you ask somebody for their advice, they're like, well, hold on a second. What was that? You need my advice. I'll give you my advice. I found, and I speak at colleges all the time and I mentor and I have interns. And one of the things I tell college students all the time is find someone who's doing what you want to do.Whether it's be an engineer, producer, tour, agent, whatever, find the people that are doing it, reach out to them and say, Hey Nathan, I'm a college student. Can I just get 15 minutes of your time? Chat. I need your guidance. I need your advice on something nine times out of 10, they'll say. Sure, absolutely. And that's at your fingertips right now.And as a company and as a platform, you need to let this community know what problems of theirs are you going to. You know, not your capabilities, not like the business speak while we're a full service platform that, you know, these KPIs and blah, blah, blah. No, it's gotta be, we're going to help you grow your audience by doing this, we're gonna help you, spend less money on your marketing and advertising by doing this, we're going to help you put more butts in the seats by doing this.If you can solve their problems and communicate that. quickly and easily, that's a challenge. but joining all of these, like, like music business association, You know, and going to these panels, like at music tectonics and some of those, that's where those people live and breathe. And, and let me just tie it up in a bow by saying that one of the things we did over the pandemic was we formed this artist management collective and there's, I don't know, give or take 25 managers and on any given zoom call, we'll have probably half of that.We, we talk about what, what publicist are you using now? What video editor are using now, you know, do you use it? Who, who should I call for a tour agent for Americana, you know, and we, we help each other, but we also will bring somebody on from TikTok or bring somebody on from roadblocks and tell us about your platform.You know, w how can you help these artists managers? So that's a long-winded way of saying there's no silver bullet, but. Those relationships, those, those conversations, then that word of mouth will spread and that'll help you build your platform.[00:52:06] Nathan:Yeah Well, I mean, it's exactly what we've been talking about of relationships in the community That's what all of this comes down to and and you know podcasts are especially big for that right Because we have to have conversations like this, and that's what you've seen on, on your Podcast.[00:52:24] Jay:Yeah[00:52:24] Nathan:Makes me wonder, do you think If you're talking to a newsletter creator?Who doesn't have a Podcast. What's the, message that you would say to them of, you know, you're like, Yeah. the Podcast has been good because of these things. Or are you like, what are you doing? Like start[00:52:43] Jay:Yeah[00:52:44] Nathan:Newsletter, go hand in hand. He got us started both. What, what do you think?[00:52:47] Jay:It depends. I think here's the thing. I was reading this article the other day, that the average Podcast, this is average, right? There's 850,000 podcasts out there, but the average one is seven episodes long. That's it. And reaches about 175. people That's an average thing. I mean, yeah. You've got the New York times daily that has a staff of 75 people and it's crazy.And then you've got the Joe Rogans of the world that have these huge audiences, but that's the outlier. That's an anomaly. So I tell people are you really in this? Do you really want to do this? And do you enjoy doing it? So I do, two to three podcasts. every week And I love it. I absolutely love the conversations.It's something. I have a passion for most of the newsletters that I read. There is a Podcast, you know, Sherry who has a podcast, Amber Horsburgh has a podcast. Mike Warner, has a great podcast. Then you look at how often do you want to do it? You know, like your morning coffee is every single week music biz, weekly that I co-host is every single week.You may not have the time to do that. So maybe you do one every two weeks or one every month. I'm a big fan of podcasts. I think that people go for walks, they exercise, they travel, they commute. They do a lot of things where they couldn't necessarily read a newsletter. And this is kind of, you're reading the newsletter to them.So it's so easy to get syndicated. But the only thing I would suggest for somebody who's going to start that is stand on the shoulders of giants with us. We partnered with Hypebot So immediately out of the gate, we've got an audience. We didn't have to start from zero So if you can partner with a brand or partner with another outlet to grow your audience, that's the way to go.[00:54:44] Nathan:Yeah. Yep. I like that. Some of that you said to kind of touched on the idea of longevity, you know, of the average Podcast being seven episodes long. sad, but not surprising, like[00:54:56] Jay:Yeah,[00:54:57] Nathan:What's your message to, creators about longevity. And it's both the artists you're working with, you're giving advice to those college students who hit you up for the 15 minutes of advice all the way through to those building an audience online, in a newsletter type environment[00:55:14] Jay:Yeah. That's a great question. I think the bottom line is you need to find what lights you. up And I tell, not just college students, but I tell professionals this all the time. What is that thing that you wake up in the morning and you just can't wait to do, and you'd do it for free. If you could, is it photography?Is it, it engineering or being a, you know, a manager, whatever it is. There's some There're things that are Personal to you that you love to do. And I always tell people, you have to do more of that. The money will come, but you have to add value first and then the money comes. You don't go looking for the money.That's a common mistake. A lot of people make, I I started your morning coffee without any expectation of any business, money, ads, anything, and it's just been a joy. And I look forward to doing. it Every single week, I've got it, like 90% ready to go. Cause it goes out at 4:00 AM on Friday. So tomorrow, I'll be up with my coffee and I'll hit that.Send button to those lists. that's not work to me. That's I can't wait to do that. And then Sunday morning, Mike Etchart and I are going to record the podcast. I can't wait to do that. So if you can find something in your jobI love coaching. I love teaching. I love working with developing artists and showing them what's worked in the past what hasn't workedand to your point earlier, trying a lot of different things See, see what's working. and What's not, you know, I think that's key because so many people are chasing the dollars and they're miserable. You know, find what lights you up.[00:56:53] Nathan:Yeah, cause chasing the dollars, especially cause they tend to take a long time to come. Any creative business is slow going. So, if you're looking at the dollars as the metric that's going to keep you going, then you are going to end up giving up after the seven episodes.[00:57:12] Jay:Yeah.[00:57:13] Nathan:Something in that[00:57:15] Jay:Yeah.[00:57:16] Nathan:I realized, we should start to wrap up, but I didn't even ask you about photography. That's a huge part of who you are as a creator. We don't have time to get into it a lot, but I just love to hear how photography intersects with the rest of your creative work.[00:57:31] Jay:I've been shooting since I was a teenager. What happened was I went to a concert. I shot it and the images didn't turn out well at all. And that put me on this quest of “Why don't my photos look like the ones in the magazine?”[00:57:45] Nathan:Yeah.[00:57:46] Jay:I got my own darkroom, started reading books. Long story short, I've been doing photography my entire life. I have a photo studio here. I've shot album covers from the Temptations, and John Wayne, and Rick Springfield, and many, many others. I absolutely love it. It's my creative outlet. I can go in on the weekends, shut the door, turn off the phone.My partner, Chris Schmidt and I, we do these shoots and we absolutely love it. It's also intersected with the business. So, photo shoots for clients. We've done videos for clients. It's a labor of love. It's like you find what lights you up. Photography lights me up. I would do it for free if I could.I absolutely love shooting live shows. I love shooting studio shoots. If you check out JayGilbert.net, you can see some of my work over the years. You'll see photos from shooting Van Halen in 1978, all the way to shooting stuff last week with the immediate family.So, thank you for bringing that up. I certainly have a passion for it, and I hope that your viewers and listeners know what their passion is. Even if they can't do it for a living, continue to do it. Life is short.[00:58:59] Nathan:Yeah, I love it. Well, I had a great time going through your whole collection over the years.[00:59:06] Jay:Thank you.[00:59:07] Nathan:There's some that are really, really fun.[00:59:10] Jay:Thank you.[00:59:11] Nathan:Listeners should definitely check that out. Where else should people go to subscribe to the newsletter? Listen to the podcast? All of that?[00:59:17] Jay:It's the easiest URL on the planet. It's YourMorning.coffee. You can sign up for the newsletter. It's free. You can sign up for the podcast. It's free. If you ever want to dig deeper into what Label Logic's all about, it's Label-Logic.net. It might be kind of fun just to look through there.Jeff and I have been doing this for decades, so you'll see some of your favorite artists that we've done some campaigns with.[00:59:48] Nathan:Yeah that's good.Well Jay, thanks so much.[00:59:51] Jay:Yeah, it's my pleasure, Nathan. Thanks for having me.

In this episode, CTO of the International Federation of the Phonographic Industry (which represents the interests of the global recording industry) Richard Gooch joins us to talk about metadata. He says that the idea that “music metadata is broken” is a misconception. He explains the new systems that he says form the infrastructure for a fairer music industry – for everyone from superstars to new artists in existing territories in sub-Saharan Africa, where the IFPI has a particular current focus. He also talks about improvements that could be made, how performing rights reporting can change, and the changes he hopes music metadata will bring. Suffolk Braves Wheelchair Basketball Club's world record: https://youtu.be/OvuBbMBuXh4?t=195

