Podcast appearances and mentions of jessica powell

Jessica Powell is the CEO and co-founder of Audio Shake, a company pioneering AI-driven sound separation technology. Formerly Google's VP of Communications, she has a deep background in both tech and music, helping artists unlock new creative possibilities.In this episode, Michael Walker and Jessica explore how sound separation, AI, and immersive content are transforming the music industry.Key Takeaways:How Audio Shake's sound separation technology gives artists new creative freedomWhy immersive content is the future and how musicians can prepareThe ethical and artistic impact of AI in music production-----Learn more about Jessica Powell and Audio Shake at: https://www.audioshake.ai/Book an Artist Breakthrough Session with the Modern Musician team: https://apply.modernmusician.me/podcast

(Episode 278) On this show the Blueberry Chicks Courtney Tobolt, Hillary Fisher and Treat Hartmann come to the studio try some Blueberry Burger Variations. Rob, Mason Dixon, Amanda Jones and Scott T. welcome in studio special guest Jessica Powell to show to talk about CBD and the benefits to the body. On Mason Dixon's Front Porch Stomp, Mason calls Scott Shanks, comedian and GM from the Underground Laugh Lounge in Niles, Michigan. Scott talks about the Lounge, their events and a few of the great acts coming to the Underground Laugh Lounge. Aaron Overhiser, Doctor of Physical Therapy at Bronson in South Haven calls in to tell us how he and Dr. Max Masters work together to provide the best possible care for their patients.  On Let's Talk Real Estate with Tina Goodrich, Gina Johnston-Small invites Kim Stokes to the studio to tell us about getting ready to sell a property and a couple listings. It's all here, right now and so much more on Rob Byrd's Moondog Show.

Join Bishop Powell as he interviews Pastors Braxton and Jessica Powell about The Cost of the Message. Email your questions to: rightlydividingwot@gmail.com

IN this episode cross posted on Youtube, I share an article I recently published on Medium about the intersection of AI and music. I lay out the philosophical implications of generative AI and the disassembly of music into modular components for capital circulation and its implications on artistic expression and freedom. I argue for the importance of preserving authentic, embodied musical experiences and the role of genuine musical communities in safeguarding the transformative power of music. Drawing on the works of philosophers such as Peter Sloterdijk, Anna Kornbluh, Hartmut Rosa, and others, I explore the concept of primordial resonance and how nurturing contextualized, embodied musical spaces is crucial for maintaining the vital link between our primal musical enchantments and the public sphere. Join me as I delve into why these spaces, where freedom takes root, are essential for reclaiming the intimate, individualized experience of hearing that is so fundamental to our well-being and the future of music in the age of AI. Jessica Powell's article on Ai and Music: https://trapital.co/2024/03/08/is-generative-music-really-the-next-napster/ The Article: https://medium.com/@revivingvirtue/the-transparent-artist-music-in-the-age-of-ai-disassembly-8663e5013ecd The eariler referenced article on AI as style engines: https://medium.com/@revivingvirtue/ais-lone-banana-problem-art-ontology-and-the-unseen-threat-21f6ea2be377

There's been a lot of discussion (and concern) about the impact of generative AI on music and whether the industry is on the verge of another Napster moment. But according to Jessica Powell, CEO of AudioShake, it's going to take a lot more than a text prompt to kill music as we know it.On today's episode, Jessica and I did a dive deep into the rise of generative music, its actual opportunities, and what it means for the industry moving forward.At the end of our conversation, we also included an audio version of the essay that Jessica wrote for Trapital: “Is Generative Music Really the Next Napster?”00:00 Will AI music have a Napster moment?08:07 The rise of generative music12:14 Main challenges and opportunities20:26 Audio essay: “Is Generative Music Really the Next Napster?”Make sure you listen in for our new Chartmetric stat of the week!Enjoy 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.

We talk to Jessica Powell of https://AudioShake.ai - a new and impressive Audio Separation focussed company. Well worth a listen, what they do is pretty good. Jessica is ex Google, an author and musician. We have a chat about the possibilities, the technology and the ethics involved. Video version: https://www.youtube.com/watch?v=zoGY2Lf-hhE Please consider supporting us on https://patreon.com/sonicstate

You may have heard about the recent collaboration between Drake and The Weeknd that wasn't a real collaboration, but an AI-generated fake. This incident is a canary in the coalmine not just for the music industry, but any creator or rights holders across numberous industries. Joining us to discuss is Jessica Powell of AudioShake, an A.I. startup that builds sound separation software to help musicians make additional revenue for their work. (Repeat from May, 2023.) Hosted on Acast. See acast.com/privacy for more information.