Why Metadata Matters For Indie Creatives Feat Keith KirkIn this episode Durell is joined by singer, songwriter, arranger, and metadata specialist Keith Kirk. Keith and Durell begin the episode talking about him being originally from London as well as spending some of his early years in Trinidad & Tobago but then coming back to London after the age of 9. Keith talks about his earliest introduction to music being mostly heritage music and singing in choirs. He knew that music was all he ever wanted to do early on because of the impact he had from being around such exceptionally talented people and his classmates in school. Keith speaks about his experiences in college singing with the London Chorale and the BBC. Keith also has penned several compositions that are published by GIA Publications which is America's largest sacred music publisher.Keith is also passionate about the business side of music. Durell and Keith talk about why most creatives don't like the business side of music. Keith shares that he's the type of guy that likes to have his T's cross and his I's dotted. He likes to make sure when he fills out information no matter what it is he makes sure everything is filled and locked in. He shares that because of his affinity and love for attention to detail is probably what got him really interested in metadata. Keith shares that in London no one really cares about your degree they really only care that you are able to deliver on what you say you know how to do. Keith has worked for some of the world's largest music and media companies in the world such as Sony Music Entertainment UK, Universal Music Group, BMG, 21st Century Fox, and the International Copyright Enterprise In Berlin Germany as a metadata specialist. Durell asks Keith what was it specifically that drew him to working specifically with metadata. He shares that he always wanted to work for a company called PPL which is like the equivalent of SoundExchange in the US. While working at PPL he got a message on Linkedin from Universal Music Group requesting to meet with him. He went to meet with them and got hired to work with them in their metadata dept. Durell asks Keith what the official definition of metadata is and he shares simply that metadata is defined as information about information. Keith shares that when you're working in music there are two strands of information to be concerned about. One set of information tells dry information such as song title, duration etc. The other strain of information contextualizes everything together. Durell and Keith talk about why indie creatives should care about metadata. Keith shares that they should care because metadata is the mechanism that compensates them for their work. Keith shares that the only way to receive the revenue that a song earns is through having the correct metadata. Durell asks Keith what are some of the biggest mistakes in which he sees many indie creatives make, and his answer is that they don't care enough about it. He shares there's no way for the music industry to pay properly. Durell says that he encounters many creatives that don't even know what the basics are when it comes to metadata. Keith shares another reason that creatives need to care about metadata is the music business is now a digital algorithmic data driven landscape and everything works automatically . Keith shares that another reason metadata is important is because Kobalt did a study and found that there are over 900,000 possible revenue streams for music that enters the marketplace. Durell and Keith end the episode talking about the digital distributor assigning and owning ISRC codes for indie artists. Keith shares that the digital distributor can assign the ISRC but they actually do own the code and so does the creative. The main difference in ownership is that the digital distributor can prove their ownership via what is called a GS1 license. GS1 is the global organization that issues barcodes, UPC's etc. The GS1 organization also issues licenses against barcodes and ISRC codes. The GS1 license allows distributors like Distrokid to be able to issue ISRC codes because they purchase a block of codes held attached to their license. Keith and Durell talk about how the GS1 license holder is able to recoup the expenses from giving the ISRC codes to indie creatives free via their digital distributor. Durell and Keith discuss why indie creatives purchasing their own 100,000 ISRC codes at one time can put them in the best position possible for ownership of their own royalties as they pass through the music ecosystem. Keith also shares how the ISRC code is made up and assigned. Keith shares that when you make a certain number of songs in a calendar year and even though the registrant code stays the same after the new calendar starts, the 5 digit designation at the end of the code starts at 0. Keith shares that indie creatives just starting out without any catalogue should simply get their ISRC codes from their digital distributor. Once they have amassed a bit of a catalogue that's generating revenue then they can begin to think about buying their own codes. Keith shares the same goes for the GS1 license which can also be passed down to a next of kin. Keith and Durell speak finally about the importance of indie creatives being able to have an excel spreadsheet that manages and mirrors their metadata as well as why an ISNI code (International Standard Name Identifier) is key for making sure that all revenue is accounted for.For more info on Keith Kirk please visit his website:https://motifmusicservices.com/

Why Metadata Matters For Indie Creatives Feat Keith KirkIn this episode Durell is joined by singer, songwriter, arranger, and metadata specialist Keith Kirk. Keith and Durell begin the episode talking about him being originally from London as well as spending some of his early years in Trinidad & Tobago but then coming back to London after the age of 9. Keith talks about his earliest introduction to music being mostly heritage music and singing in choirs. He knew that music was all he ever wanted to do early on because of the impact he had from being around such exceptionally talented people and his classmates in school. Keith speaks about his experiences in college singing with the London Chorale and the BBC. Keith also has penned several compositions that are published by GIA Publications which is America's largest sacred music publisher.Keith is also passionate about the business side of music. Durell and Keith talk about why most creatives don't like the business side of music. Keith shares that he's the type of guy that likes to have his T's cross and his I's dotted. He likes to make sure when he fills out information no matter what it is he makes sure everything is filled and locked in. He shares that because of his affinity and love for attention to detail is probably what got him really interested in metadata. Keith shares that in London no one really cares about your degree they really only care that you are able to deliver on what you say you know how to do. Keith has worked for some of the world's largest music and media companies in the world such as Sony Music Entertainment UK, Universal Music Group, BMG, 21st Century Fox, and the International Copyright Enterprise In Berlin Germany as a metadata specialist. Durell asks Keith what was it specifically that drew him to working specifically with metadata. He shares that he always wanted to work for a company called PPL which is like the equivalent of SoundExchange in the US. While working at PPL he got a message on Linkedin from Universal Music Group requesting to meet with him. He went to meet with them and got hired to work with them in their metadata dept. Durell asks Keith what the official definition of metadata is and he shares simply that metadata is defined as information about information. Keith shares that when you're working in music there are two strands of information to be concerned about. One set of information tells dry information such as song title, duration etc. The other strain of information contextualizes everything together. Durell and Keith talk about why indie creatives should care about metadata. Keith shares that they should care because metadata is the mechanism that compensates them for their work. Keith shares that the only way to receive the revenue that a song earns is through having the correct metadata. Durell asks Keith what are some of the biggest mistakes in which he sees many indie creatives make, and his answer is that they don't care enough about it. He shares there's no way for the music industry to pay properly. Durell says that he encounters many creatives that don't even know what the basics are when it comes to metadata. Keith shares another reason that creatives need to care about metadata is the music business is now a digital algorithmic data driven landscape and everything works automatically . Keith shares that another reason metadata is important is because Kobalt did a study and found that there are over 900,000 possible revenue streams for music that enters the marketplace. Durell and Keith end the episode talking about the digital distributor assigning and owning ISRC codes for indie artists. Keith shares that the digital distributor can assign the ISRC but they actually do own the code and so does the creative. The main difference in ownership is that the digital distributor can prove their ownership via what is called a GS1 license. GS1 is the global organization that issues barcodes, UPC's etc. The GS1 organization also issues licenses against barcodes and ISRC codes. The GS1 license allows distributors like Distrokid to be able to issue ISRC codes because they purchase a block of codes held attached to their license. Keith and Durell talk about how the GS1 license holder is able to recoup the expenses from giving the ISRC codes to indie creatives free via their digital distributor. Durell and Keith discuss why indie creatives purchasing their own 100,000 ISRC codes at one time can put them in the best position possible for ownership of their own royalties as they pass through the music ecosystem. Keith also shares how the ISRC code is made up and assigned. Keith shares that when you make a certain number of songs in a calendar year and even though the registrant code stays the same after the new calendar starts, the 5 digit designation at the end of the code starts at 0. Keith shares that indie creatives just starting out without any catalogue should simply get their ISRC codes from their digital distributor. Once they have amassed a bit of a catalogue that's generating revenue then they can begin to think about buying their own codes. Keith shares the same goes for the GS1 license which can also be passed down to a next of kin. Keith and Durell speak finally about the importance of indie creatives being able to have an excel spreadsheet that manages and mirrors their metadata as well as why an ISNI code (International Standard Name Identifier) is key for making sure that all revenue is accounted for.For more info on Keith Kirk please visit his website:https://motifmusicservices.com/

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This song is from my heart to the Lord today. I encourage you with it as well, I began to sing to the Lord about me but my heart changed and I began to sing to him and his greatness instead of my trials and my weakness, I am to deny myself and that is even in my praise to him, he already knows where I am and what I am going through as well as you. He has already promised to deliver us, so there is no need to complain or sing to him about our right now, but we are to sing from our right now to our victory in Him. I pray you are inspired to sing in faith as well to the glory of his name and not our own. God bless you. I hope you follow me, by subscribing to my channel Thank you

Ep 3 of the Legendary Linkups Podcast. A space for the Legends to chat. Tune into Legendary Linkups every week & tap in with Lex, Teza & Mac as they build a community while saving the art of conversation. This episode of LL the gang chopped it up on topics in the realm of: Love languages, the "unsend" feature on IG, Legendary Linkups Tee Shirts, people going to space & the new Space Jam Movie, Distrokid royalties/ISRC codes, Mo Money Mo Problems?, and more Recorded/Filmed at Platnium Reign Studios in Tacoma, WA @legendarylinkups @lexscope @TezaTalks @PoisonJams @Penthouseseventynine

In this episode I discuss the importance of including an ISRC (International Standard Recording Code) when including a previously released song in a new release. The example I share is the new single 'Big Blue Sky' which is a collaboration between Date Night (my group) and Chris Robley. On this release we included a second song 'True North' which was previously released. On release day there was over had 1 million streams in Spotify for Artists because of the existing streams that 'True North' had already were merged. This shows the power of an ISRC and why artists should consider releasing EP's, Compilations and Albums to include previously released songs and give them another chance to be heard. datenightmusic.com chrisrobley.com workhardplaylisthard.com

Se você fosse lançar músicas hoje no Spotify, Deezer etc, você saberia por onde começar? Qual a melhor data pra lançar; quais documentos? Neste episódio eu falo sobre as 8 coisas que você precisa saber para lançar suas músicas.

a song for the lord this morning , a praise to his glory...have you given him his praise due his name this morning if not come and worship with me

have you found your one and only, i have, just come to introduce him to you and share my testimony of how I was seeking for a love the never existed. wow

Pujya Sir K.C.Narayana ( KCN ) Messages  (Meditation, Raja Yoga, Training, Spirituality, PAM - Pranahuti Aided Meditation, Divinity, Divine Service & Research, Babuji Disciple) Pujya Sri Ramchandraji's Disciple & Founder of  “Institute of Sri RamChandra Consciousness”  *Messages delivered by Pujya Sir K.C.Narayana ( KCN ), Hyderabad, India.  Dedicated his life for the Spiritual service of Pujya Sri Ramchandraji's Pranahuti Aided Meditation, Research, Meditation Trainings, Audio Messages, Books & SatSangh   For Meditation Info Contact: www.sriramchandra.in  Biography: kcnarayana.org Episode Notes: Sri Krishna Janmashtami-2007 My dear fellow travelers in the Path,  It is a great opportunity for us to gather here again on the auspicious occasion of Janmashtami. Lord Krishna we all know is the Avatar of the day and shall be so until the next Avatar emerges as ordained by the divine. Master has stated that “... with the advent of Lord Krishna the regime of Lord Rama was over. It is now the regime of Lord Krishna which is to continue till the next avatar comes into the world. This is the phenomenon of Nature which I bring to light for your understanding. (SS-110).Humanity at present is reveling and reeling under the never heard of acts of violence and terrorism in the history of mankind. It is not perhaps wrong to state that sadism and cruelty has become a virtue now days. However it is the fortune of humanity that the divine willed the emergence of a special personality of almost the same status of an Avatar to mend the wayward mental tendencies of mankind which seems to be determined to ruin itself in constant conflicts and wars. This is an unique occurrence in spiritual history and this happened in 1944. He is ever active in his work entrusted by the divine and shall be there till the emergence of a new Avatar when divine wills so. We all know that Sri Ramchandraji Maharaj of Shahjahanpur was born on 30th April 1899 and has left its mortal coil on 19th April 1983. The period of life our beloved Babuji we can see is thus not co-terminus with that of the Special Personality. The physical form of Sri Ramchandraji Maharaj was utilised by the Grand Master Lalaji Saheb to carefully structure and carve out a personality and Nature was waiting to use such a person as the Special one to guide the erring humanity. It is guiding humanity since then and also attending to such works entrusted by Nature. It is the imperience of all the aspirants in the Natural Path that it is functioning more effectively after he shed his mortal coil in 1983 from his true astral plane. However after he left his mortal coil in 1983 many started seeking for a person who is living in the physical plane who can replace beloved Babuji Maharaj. That he was the President of SRCM and there should be succession of President in SRCM is undisputable. However that there can be no succession for the status of Special Personality or the Master as we dearly call him is elementary gnosis. ISRC has answered this point several times in it's about 16 years of functioning and the answers are available for those who really seek in our web sites also. However recently it was brought to my notice that someone from an European country asked us as to who is the Master now and whether women are not eligible for being a Master etc., I shall share today some of our clearly stated point of view. The question of the need for a living master is raised by many almost implying a demand that a master in order to be a master has to be in the physical plane. For persons who understand that masters work even when they are in existence in the physical world from astral plane only, there is no difficulty to accept the living master by virtue of their experiences and imperiences irrespective of their physical existence. If anything the master's grace in the form of Pranahuti has been proved beyond doubt does not suffer the limitations of any physical form barrier to it. Form and Name are basic binding factors in our thinking which prevent our breathing our liberated status. But from childhood we are taught in schools and colleges to identify persons, objects and patterns by their form and name and this pattern of thinking makes many think that consciousness also should have a form and name. In this context it may be useful to remember the statement of Lord Krishna as quoted by our Master in his letter to Dr.K.C.Varadachari (EH- 335): “I am reminded of Lord Krishna's predictions intercommunicated to me some time ago, that the time has not yet come for the people to have a full understanding of your (my: Ed) existence though it shall definitely come but when you (I) have given up the material form.” This makes it amply clear that Sri Ramchandraji whom we all feel every moment of our life through the practice of Constant Remembrance is a living master though he shed his mortal coil and it is a form that is formless universal presence responding to the cries and needs of persons by whatever name it is called and that is felt by us and not the physical one. We need to accept the function of the guru as Master has given it to us, as descending through the disciplic succession from Lord Krishna. It is stated by the Master that his master communicated to him to the effect that “All initiations shall be effected on my hand and their connection shall be (invariably) with Lord Krishna. At the time of initiation a promise will be made to the effect that all that Lord Krishna has enjoined as matters of principle, shall be observed(by the initiated persons).” EH.182. Most of the aspirants should be knowing the difference between introduction to this system of practice and spiritual initiation. Thus not only the Master is on record to say that he is living guru but Lord Krishna is the Jagadguru. Guru is not an ordinary man. That is why we celebrate the appearance day of the spiritual masters. It may be noted that here the words ‘appearance day' are used instead of the usual ‘birth day'. Appearances are the only things that happen in the physical world to the great masters, as otherwise they live, move and have their being in the astral and divine realms. In a sense they were never born nor will they be dead. They are eternally living divine entities discharging the duties and functions as assigned by the divine. Lord Krishna the Jagadguru functions now as he did during his physical life on this planet. He has taken note of the emergence of the Spiritual Personality and is in a sense working proxy through the great master Sri Ramchandraji Maharaj of Shahjahanpur who will be eternally working for the cause of the divine. We are worshiping our Master as he is a pure via-medium to Sri Krishna. Master wrote in his letter to Dr. K.C.Varadachari (EH-428) that “Lord Krishna appeared before you in dream and has given you a very mild transmission also.” He also stated that “Sri Krishna disappeared because He felt that you have got the difference between him and the master.” Thus there is no difference between Lord Krishna and the Master is fully established. Therefore it may not be wrong to say that “He is worshiped as "saksat Krsna" or "directly Krishna". It is morally and spiritually wrong to consider such a guru an ordinary man and it is also totally inappropriate to consider any ordinary man as the guru. Our Master classified the types of gurus and never brought in the concept of a living guru there. There are five types of gurus according to him. We know that our Master and Grand Master belong to the category of Guru Azli Fazli meaning that they are born gurus of the highest type. Every seeker has the opportunity of realizing his/her true nature and by a total dedication to the cause of the divine become a Fazli guru and assist humanity to work in harmony with the divine. Such gurus having gone beyond death during their physical life time itself never die and become dead. They are the ever burning torches showing the brilliance and beauty of the divine. The argument for a living guru is based on the assumption that the original master is a dead guru. It is necessary to prove this statement. One has to show that Sri Ramchandraji is dead in all planes such that he cannot deliver his blessings to us. The clarification given by the Master to Dr. K.C.V and the experiences of many of us, disciples of the Master Sri Ramchandraji Maharaj of Shahjahanpur testifies that the Masters function from higher planes than the physical and they are capable of communicating and transmitting. To receive transmission it is not necessary to have a physically living master around us. Many disciples of the Master try to push the argument in favour of the "living guru" line, implying that our beloved Master is now a "dead guru" and no one can take shelter under him any more and that he is incapable of doing any spiritual service now. It is not true of course and the Master has quoted Lord Krishna's' statement that he will be more effective after his physical veiling. Sri Ramchandraji Maharaj of Shahjahanpur is living still is understood by any one who experiences Pranahuti. A true and sincere aspirant takes refuge only in him and feels that his surrender is accepted, is bare truth of experience of many. It was never before possible for a spiritual master to be so vividly present after his physical departure from our material vision. There are surely many Masters in his lineage and that is the wish of the Great Master too. He categorically stated that he makes Masters. Not all claimants are necessarily of that standard since one has to be qualified. Any true master will not try to say, leave alone attempt to prove that the Great Master is dead as the concept of death itself is alien in the field of spirituality. Where and how one lives in the different planes of existence alone matters. A master in the lineage or order will simply present the message of his spiritual master and his spiritual master will live through him and this fact should be understood by all spiritual aspirants. The Masters are self effulgent and have their authenticity not by virtue of a group of persons governing an institution or any other agency than that of the divine order which follows self illumination. It is completely apparent to any non-envious person to understand that Sri Ramchandraji of Shahjahanpur is empowered by Sri Krishna and Revered Lalaji Maharaj. This message we tried to pass on through our publication “Ganga Jamuni” issued last year on the auspicious day of Janmashtami. Some entertain odd and mystic notions about Pranahuti. ISRC has effectively proved through its research work that it is not so and the real nature of Pranahuti was brought to the public view without any prejudice. Our books and publications on this topic are available in the internet and any one can study them. Certain concepts regarding Guru is sought to be explained in this context. Traditionally the role of the Guru is to give Diksha. Diksha is a unique and rare process of making the life of a disciple more pure, more enlightened and more successful. Generally a human being remains under the sway of bad karmas of past lives which do not allow him to make the desired level of progress in spite of hard work and sincere efforts. In such cases nothing can work better than to receive Diksha to remove the baneful effects of past Karmas and propel the aspirant onwards on the path of success. Just as a cloth has to be washed thoroughly to free it of stubborn stains similarly Diksha is a method adopted by a Guru to free the disciple of his mental, physio-psychological and physical drawbacks so that he could make good progress with a free mind in the spheres of spirituality and materialism. Diksha is the foundation of a disciple, the fuel of spiritual life, completeness of the mind and the path to reach one's destination. The act, by which teachings are given and by which all kinds of animal instincts are sought to be demolished, which is granted by the Guru in charity is known as Diksha. It is not my desire to go into the merits and demerits of various paths shown by different gurus. All I desire to state is that in the system of Rev. Babuji Maharaj which utilises the power of Pranahuti the trainer introduces a new energy by means of transfer thus enlightening him and helping him in sadhana and realisation. At the beginning the transfusion of energy brings in a state of peace, settledness and balance. It is a subtle transfer of the divine energy of a Guru into the heart, soul and body of a disciple. This pure energy initiates a process of change in the person which ultimately leads to destruction of all evil and negative tendencies, and spurt of creative and positive powers which encourage him to strive for the highest and best in life. It is obvious that a man has a twofold duty here on earth one to preserve his life, and two to realise the true nature of his self. To preserve his life, he has to learn to work for his daily bread. To realise his true nature, he has to meditate, love and serve. The Guru who teaches him the knowledge of worldly arts is called the Siksha Guru. The Guru who shows him the path of Realisation is the Diksha Guru. Siksha Gurus can be many, as many as the things one wishes to learn. The Diksha Guru can be only one: the one who leads him to the state of realisation. This is the reason we have been insisting on having one and only one, our beloved Master Sri Babuji as the Guru/Master. Several persons of very high spiritual calibre do help us in the path and we are grateful to all of them but there is only one Guru. The trainer and masters of the order are all relevant but our focus and orientation is the real Guru only. It is obvious that the strength of the chain lies in its weakest link. This demands that the links we have and of which we are also a part have to be strong. That demands sadhana of a high standard and the aspirants and trainers have to work hard at it. We are all fortunate to have obtained diksha or introduction in this system but for making us attain our goal it is necessary to free the body and the mind of all impurities. The sadhana in this regard starts by implementing the First Commandment of the Master. Only when one is physically and mentally pure does the divine light that is within starts emitting its fragrance and we gain a glimpse of our true nature. It is very difficult for an ordinary person in the present age to become free of the evil tendencies on his own. For this he needs the help of an accomplished master who could instill his own spiritual power into the person and destroy his weaknesses. Master says only such a person who can transmit his own internal divine power to the aspirant can be a trainer. This is an act of kindness and love which the master has for us and it cannot be repaid by any other means than becoming truly spiritual and in turn carry the torch of spirituality into other hearts. It is not any ordinary power or energy that is transmitted but the original power at the root of creation which for our understanding may be called supreme consciousness. This is what we call Sri Ramchandra Consciousness, more to satisfy our desire to remember him who is all in our life: but in reality it is something that is beyond our comprehension. It is such a consciousness that is guiding the human destiny now as ever. It is just Love: a love that is not possessive and particular. It is Love Universal Omnipresent and Omnipotent. Sri Ramchandra Consciousness breaths through the firmament and all that it requires to be felt is an earnest longing for Him who loves all. Lord Krishna is called so because he is the Lord and he is the giver of immeasurable bliss. I pray on this auspicious day that we all live and move in that Consciousness of which all manifestation is an expression in the eternal present. Pranam to all the Master intoxicated co-travelers in the path. Pranam.