In this week's episode, meet two of the star sponsors of this year's 5th Annual Music Tectonics Conference! Tristra Newyear Yeager sits down with Con Raso of Tune Global and founders, Tracy and Robbie DeBarroses of Revohloo the the latest shifts at the convergence of music and tech that are shaping the music industry. Learn more about Tuned Global, the leading b2b music streaming service providing turnkey streaming solutions to help brands and companies quickly add music, audio or video streaming content to their digital services. Discover how Tuned Global is harnessing the power of AI to create engaging user experiences. Learn more about Revohloo, the music video streaming service & social network allowing artists and content creators to remix and create their own official versions of their favorite artists' music video. Listen to highlights from the latest online event from Music Tectonics: Music Tech Lessons Learned + Narwhal Kickoff. Tune in as Jessica Powell, Xann Schwinn, Jacquelle Horton share their takeaways as winners of Music Tectonics Swimming With Narwhals, the startup pitch competition.    The Music Tectonics podcast goes beneath the surface of the music industry to explore how technology is changing the way business gets done. Visit MusicTectonics.com to find shownotes and a transcript for this episode, and find us on LinkedIn, Twitter, and Instagram. Let us know what you think!  

CEO and co-founder of AudioShake, Jessica Powell, joins Niki remotely to talk AI and music. Her company created tech that has helped artists and fans alike since before we ever heard of a musical “deep fake.” In this episode, they chat karaoke, video game music, and Jessica breaks down what a stem is - as well as the creative impact AI will have on the music industry as we know it. Follow Jessica on TwitterLearn more about AudioShakeListen to this episode's playlistFollow Niki on LinkedIn

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

In this episode 'Ever Wish You Could Have the Music Stems From Your Older Recordings Available?', we sit down and speak with Jessica Powell who is the CEO & Co-founder of Audioshake. ****** Use code MUBUTV10 to get 10% off of your order with the Music Business Registry here

You may have heard about the recent collaboration between Drake and The Weeknd that wasn't a real collaboration, but an AI-generated fake. This incident is a canary in the coalmine not just for the music industry, but any creator or rights holders across numberous industries. Joining us to discuss is Jessica Powell of AudioShake, an A.I. startup that builds sound separation software to help musicians make additional revenue for their work.

This week, Dmitri Vietze sits down with Jessica Powell, co-founder and CEO of AudioShake, winner of the 2022 Swimming with Narwhals Music Tech Startup Competition. Learn more about AudioShake, the company that uses sound separation to split songs into their stems, helping make music more interactive and accessible. Find out creators are using stems for remixes, surround sound mixes, and sync licensing. Discover how artists like Green Day are using stems to connect with their fans on TikTok with stem drops, instrumental tracks, and karaoke. Get Jessica's take on the latest emerging trends in music tech and hear more about her experience at the 4th Annual Music Tectonics Conference. Look to the future of stem standardization and interactive audio experiences - what's next for the world of stems? Find out on this week's episode.    The Music Tectonics podcast goes beneath the surface of the music industry to explore how technology is changing the way business gets done. Visit MusicTectonics.com to learn more, and find us on Twitter, Facebook, and Instagram. Let us know what you think!

Jessica's journey -- what a ride!  Music change agent Jessica Powell shares her Roads Taken, ranging from following a now-ex boyfriend across countries to using her languages at CISAC and on a wild boar farm (!!) -- to Google London, Google Asia, and to her current AI and Stems startup, AudioShake.   And even that founding with her co-founder Luke Miner began as a "What If" exercise around bass lines and karaoke, before landing with Billy Mann and peermusic to experiment with AIs and stems to create a next-generation stem separation platform for artists and new creative technologies.  We ran into her at Music Tectonics' annual conference as AudioShake won the "Swimming with Narwhals" Tech Startup Pitch Competition, the latest in a recent series of wins for this new company. Guest: Jessica Powell, CEO and Co-Founder, AudioShake Jessica Powell is the CEO and co-founder of AudioShake, which uses AI to separate songs into instrumentals and stems so that they can be opened up for new opportunities in sync licensing, remixing, and emerging immersive, education, and social media formats. The company won Sony's Demixing Challenge, and was called the “cleanest stem separation tech” by DJ Mag. Powell spent over a decade at Google, where she sat on the company's management team, reporting into the CEO, and ran the company's global communications organization. She began her career at CISAC, the International Society of Authors and Composers, in Paris. She is also an author and essayist, whose work has have been published in the New York Times, TIME, WIRED, and elsewhere. Mentioned Links: Twitter: https://www.twitter.com/themoku and https://twitter.com/AudioshakeAI LinkedIn: https://www.linkedin.com/company/audioshake/ and Website: https://audioshake.ai and https://indie.audioshake.ai Music Tectonics' Swimming with Narwhals Music Tech Startup Pitch Competition: https://www.musictectonics.com/pitchcompetition Billy Mann: https://www.billymann.com/ Mary Megan Peer and peermusic: https://www.musicbusinessworldwide.com/mary-megan-peer-named-as-new-chief-executive-officer-of-peermusic-as-ralph-peer-ii-shifts-to-executive-chair/ Donovan's Season of the Witch: https://youtu.be/GU35oCHGhJ0 CISAC (International Confederation of the Societies of Authors and Composers): https://www.cisac.org/ Her book, The Big Disruption: A Totally Fictional but Essentially True Silicon Valley Story - https://www.amazon.com/Big-Disruption-Jessica-Powell-ebook/dp/B07PK5S8D9/ Canadian Music podcast interview: https://www.canadianmusicianpodcast.com/episodes/audioshake-jessica-powell Webby Awards info: https://www.webbyawards.com/news/jessica-powell-co-founder-audioshake/ Magnetic Magazine interview:

Our guest on this episode is co-founder of AudioShake.ai Jessica Powell and we will dive into the following topics: How does audioshake.ai work? How many types of stems does the AudioShake.ai provide? What do you think about Tiktok's new stem drop feature? Is the RX10 Ai doing the same thing to Rebalance? Can AudioShake.ai separate lead vocals from background vocals and separate background vocals into separate parts? 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 Learn more about AudioShake: https://indie.audioshake.ai Use discount code: TAKE50 Follow AudioShake on Instagram: @audioshakeai

On the podcast this week, Canadian Musician Editor-in-Chief Mike Raine is joined by Audioshake Co-Founder and CEO Jessica Powell. Audioshake is a new company that's using advanced artificial intelligence (AI) to “demix” songs, essentially taking a finished track and deconstructing it into high-quality vocal and instrumental stems that can be used for sync licensing, remixing, and more. Powell is a very interesting and accomplished person in the business and tech world. She began her career in the world of music rights working for CISAC and eventually went on to the high-profile position of VP of Communications for Google. She is also a critically-acclaimed author and a lifestyle, business, and tech columnist for the New York Times, Fast Company, Wired, and more. Launched in July 2021, by musicians and former engineers and AI researchers from Google, YouTube, and Apple, AudioShake counts all three major label groups and several top publishers and indie labels among its customers. The company won Sony's 2021 Demixing Challenge, beating out entrants from big tech companies and research institutes. AudioShake's tech was also recently used by Green Day to recreate their lost masters to the song “2000 Light Years Away” so that fans could play along with the band on TikTok. Learn more at audioshake.ai and indie.audioshake.ai

In this episode of Digital Buzz Radio we talk about inspiring student learning through creativity. We interview educator and author Dr. John Spencer who shares his expertise about providing students with more opportunities to create and consume information with a purpose. We also interview Georgetown ISD educator Jessica Powell, Learning Design Coach at Wagner Middle School. Jessica will be sharing ways that she has leveraged technology to engage students in extending their learning through creativity.

Jessica Powell landed a dream job at Google, where she served as Vice President for Communications. But eventually, she realized it wasn't her dream job... and she quit. In this episode from the Hello Monday archives, she tells host Jessi Hempel what it's like to leave when you're not sure what's next for you. She shares some tips on how to evaluate whether your job still works for you, and Jessi ends with an all-new coda on what Jessica is up to now, a few years later.

As we continue with our Advent theme Embracing Love and Tender Mercy, our worship centered on monologues adapted from Carol Howard Merritt's "I Am Mary."  The monologues were adapted by Jessica Powell, with permission of the author.

In this episode, we have the privilege of hearing from Barton Priebe, Lead Pastor of Central Baptist Church in Victoria, as he talked with Jessica Powell about his new book, “Adopted by God: Discover the Life-Transforming Joy of a Neglected Truth.” You'll get to hear him explain why the doctrine of adoption is such an important one, why he says it's been a neglected truth in the church, and how there is life-transforming joy to be found when we truly embrace our identities as sons and daughters of God. He also shares how understanding and teaching this doctrine can be incredibly helpful for us as church leaders who are trying to help navigate our churches through controversies, such as the ones many of us are dealing with now during Covid! Get the book: Adopted by God (Barton Priebe) BARTON PRIEBE After working four years at Trinity Western University and thirteen years as lead pastor at Dunbar Heights Baptist Church in Vancouver, Barton became the lead pastor of Central Baptist Church in 2015. You will enjoy his preaching as he knows how to ask the right questions, engage attention, and thoughtfully guide you to biblical answers that impact all areas of faith and life. Barton enjoys cycling, skiing, sushi, reading, date nights with his wife, and having fun with his four children. He received his Doctor of Ministry from Northwest Baptist Seminary. He is also the author of "Adopted by God," "The Problem with Christianity: Six Unsettling Questions You Have Asked," "Belonging to God's Family: Measuring the Effect of Sermons on Paul's Doctrine of Adoption in the Lives of Believers," and co-author of "Everyday Apologetics: Answering Common Objections to the Christian Faith."