i woke up and went to give God through Christ Jesus our Lord a praise and this is what came out of my heart to him...the music is only used by demonstration but the song was written by the grace that God has given me according to the measure of the gift of Christ. I am a singer and songwriter of the songs of the Lord that comes from the heart. I pray you become committed to the one who was committed to you and gave his life for us by dying on a tree, he became a curse for us, so that we can have life through him. I sing for the glory of God in hopes of YOU turning your life to him , I pray you in Christ's stead be reconciled to God, He is soon to come , repent and be baptized in the name of the Lord Jesus and you shall receive the gift of the Holy Ghost and power to become a son of God. God bless please follow me for other songs that I will be uploading for the glory of God to sow into this song... paypal.me/jesuschristchurch

2020? Um ano bem louco e totalmente atípico. Mas não nos impediu de produzir 2,150 minutos em 37 episódios. Uma média de 222 horas de trabalho na produção, nos rendendo mais de 1,427 ouvintes no Spotify e 615 horas assistidas no YouTube. Conversamos sobre produção de música eletrônica, reflexões sobre a cultura e a arte de ser DJ e produtor, gravadoras, distribuição, marketing para artistas, jornalismo, gestão de carreiras artísticas, mulheres na indústria, boas práticas, dicas, saúde mental, direitos autorais, backstage de agências, etc… Isso tudo não seria possível sem a participação e colaboração de 19 convidados, profissionais e personalidades da nossa indústria musical. Falamos sobre tudo isso e um pouco mais, no episódio especial de final de temporada, o “Rebobinando 2020”. _ Apresentado pelo DJ, Produtor e Label Manager, Ronaldo Galdino e o DJ, Produtor e Engenheiro de Áudio, Carlinhos de Barros, o podcast fala em detalhes sobre o mercado da música eletrônica, traz grandes debates, dicas e opiniões sobre a profissão e arte de ser DJ e também produtor. _ ● Disponível em áudio no Spotify, iTunes, Deezer, SoundCloud, Mixcloud, Google Podcasts e Castbox. ● Disponível em vídeo no YouTube. :: https://k7.podlink.to/2020-retrospectiva _ ● Links ● Episódios Mais Ouvidos: #001 - O SoundCloud está vivo e o que preciso para produzir musica eletrônica: https://fanlink.to/k7_001 #005 - Diogo (NOMMAD) fala sobre marketing positivo e negativo para artistas: https://fanlink.to/k005 #010 - O que fazer e esperar de 2020 com Breno (BROS music) e Diogo (NOMMAD): https://podlink.to/k7010 #030 - Tráfego pago para DJs e Produtores com Wilson Souza: https://podlink.to/k7030 #014 - O polêmico Ghost Producer: https://podlink.to/k7014 #022 - O que é UPC, ISRC e ISWC?: https://podlink.to/k7022 #027 - Saúde Mental com a Psicóloga Bianca Perassoli: https://podlink.to/k7027 #031 - Press Kit — EPK: O que é, como fazer e quando usar?: https://k7.podlink.to/031 _ ● Apresentadores ● - Ronaldo Galdino https://www.instagram.com/flexblive https://www.facebook.com/galdinoflex https://www.linkedin.com/in/galdinoflex ronaldo@bzkmg.com - Carlinhos de Barros https://www.instagram.com/zatrominic https://www.instagram.com/clouplabstudio https://biglink.to/clouplabstudio clouplabstudio@gmail.com _ Nos siga, curta e compartilhe | @podcastk7 https://www.instagram.com/podcastk7 https://www.facebook.com/podcastk7 _ Sugestões, críticas ou elogios: k7podcast@bzkmg.com _ Edição & Masterização: Carlinhos de Barros Produção & Artes: Ronaldo Galdino _ #K7Podcast #podcast #PodcastK7 #MusicaEletronica #IndustriaDaMusicaEletronica #DjDeMusicaEletronica #ProdutorDeMusicaEletronica

SoundExchange. ¿Como recolectar tus regalías de SoundExchange?   Enlaces de relevancia: ISRC codes: usisrc.org   PRO (Performace Rights Organizations) ascap.com sesac.com bmi.com   Registro Gratis de regalías: Soundexchange.com --------------- Rockeao in Partnership with Beyond Music Media San Juan, Puerto Rico 00921 www.rockeao.com www.facebook.com/rockeao Rock Nacional Music Radio: www.rockinrico.com www.facebook.com/rockmundoradio www.twitter.com/rockinricopr  

Professor Gautam Menon talks to host Pavan Srinath about the Nobel Prize, what they mean for scientists, and how they shape science.In episode 155 of The Pragati Podcast, Gautam and Pavan discuss the outsized role that the Nobel Prize plays in being an aspirational goal for young scientists, how they create role models, the work, and the people who win the awards, and the dynamics at play.Gautam I Menon (@MenonBioPhysics) is a Professor of Physics and Biology at Ashoka University. Prior to joining Ashoka, he was a Professor with the Theoretical Physics and Computational Biology groups at the Institute of Mathematical Sciences, Chennai, where he was the founding Dean of the Computational Biology group. He works on biophysical problems and the modeling of infectious diseases. He is an initiating member of the Indian Scientists' Response to COVID-19 (ISRC). Before working on biological problems, he worked in the broad fields of statistical physics and soft condensed matter physics.Visit tiny.cc/pragati155 for detailed episode notes and links to the Nobel winners and research who are discussed in the episode.For all queries and feedback, email us at pragatipod@gmail.com or reach out to host Pavan Srinath at @zeusisdead on Twitter: twitter.com/zeusisdeadFollow The Pragati Podcast on Instagram: instagram.com/pragatipod & Twitter: twitter.com/thinkpragati & Facebook: facebook.com/thinkpragatiThe Pragati Podcast is made possible thanks to the support of The Takshashila Institution and the Independent Public-Spirited Media Foundation (IPSMF).

¿Hay crisis de identidad en Spotify? Hablemos sobre la verdad de Spotify, ademas de como recolectar todas tus regalias de streaming y la nueva ley del MMA (Music Modernization Act) Time Lines Topics: 0:00 introducción 0:12 Crisis de Identidad 5:30 Algoritmos de Spotify 9:00 ISRC Codes 12:18 ¿Que son los PRO? 13:56 ISRC code vs. ISWC code 18:11 Regalías 25:24 Publishing 101 30:42 We Are The World 34:17 Mitos regalías de Spotify en YouTube 39:09 Despedida   Enlaces de relevancia: ISRC codes: usisrc.org   PRO (Performace Rights Organizations) ascap.com sesac.com bmi.com   Registro Gratis de regalías: Soundexchange.com --------------- Rockeao in Partnership with Beyond Music Media San Juan, Puerto Rico 00921 www.rockeao.com www.facebook.com/rockeao Rock Nacional Music Radio: www.rockinrico.com www.facebook.com/rockmundoradio www.twitter.com/rockinricopr  

Chceš dostat za svojí hudbu zaplaceno? Víš kolik ti vydělá Spotify? Poradíme ti, jak se na streamovací platformy dostat. Taky co potřebuješ, aby ti za hraní platily rádia. Vysvětlíme ti skrytá data, ISRC a EAN kódy (ne, není to šifra pro enigmu). A neboj, dostane se na CZ i SK scénu! ISRC EDITOR Streamingové agregátory Tunecore DistroKid cdbaby iMusician Ditto Octiive Songtradr Spinnup Songcast Horus Music ReverbNation RecordUnion EmuBands

En el episodio 137 te hablo sobre el proceso de distribución digital habitual de los temas musicales y otros detalles legales que debes saber. Cuando firmas un contrato con un sello estás haciendo una transacción comercial y debes respetar las claúsulas del acuerdo a nivel de explotación y promoción. Si te ha gustado el episodio de hoy compártelo en tus redes o pásale el link a una persona que... Origen

ゲストにビルボードJAPANの太田さんを迎えて、チャートの仕組みを根掘り葉掘り聞く回。グレースノートメディアベース、ISRC付番、聞いたことのないワードが続々と...。必聴です！ #ttspeakeasy

Um dos maiores tópicos em debate na indústria musical diz respeito aos metadados e a garantia de que músicos, editoras e distribuidoras sejam compensados pela utilização das suas obras. Os códigos UPC, ISRC e ISWC são peças importantes nesse debate, ambos necessários no processo de catalogação de uma obra ou música, assegurando que todas as pessoas envolvidas receba a sua devida parte e direitos autorais. Nesse episódio conversamos sobre como e quando os códigos se aplicam e quais as principais diferenças entre eles. _ Apresentado pelo DJ, Produtor e Label Manager, Ronaldo Galdino e o DJ, Produtor e Engenheiro de Áudio, Carlinhos de Barros, o podcast fala em detalhes sobre o mercado da música eletrônica, traz grandes debates, dicas e opiniões sobre a profissão e arte de ser DJ e também produtor. _ Disponivel em áudio no Spotify, iTunes, Deezer, SoundCloud, Mixcloud, Google Podcasts e Castbox. Disponível em áudio e vídeo no YouTube.

A retrouver dans cet épisode : Les principales mesures fiscales et sociales du 3ème projet de loi de finances rectificative pour 2020 : 3è projet de loi de finances rectificative (PLFR 3) pour 2020 ; Impôt sur le revenu : Conseil d'État du 9 juin 2020, n° 426342 ; Conseil d'État du 5 juin 2020, n° 425113 ; BOFiP - RSA - Exonération d'impôt sur le revenu des indemnités spécifiques de rupture conventionnelle (ISRC) versées aux agents publics (loi n° 2019-1479 du 28 décembre 2019 de finances pour 2020, art. 5 ; CGI, art. 80 duodecies) ; CAA Bordeaux du 20 mai 2020, n° 18BX02308 ; TVA : Conseil d'Etat du 9 juin 2020, n° 432596 ; Impôt sur les sociétés : Conseil d'État du 9 juin 2020, n° 439457.

Dúvida muito comum sobre a diferença entre Registro de Música, Cadastro de Obra e Código ISRC. Estamos aqui pra ajudar você entender que NÃO são a mesma coisa!Episódio #03 do Podcast Produção Musical do Grave Online.

Anna Bond joins Tim about a conversation on administration and their importance for publishers and songwriters. Tim helps guide the conversation so that publishers and independent creatives can understand the need for administrators and where you can find your royalties.  01:50- Anna Bond's background and insight to her moving to the administration side of the business.  04:40- What is administration?  08:40- The many mechanical licenses that can be missed and organizations that help keep your admin in check.  12:08- Registering your music as an independent publisher or creative.  15:30- What is an ISRC? 17:20- The importance of an administrator and their role. 19:34- What is the typical cost of an administrator?  21:30- How is Songtrust different than most other administration companies?

SISRC, você não precisa mais dele! Meus cursos: https://nandoramos.com.br/cursos/ O sistema que gera o ISRC, o SISRC agora é opcional, pois você pode fazer tudo online, sem a necessidade de instalar o software, entenda melhor o assunto ouvindo esse podcast. Coloca os fones de ouvido e relaxa!

We update on our progress and talk about ISRC (International Standard Recording Code)Links to further reading: http://www.aria.com.au/pages/isrc.htm

Entre para minha lista VIP e desbloqueie conteúdos Exclusivos: https://nandoramos.com.br/vip/ SISRC agora é gratuito - NandoCast ep 03 Com distribuidoras que oferecem seu serviço gratuito e agora com o sistema que gera ISRC também gratuito você não tem mais desculpa para não lançar sua música da maneira correta. Coloca os fones de ouvido e relaxa! Curso Minha Música no Streaming: https://nandoramos.com.br/streaming/

De mooiste cabaret en kleinkunst, vakkundig samengesteld door Kick van der Veer. ZONDAG 29 SEPTEMBER 2019 De donder rolt (P. Algar/G. Brooks/B. Meuldijk) Rob de Nijs 3’29 Van de cd De band, de zanger en het meisje EMI 7243 8 37849 2 9 Vallende bladeren (Kosma/Prévert/L.de Vos) Willeke Alberti 3’13 Van de cd Willeke Alberti 65 Universal 273 203-5 Regen (R. Koole/W. Planteijdt) Ricky Koole 3’30 Van de cd Wind om het huis Eigen beheer Bijna december (Spijkers/Wittenbols) Joost Spijkers 4’00 Van de cd Spijkers II Eigen beheer Do you remember (H. Lodeizen, L. Spee/H. v. Veen) Jannemien Cnossen 2’40 Van de cd A little different Harlekijn 16 0000-3 Onder de wapens (Ghysen) Jos Ghysen 7’48 Van de cd We blijven lachen 2 QS 900.003-2 De kleine vrouw (Davids /Pruis) Kees Pruis 2’46 Van de cd Kees Pruis FAV 1 -95203 Herfst in je haar (Loebis/Van der Wulp) David Vos 2’37 Van cd/boek Tekst zoekt muziek Coast to Coast Herfst (Marée) Bas Marée 2’24 Eigen opname Allemaal diamant ( Van Rooijen) Peter van Rooijen 2’55 ISRC code: NL-L5H-19-00001 ’t Portretje (D. Witte) Jetty Cantor 2’10 Eigen opname Vloghond (Marée) Bas Marée 2’46 Eigen opname Ans (Dicke/Beuving) Jan Beuving 3’30 Eigen opname Toen ik nog niet beveiligd werd (Nijland) Theo Nijland 2’27 Van de cd En de rest is onzin BASTA 3093622

Wherein we talk about sicknesses, Dom ain’t no slave to the oppressive 12ths, how to (not?) deal with unread emails, how to find pickled onions. We discuss small penis truck guy, David Bana, trips away together (Come On, Dickhead!), the INSIDEZERO reunion gig on January 5 2019. Also; copyrighting Marvin Gaye (doo dah, doo dah!), ISRC code amazeballs, Dave Grohl, music that resonates, Dom does Doubtfire, And: the possum man is coming, (Matt’s poor recording of possums), Dom makes a weird analogy, then tells a story that never happened, Matt doesn’t like coffee anymore. Plus: There’s a ruckus in the carpark, Sleep, the chocolate song (bar), the new 7-11 guy(ger counter), word’s got about the animal community, Dom’s a twitcher, the Eagle has Lambded. The INSIDEZERO reunion gig on January 5 2019: https://www.facebook.com/events/300726474114517/ They’re Coming to Take Me Away, Ha-Haa (Napoleon XIV (MB was correct)): https://www.youtube.com/watch?v=hnzHtm1jhL4   www.trcduo.comwww.domitaliano.comwww.mattbradshaw.comemail: podcast@trcduo.comFB: facebook.com/trcduoFB: facebook.com/MattyBBradshawFB: facebook.com/dom.italiano.7Instagram: instagram.com/trcduoTwitter: twitter.com/trcduo

Hosted by Imiuswi Aborigine of Beady Beats Music.Imiuswi muses the transformation of an artist becoming a company and seeing themselves as a business. Topics include ISRC codes and music metadata, copyright infringement, the Record Company lawsuit against COX Communications, College Radio Submissions, FeeLit Records in San Diego and Beady Beats Music.Sponsored by Dialog, an innovative social media platform where YOU can host your own live Call-in Show,  over the internet- http://getdialog.amwww.imiuswi.comhttp://feelitrecords.com/OU Podcast #3 Getting Over Being Underground

Ep. 99 - Interview with Kevin Breuner of CDBABY DIY Musician Join Fanbase University http://www.fanbaseuniversity.com Download Free Music Marketing Promotions Guide https://smartmusicbusiness.com/freesonglaunchchecklist   CHRIS:                     Well, hey, guys. I'm super stoked to have the VP of marketing from CD Baby, Kevin Bruener. I'm a huge fan, and he's just done so much for independent artists over the years. The company has just helped me totally change my career over the years, helped me sale more music, and had such an impact. I am super stoked to have Kevin from CD Baby on the line here. How are you doing, brother? KEVIN:                     I'm doing well. Thanks for having me. CHRIS:                     Yeah, man. Dude, seriously. I started working with CD Baby, or using your guys' stuff since 2001. KEVIN:                     Wow, wow. You predate me. CHRIS:                     That's crazy. Yeah, man. I remember getting the ... It's actually funny. We were moving or something, or I found an old bag the other day and it had the old CD Baby physical credit card swiper in there. KEVIN:                     Oh, man. That's a classic. CHRIS:                     For those of you that aren't listening, I guess that shows, people take credit cards ... Before the evolution of Square, we would swipe people's credit cards. I don't even know what we'd call it. It's like a little slip, and you'd fill it out manually. Then, mail them to you guys, and then you guys would, I guess ... I don't know, process them and then send us money or something like that. KEVIN:                     Yep, yep. That was back in the day. CHRIS:                     This doesn't exist. Obviously, I guess, they just don't even have that anymore. KEVIN:                     No, because the Square Reader came out, and there's no longer a need for it. CHRIS:                     Okay, awesome. KEVIN:                     Technology, you know, progresses. Things change, which is fine. CHRIS:                     Yeah. Well, dude, I'd love our audience to hear your story, because you don't just work at CD Baby. You're an artist, as well, too. That's what I love, is like artists helping other artists. I don't know. You just have such an amazing perspective, but I'd love for you to share your story with music, and then also how you started working at CD Baby and everything you guys do. KEVIN:                     Yeah. Well, I went to Nashville to study music in college. I went to Belmont University. That was one of the most challenging things I've ever done in my life, studying music. The requirements to pass those classes, meanwhile still having to pass history classes, and all these other things. It was insane. It was just extremely challenging. Then, not only that, being in Nashville with so many musicians, all of them who seemed far more talented than I was. It was just one of those big times of perseverance of my life of like, "This is what I want to do. I want to pursue music, and I'm going to make it happen. I don't care if those people are better than me. There's room for us all." KEVIN:                     While I was there, one of my roommates in college, he was friends with these guys back in Atlanta that were reforming a new band and were looking for a guitar player. I drove to Atlanta, and on my first day, I walked in to just rehearse and try things out with them, they were sending these three song demo tapes out to all the labels in there. This was 1996, by the way. CHRIS:                     Yeah. I love it. KEVIN:                     I started playing with them that summer, and doing festivals. They had always been playing ... They'd been road warriors since they were in high school. Every summer, they'd play like 50, 60 shows that they booked. They had a booking agent at the time as well. Anyway, so they had a lot of shows, so I started jumping on, and then by the end of summer, we were signed to a major label under the EMI umbrella, and our debut album came out the following year, and we saw some pretty nice success. KEVIN:                     We sold about 200,000 copies. We had a Grammy nomination. Dove Award nominations. Some number one songs. That whole machine was going, and the thing I noticed was that with all that success, we were still the last ones to get paid. We were flat broke. I wouldn't say it's all the label's fault. There were some decisions that predated me that set us up with some things, like some debt and all that. It still was, we'd work really, really hard and everybody got their piece of the pie before us, and then we just got to fight for the scraps. KEVIN:                     Eventually, I just ... One by one, the guys in the band kind of went their separate ways for a bit. I ended up in the northwest, where my wife is from. I just kept thinking, "There's got to be a better way for artists to do this, because we have fans." It's not like we're all frustrated and not making any money because we don't have fans. We do have fans. There's just this big wall between us and them where all the money gets sucked up and we just don't have direct access to it. KEVIN:                     About that time, I came across CD Baby, and I started writing and recording new music, and started a different band here in the northwest, and started distributing my music through CD Baby. This is like back in 2003, 2004. Just eventually thought, "Well, I might as well get a job here. I'm here in town. Might as well get a job. They happen to be in Portland, I'm in Portland." I've had several other independent bands. The band that was on a label ... I don't think I mentioned. The band's called Small town Poets. CHRIS:                     Go check them out, guys. Go check them out on Spotify. Small town Poets. KEVIN:                     Yeah, we started making music again back around 2010, and we'd always wanted to do a couple Christmas records, because we just loved Christmas music. We ended the hiatus with a Christmas album that did decent, and an EP, another Christmas album. Now, we just released another full length album. Not a Christmas record, but just a full length album. It's kind of in that album promotion cycle, and just trying to make it happen still. KEVIN:                     Yeah, I work at CD Baby. That's my day job. I'm the VP of marketing. We get to do a lot of cool things with artists, and it keeps me energized for doing music and all that. I'm in the trenches just like everybody else, just trying to make things happen. CHRIS:                     That's awesome, man. You said something profound there with the way the pay goes when you're with your label. It's so true that everybody gets paid first. The label, the publisher, the manager, and then we are, unfortunately, sometimes left with the scraps. The booking agent. I personally love booking agents for the most part, because I feel like they're the ones that really work the hardest to make us money. Yeah, it's really tricky when you don't own your stuff. Did you guys sign like a full deal? Did you guys ever get those records back or do they own the masters forever? KEVIN:                     They own them. We've had some conversations trying to recapture them that didn't go as I'd hoped for a number of reasons. Actually one album of the band's is owned by Capitol now. The first three albums were on one label and then there was a fourth album on a different label. That label got acquired and their whole catalog got acquired by Capitol. They basically told me, "We're owned by Comcast, which is a content company. You will never get your master back." CHRIS:                     Oh, wow. Jeez. KEVIN:                     I've kind of given up on that one, but the other three, we've had some conversations that still have not gone the way I had hoped. You know, there's still time. CHRIS:                     Yeah, yeah. There's still hope. I'll share quickly my ... I got my masters back slowly. I just actually emailed the label to get a song. There was a single, because I'm really trying to keep a track on it in a live album that I finally got back last week. I'm just so excited to upload it. Even my other albums, when I started to get them back, I was like, "Holy crap. Holy crap. They were making a lot of money off me." I used to get excited about the quarterly, or what is it? Biannually, they'd paid me, I think twice a year. That's a lot, but then all of a sudden when I owned it, I was like, "Holy smokes." CHRIS:                     You must probably have a lot of stories of artists that got their masters back, and maybe submitting their ISRC codes so that they can keep the Spotify playlists, and not lose those lists, but get their stuff back. Do you get a lot of stories like artist like, "Oh my gosh. Dude, I had no idea." KEVIN:                     Yeah, we do get a lot of artists that are like, "I got my masters back, and I want to get this back out there." Yeah, it's crazy. I mean, it's so important that you own your masters. If you're not going to own your masters, if you do sign a deal, that you're absolutely sure you understand what you're getting yourself into. You know, I'm not going to say that every label deal is a bad deal, but there's trade offs. There's serious trade offs. They're not going to invest a lot of time and energy developing you as an artist if they're not getting something in return. What they want is content that they can own forever, in most cases. That's not necessarily to your best interest as an artist. KEVIN:                     Depending on what kind of music you do, and what your career ambitions are, maybe it is the best thing that could happen to you. For most people, who have a long term view of their musical journey, that's not the best. KEVIN:                     One thing that was interesting when I was in that period of having left the label situation going, "There's got to be a better way," I remember seeing this article that was by Aimee Mann. It was in the newspaper, and it was talking about Aimee Mann, and how she'd been dropped from every major label, and that she had gotten some advances, but had never made anything on the back end. She was talking about how now she was just selling directly to her fans, and she can just sell 10,000 copies directly to her fans and make more money, far, far more money than she was when she was selling hundreds of thousands of copies. It's just kind of the understanding of how much money gets sucked up in that pipeline. CHRIS:                     Yeah, like I literally had a course that I called How I Make Over 4,000 a Month Selling Music Online. That was until I got my next record back and then the income shot up again. I'm going to have to rename the course. Yeah, I had no clue, and it's not like I got this success manual of, "Do this, and do that, and this is how you do it." I'm on CDBaby.com right now, and you guys spell it out so much of the boost your income here, and the pro publishing. I want to talk about a bit of this stuff that you guys help for artists to make money. CHRIS:                     I'll never forget, I was on tour, and I literally did a CD Baby podcast, like what do you call it? Like binge. There was one episode that you guys really spoke to me, and I didn't understand at first back then. It was like the black box royalties, and the YouTube. I think it goes with your guys' Pro, when you sign up for CD Baby Pro, and you collect the money worldwide. Could you maybe talk a little bit about that, and some of the money that artists might be leaving on the table that they don't even know about? I'm not good at talking about or explaining it. I'm sure you do a lot better job than me. KEVIN:                     Absolutely. Basically, the digital world has opened up a lot of things for independent artists. Not only so many new usages of music, and the way music generates revenue, and different kinds of royalties. A lot of these royalties didn't exist 10 years ago, especially 20 years ago, and so the industry was kind of slow to figure this stuff out. The industry's also been used to delaying with the major labels who represent large catalogs, and most of the music out there that's being used in these ways. That has changed drastically, especially over the last five, six years, where independent artists make up about 40% of the music being used on places like Spotify and such. KEVIN:                     There's all these royalties that are generated that the industry just didn't have a way to collect for independent artists, because they didn't care. It got to a point where people were like, "Hey, it doesn't matter if you're on top of the charts or you have 1,000 streams. That revenue is yours. That revenue is owed to you for the usage of your music by law, and there's no reason why it can't be paid. Especially in the digital world, where we can account for things one for one." KEVIN:                     Way back in the day, they used to just survey radio stations and all that, to kind of try to grasp an idea of who was owed performance royalties, but now, everything's digital. If something gets played, it's accounted for, and artists should get paid their rightful money. That's been a lot of what we've been doing in the last few years, is really focusing on helping artists get paid these royalties, where they traditionally haven't. KEVIN:                     I'd say one of the biggest problems with artists, especially artists that have some success rolling, is that most of them are under-monetized, where they're not taking advantage of all of the revenue streams owed to them. Some of them, that money can pool up and sit around for a while, but some of these royalties, after two years, it just gets paid out, which means the major label folks benefit most from that. CHRIS:                     YouTube, specifically. I don't even think it's retroactive. If you're not monetizing it when the ad, I'm pretty sure that one's not ... You can't go back for YouTube is what I heard, if you don't have it monetized. KEVIN:                     Yeah, correct, because YouTube, it's all ad revenue, and if it's not monetized, yeah, they won't go back and pay you out for it. I've heard some situations like someone who's had like an explosion of viral content that's happened instantly, and them trying to recover some from the previous week or two, but yeah. If you have something that's been performing for a while, no, that's lost revenue. You're not going to get that back. KEVIN:                     That's a lot of what we do, is just help artists make sure that their publishing money's been collected. A lot of artists think they have publishing because they signed up with a PRO, and that's not a publisher, that's a performing arts organization. A lot of artists don't understand the opportunities on YouTube, or the world of sync licensing, and also that in a streaming world, there's also a mechanical royalty that's paid out. For about every five dollars that you make off of streaming, there's an additional dollar of publishing that's owed to you. If you don't sign up, if you don't have someone administering those publishing rights for you, you're losing that revenue. KEVIN:                     That's what we do with our CD Baby Pro product. Our publishing administration service that adds on to the distribution and makes sure that you're getting paid as much money as you possibly can. CHRIS:                     Just to talk with the YouTube thing, because I was blown away that it wasn't just off of my channel that I was making all this YouTube money. It was the thousands of videos that had my music in it that I had no idea. I had one song that's been uploaded to YouTube 9,000 times, and I get paid on all those, because I've signed up for the administration for publishing and stuff. It's really important that artists need to know that it's not just your channel, but all these other channels and people using it. KEVIN:                     Yeah, correct. I mean, a lot of these usages can be completely hidden from the artist. Those 9,000 uploads you mentioned, it's possible that some of them cited your name, or said Music by Manifest, or something like that in the description, but a lot of them, they don't, and the only way to find it is through the content ID program, and the YouTube monetization program where we find that and make sure that you're getting paid for the usage of that music. KEVIN:                     If you've got fans, if you're an artist that has fans, chances are that somebody's posted your music online somewhere that you don't know about it, and you could be monetizing it. CHRIS:                     Yeah, man. Which leads me to the next thing, which I'm super excited about, is Facebook and Instagram. It might be too early, and if it is, that's cool, but if you've got any data, that's started to pay, or they're starting to monetize it at least. I'm really excited to see what that actually amounts to when they start paying us for our music. CHRIS:                     Jeez, I run a ton of ads, and I know you're running ads, and artists are running ads promoting their music videos or whatever, just their music period on Facebook, Instagram. It's like, finally, they're going to start ... I've heard they've been trying to work on this thing for forever, and I hope it amounts to something pretty awesome, but have you heard much or got much data back from that yet? KEVIN:                     Not much data back yet. It's still pretty new, but it will be over the next few quarters, getting more information on that. Yeah, I expect this to be a huge opportunity for artists. You know, Facebook is really trying to make their site a destination for video viewing, and they've done a good job in a way that, you know, inserts videos differently than how people experience them on YouTube. YouTube's trying to be a different type of platform than Facebook, and so there's lots of usage on Facebook, and artists should be paid for that. KEVIN:                     The monetization is running now, but it's still early, because it takes a while for this stuff to come back, and really be able to crunch the numbers. It's only been active, it was earlier this year when it got turned on. There's usually a couple quarters' lag in the data. Really looking forward to seeing how much this adds to artists. I'm expecting it'll be a lot. CHRIS:                     Yeah, I'm really excited, man. I hope they backdate it, too, a bit, as well. I don't know what's going to happen, but time will tell. We'll have to do another call later on, and see what happens with that, and get some stories. I wanted to ask you leading into that, and this is such a common question I get, and I want it, too, just for me as an artist myself. I personally have seen that streaming seems to have won when it comes to Spotify, as far as money now. My streams have finally outperformed my downloads. I don't know if you see that. I'm sure it's different for every artist, but you guys have thousands of artists, so you probably see so much data. Would you say streaming is the majority now? KEVIN:                     Yeah. We pulled data for our entire catalog for 2017 that we released earlier this year. Spotify was the biggest digital partner at like 35%. Apple Music was I think in third, but iTunes was still number two at 25%. The surprise was Amazon and Pandora being as high as they were. They were like four and five. For some artists, it is definitely overtaking it and become even bigger for them. KEVIN:                     You know, across the board, it's hard to be like, "Yes, it has," or, "No, it hasn't," because there's so much genre consideration, there's audience consideration. If you're somebody that your core audience is 18 year olds, absolutely, streaming's going to be good bread and butter. If you're an artist that your core audience is in their 50s, they might still prefer CDs, or downloads, or even vinyl. It can be very audience specific and genre specific. It's definitely growing. KEVIN:                     The interesting thing is, in 2017, when really people started coming to grips with the fact that it's a streaming world, and streaming adoption started skyrocketing, so did the backend royalties for artists that we collect, it started skyrocketing. That's one of the cool things that we've seen. CHRIS:                     Yeah. I get it all the time, is like, "How do I grow my Spotify? How do I grow my Spotify?" Could you speak into that a little bit? I know you just did the DIY CD Baby Conference, as well, too, so I'm also curious what do you see artists struggling with the most? Where do you feel like, "Ah, I wish if they just did this." Kind of like [inaudible 00:22:07] conception of it all, and growing this thing, and monetizing it. You know, we're talking about money and monetizing your music, but some artists are like, "But I don't even have any fans." They just don't get it. Do you know what I mean? KEVIN:                     Yeah. Well, first off, they need to understand the platform itself. Over the last couple years, I've talked to so many artists that were like streaming haters. A lot of ... come around. It's because they were trying to make sense of a streaming world in a download economy. They're just two totally separate things. Streaming brought a fundamental shift in how people engage with music. It's not just a matter of instead of download, they just stream it. Instead of making 99 cents for that song, now I make less than a penny. KEVIN:                     That's how a lot of artists were looking at it, and it's just not the same experience. It's not the same thing. Until you let go of that idea, and understand what's really happening on the platform, you're always going to be frustrated, angry, and not taking advantage of it. KEVIN:                     For example, we went from a buying economy to a playing economy, where in a buying economy, you have to know what you're going to buy. You have to go into a store, or go to a download store, and know what you're going to buy, or plan to buy something. In a playing economy, all the barriers to entry are gone. All I got to do is push the play button. The ease of getting someone to sample, or the barrier to getting someone to sample or try your music is virtually eliminated. KEVIN:                     On top of that is that really listening has gone from a intentional experience. Not only did they have to go figure out what to buy, you had to go, "I want to listen to this album right now, and I have to go select it," as opposed to, "I'd like to listen to music that's chill music while I work for three hours." People are thinking about music in a more experiential sense and less about every artist that they love. They still love artists, and follow artists, and save their music, but that shift has opened up so much more exposure for listeners to hear new music. That's really benefiting independent artists. KEVIN:                     People are talking to devices. They're saying, "Hey Siri, play me songs for a rainy day," or, "Alexa, play me some workout music," or, "Play me the song that has this in the chorus," or, "Play me songs that all say this in the chorus," "Build a playlist off of this idea." You know, people are putting music on the background while they work all day and just letting it run. There's so many different ways people engage with music, and get into the music, than ever before, that didn't exist in a download world, where you had to be very intentional, "I'm getting this." KEVIN:                     One of my favorite things that people are doing now, and really capitalizing on, is collaborations with other artists. You get an artist that has a following, and you do a collaboration with them, your new song will show up on their profile and your profile, and that's a perfect way to introduce people to new music that didn't exist before. KEVIN:                     If you don't understand how these platforms work, and are working to your advantage, and how you can build a strategy around it, you're not going to benefit from it. Things like release radar. If you're building up a following on Spotify, especially now with the recent changes, when you release something new, everyone that follows you, your new track's going to show up in their release radar. Discover Weekly and things like that, where they're actively pushing music out to more people, because it's to the platform's benefit to make sure that people are enjoying the music, and finding as much new stuff, and just staying engaged, because if they don't, they'll stop paying that monthly fee. KEVIN:                     When I talk to artists and tell them some of those things, they kind of go ... The extreme hater kind of backs down a little bit, but they're still skeptical. Until you go and understand things like how playlisting's driving adoption, and more streams, and how you can even just pitch straight to playlisters new music. If you don't understand all that stuff, yeah, you're going to be frustrated, because you're still thinking of it like, "I put my music on a shelf somewhere, and people are supposed to buy it." These are totally different thing, not even related. KEVIN:                     That's number one, starting there. The other thing is, I find on Spotify specifically, is that a lot of people have not optimized their artist page and taken advantage of all the tools there in order to merchandise their music, present a better profile, make it attractive for people to follow, have links to their social outlets so they can get some of those fans connected other places. All those are options that are free to artists. You just have to do the work. CHRIS:                     Yeah, it's free real- KEVIN:                     It doesn't even take that long. CHRIS:                     No, no. I love what you said about the collabs, man. Paying for a feature, if it's the right feature, not only are they featured on your track, and then when there's searches ... Jeez, if you did a few of those a year, or had a few on an album, or whatever, especially if they're bigger than you, that is such a worthwhile investment to have, let alone the relationship and maybe touring, or whatever. I always say the right feature is so worth it, man. CHRIS:                     I think it's just consistency, right? Just staying in the game. It's just not an overnight thing. Even if you get a placement, or you get a playlist, there's no one thing that just blows up your career. It's kind of like, "Okay, that's one thing, and that's built the foundation for your career. That's the bricks. You got more, and you're building it." I like what you said, just strategy. What's the long term strategy to grow this thing so that in a year or two you've got more fans? KEVIN:                     Well, and I think also, in a streaming world, some of the options out there allow artists to work together more to the benefit of all, as opposed to feeling like you're in competition with everybody. CHRIS:                     That's cool. KEVIN:                     Where things like collaborations, or building playlists for your local scene, and getting everybody to email their fans, so all these artists that are on these playlists can kind of help each other drive awareness of the scene that they've got in their town. Just a lot of ways where it can be artists helping artists for the benefit of all as opposed to feeling like you're fighting each other for shelf space, and fighting each other. KEVIN:                     There is some healthy competition when it comes to getting gigs and things, but I think if you look at the options you have, there's so much more, that just community of your scene, or other artists' friends, or collaborations can really help build each other up. CHRIS:                     Yeah. Yeah, man. I always say to artists, "Stop looking at everyone as your competitor, and start looking at them as your collaborator, you know?" I wish I did that more earlier in my career. I felt like I was a little internal, and just kind of kept to my own world. I wish I was just more ... I don't know, not outgoing, but just looked at it that way. It would've benefited me so much, to instead of trying to be this star, or get the light, there's enough room for all of us, you know? CHRIS:                     I'm curious. We'll end here, because I know you've got to get going, but even at the CD Baby conference that just went on, and if you haven't gone, make sure you go next year. Do you guys record it? Do you guys actually sell it at all? KEVIN:                     You can see a lot of sessions for free on our Facebook or YouTube channel. We live streamed the main stage the whole time. CHRIS:                     Oh, awesome. Perfect. KEVIN:                     There's probably about 10 or so sessions that are up for free on our Facebook and YouTube pages that you could go check out right now. CHRIS:                     Sweet. Was our boy Rick Barkers up there? KEVIN:                     Oh, yeah. I think he even mentioned you in his ... He did mention you in his session. CHRIS:                     Oh, he did? KEVIN:                     Yes, he did. CHRIS:                     Oh, cool. Yeah, he's a rad dude, man. I love that guy. Man, what was I going to say? Oh yeah, what was the energy like there? Let's end with this as well. What advice did you give the most, and what would you give to artists that are just listening to this to grow and move forward their careers? KEVIN:                     Well, I think the one thing I would highlight, one, the energy's amazing. I don't just say that because I put on the conference. In fact, it's totally different than what I expected. When we started doing this conference, I thought it would feel more like, you know, many of the music business conferences that I go to throughout the year. We've tried hard to make it feel different and unique, but I didn't know what to expect when people showed up. KEVIN:                     Our audience is like 85% musicians. At an average music business conference, it's probably like 60, 70% businesspeople and maybe some artists, depending on which one it is. Our is mostly artists, and the thing is that people are just overwhelmingly happy to be there. They're just so excited to talk to other artists. It really feels like a family by the end of the weekend. Having done four conferences, actually five if you count the one in Valencia, Spain that we did this year, there's people that have come every year that it's like I consider friends now. I see them, and I'm so excited to see them. We hang out. KEVIN:                     The other thing is, I've been just blown away by the level of artistry across the board. I think a lot of times, as independent artists, we feel like people maybe give us a slightest little, "Oh, they're just independent artists." Man, there was some serious crazy next level stuff I saw at our conference this saw, and I'm always blown away by the artistry, and the level of people that are there, the quality of the music, their commitment, just their heart for what they're doing. It just feels different than any other conference I've been to. KEVIN:                     It's kind of the sad thing when it's over, especially for me and my team, because we spend all year planning it. It's a lot of stress. It's a lot of blood, sweat, and tears. When it starts actually happening, there's a lot of nerves and tension running, like, "Is this going to go well? We have 1,500 people showing up to a place. Anything could happen." It's just this emotional high, and then by the time we're really able to enjoy it, when the conference is winding down on Sunday afternoon, it feels like, "Oh, man. It's already over." KEVIN:                     It's such a great experience. The content, we work really hard to make sure that it is useful content for independent artists to help them move their career forward. Every year, I feel like we have some big hits, maybe a few misses, but you learn from it. I feel like also this year, we had a lot of cutting edge information. That's what a lot of artists I heard mention, like, "Man, I didn't even know this stuff existed." Like some of the Facebook advertising stuff Rick was talking about. A lot of people, playlisting is still a new concept for them. We had YouTube was there, Pandora was there, Spotify was there, all there to help independent artists better understand their options on their platforms. It was just the place to be. If you're going to invest a little in your conference ... I mean, in your career, you should make plans to come to it next year in Austin. October ... Or October, I'm sorry, September. No. CHRIS:                     Is this [crosstalk 00:34:25]? KEVIN:                     Man, my mind is blown. It's not September. It's August. That's what I meant to say. CHRIS:                     August, okay. KEVIN:                     It's been a long week. Not only did I do the conference, Chris, I got to tell you, I like to really stack it deep, and I did a show in Atlanta with my band, Small town Poets, the Wednesday right before I went to Nashville to do the conference. I was spent. By the end of the week, I had no idea what I was doing, and then got hit with a cold at the end. I could barely talk by the end of the conference. KEVIN:                     August. Yes. August. It's going to be in August again down in Austin. Speaking of Facebook ads, it was you that let me know that Facebook actually has all their advertising people down in Austin, so I'm hoping to get them out to the conference to do- CHRIS:                     I was just going to say that. I think it's- KEVIN:                     ... a lot of stuff. CHRIS:                     Yeah, I think my guy, Paul ... I can't remember who my rep is now, because he just changed, but yeah, that would be rad, dude. I was just going to say Facebook is there, so that'd be totally awesome. Hey, so can people go get tickets now at CD Baby? KEVIN:                     Not just yet. We should have tickets up very soon. If you're not on our email list, go to our blog, the DIY Musician blog, and sign up on our email list. If you don't have a CD Baby account, even if you're not distributing something right now, you should go sign up for one, because that gets you free access to our Show.co marketing platform, which is amazing. All you got to do is create an account. Just go do that, and then you'll be on our email list, and we'll let you know. We'll have them up in the next couple weeks, the early bird tickets, we'll start selling them. Yeah, it's going to be at the Hilton there right by the convention center. KEVIN:                     Because it's the live music capital of the world, we're going to try and make more live music opportunities for artists. We'll see what we come up with. CHRIS:                     Yeah, dude. That is awesome. Dude, you killed this. Thank you so much, man. You provided so much value, and yeah. Thank you for coming on today's podcast. Make sure you go check out Small town Poets, go to CDBaby.com, go get those tickets when they're up, go create an account, get on the email list, because you guys provide so much value and helped thousands and thousands of artists, including me. Thank you so much, man, for being on today's show. KEVIN:                     Absolutely. Any time. CHRIS:                     Yeah, dude.

Have you ever wondered how some artists seem to have millions of streams on their songs the day their album drops. Why do some artists release compilations of previously released material? How do all the stream counts for the same song across multiple albums, compilations or re-releases count towards one single combined total? Listen to this episode to learn how The Chainsmokers have applied this with their single 'Sick Boy'. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Gebre Waddell talks about creating plug-ins, mastering, metadata, blockchain technology with music, and much more.  Gebre Waddell is a mastering engineer, author, and audio software designer-developer. Gebre owns Stonebridge Mastering in Memphis TN, and wrote the book “Complete Audio Mastering: Practical Techniques” published by McGraw-Hill in 2013. His mastering credits include artists like Ministry, Lil’ Wayne, The Bar-Kays, George Clinton, Public Enemy, and David Porter. Gebre is now the CEO and founder of http://Soundways.com a company dedicated to delivering the next generation of audio solutions for music and audio recording, streaming, video gaming, consumer electronics and automotive markets. SOUNDWAY'S MISSION is to: revolutionize the supply chain of sound recordings, from the studio to the services and devices used for listening. Download your FREE RIN-M eBook and Plug-in at: http://RSRockstars.com/rin    Thanks to our sponsors:  Check out Chris Graham Mastering: http://RSRockstars.com/FreeMasteringSample Roswell Pro Audio: https://RoswellProAudio.com   Leave a Review  Get the full show notes at: http://RSRockstars.com/103 -Also- Free mix training with Lij at: http://MixMasterBundle.com Get yourself a Rockstar T-shirt at: http://RSRockstars.com/Tshirt Download the theme music at: http://SkadooshMusic.com

BandTools Ep 24 – Ensure your songs can be traced and identified by giving them ISRC codes. Each code is unique and is permanently encoded into a product as its digital fingerprint. It’s free to set up and royalties to be made.

I’m still trying to find out how to license music for a CD and thought I’d update you on what I’ve discovered further. Remember that I love to read your comments so feel free to comment in the box below this post. You might remember in my first article on this subject that it was […]The post HC011 | Making An Album | How To License Music For A CD Part 2 appeared first on Heather Cairncross.

I’m still trying to find out how to license music for a CD and thought I’d update you on what I’ve discovered further. Remember that I love to read your comments so feel free to comment in the box below this post. You might remember in my first article on this subject that it was […] The post HC011 | Making An Album | How To License Music For A CD Part 2 appeared first on Heather Cairncross UK Jazz Singer.

Starting out his career as the banker in his Louisiana hometown, David decided to make a shift when he had the opportunity in the late ‘80s to move to a nearby city and transfer into economic development. Then in 1994, David was involved in a horrific auto accident which left him with a feeling of destiny—that he was left here for a reason. He was determined to make a positive impact on this world. In 2005, when Hurricane Katrina hit, David shifted his focus to disaster recovery and resilience. In 2011, while crafting an economic recovery strategy for Japan after the Fukushima Tsunami, the idea of ISRC was born. ISRC is dedicated to furthering the UN's 17 Sustainable Development Goals and is one of 8 Public Private Partnership (PPP) Specialist Centers of Excellence affiliated with the United Nations Economic Commission for Europe International PPP Centre of Excellence. ISRC strives to improve disaster resilience and sustainability worldwide by specializing in providing "People first" PPPs that are sustainable and enhance disaster resilience, as well as integrating sustainability and resilience into PPPs of all types, globally. In 2019, while in Puerto Rico implementing its recovery, David contracted a deadly bacteria that led to the amputation of his left leg. Having already dealt with a near death experience once, and constantly being around disaster and tragedy through his work, David knew there was a reason he survived both: to teach people about both personal and community resilience, while inspiring them to never give up no matter what life throws at them, even a pandemic. Website: https://isrc-ppp.org Support this podcast at — https://redcircle.com/the-dave-pamah-show/donations

Neste episódio, a Tratore conversa sobre o YouTube Music e o Tidal, novas plataformas de streaming e seus mecanismos, além de explicar para que serve o ISRC.