The body standards imposed on women by society is absolutely unreal. Often it's focused on body size instead of health or wellbeing. Today's guest is Jessica Powell, and for years, she struggled with this. Through her service in the military and into motherhood, until eventually she said enough is enough! Jessica has finally learned to embrace the body she's got and reclaim her health and fitness on her terms. Jessica Powell is a life coach based out of Lexington, Kentucky. When she's not spending time with her husband and two kiddos you can find her reading, or staying active doing Crossfit and training for triathlons. During her time in the military, she struggled with her identity and worth being rooted in how much she weighed, which led to further health struggles and depression. Over time, she redefined what healthy looked like for her and climbed out of the pit of shame, fear, and self-doubt that she created for herself. As a life coach, she seeks to help other women redefine their stories to create a life they love. _____ Connect with Jessica:

With the first in-person event of the year, NAMM, having just finished in Nashville we caught up with a very unique company in the audio space. Audioshake can take any song--even if it was never multi-tracked--and break it into its stems, creating new uses for the music in instrumentals, samples, remixes, mash-ups and more. Take a listen as we chat with the founder, Jessica Powell.  See omnystudio.com/listener for privacy information.

Do you look at your stems when recording in the studio as a revenue stream, or just layers of your song as a whole? Audioshake has created the AI technology, which is designed to help the rightsholder to the music to be able to create professional stems without having to go back into the studio. This is perfect for the artist looking to create not only vocal tracks but also segmented files that can be used for music in film and television aspects, without the time and cost of having to go back into the studio to edit and mix the parts needed. Stems can make the difference in setting up a scene in a film or series, and this program provides the tools to do it right. This literally can take the music down to the molecular level if need be. The idea of creating Audioshake came from Co-Founder and CEO Jessica Powell and her partners wanting to sing Karaoke while over in Japan. Still, their preferred choice of music was Punk, and there weren't any tracks available to that specific genre of music. Also, they were discovering that they were karaoking to really cheesy sub-standard Midi versions that weren't close to the real thing, which they felt took away from experience. Out of those experiences, Audioshake has created the AI technology that will create stems and instrumentals from songs in minutes. Why does this matter? Old songs (think: mono-track) cannot be broken up Analog multi-track: tapes are often damaged or lost Shift to digital in the 90s: stems got lost in the shuffle Contemporary: everything should have stems, but sometimes they aren't delivered, or in some cases, songs are recorded on phones People have been working in the field of sound separation for a long time:  However, quality hasn't historically been good enough to use the stems commercially. Recent advances in A.I. have really helped it take off. Facebook, Deezer, and several academic researchers are working on the problem. Audioshake has the highest quality items in the world and the greatest breadth: vocals, drums, bass, guitar, and others...and we're working on other instruments as well. Audioshake offers the possibility to help artists and rights holders open up their songs for new uses -- instrumentals for sync licensing, stems for re-mixes, removing bleed from live recordings, creating stems for spatial audio, etc.  Stems have been used in re-mixes, songwriting camps, movies, documentaries, and commercials. Their company also has an on-demand platform for music labels and publishers who need to create large volumes of stems, and it also provides stem storage.  This program is about helping artists make more money from their work. Audioshake wanted to build something for the industry--not a generally available consumer technology that would allow anyone to pirate artists' work. Jessica Powell is the co-founder and CEO of Audioshake, an AI technology that creates professional-quality stems and instrumentals from songs. She has over 15 years of experience in the technology industry. She is a former Vice President of Google, but she got her start in music at CISAC, the international author's rights organization. She is also the author of the best-selling book, The Big Disruption, and writes regularly for the New York Times, TIME magazine, and other publications.  www.audioshake.ai The Business Side of Music ™ Lotta Dogs Productions LLC   Co-Produced and Hosted (by the guy who has a face for podcasting):  Bob Bender Co-Producer, Creator, and Technical Advisor (the man behind the curtain):  Tom Sabella Director of Video and Continuity (the brains of the entire operation): Deborah Halle Audio/Video Editor Mark Sabella Midnight Express Studio  Olian, NY Marketing and Social Media: Kaitlin Fritts Executive Assistant to Bob and Tom (the one who keeps us on track and our schedules straight) Tammy Kowalski All Around Problem Solver: Connie Ribas Recorded at: The Bunker in Franklin, TN (except during the Covid 19 pandemic, then it's pretty much done VIA Skype or over the phone, with the exception for those fearless enough to come to Bob Bender's living room… and there are a few). Mixed and Mastered at Music Dog Studios in Nashville, TN Production Sound Design: Keith Stark Voice Over and Promo: Lisa Fuson Special Thanks to Tom Sabella and Traci Snow for producing and hosting over 100 episodes of the original “Business Side of Music” podcast and trusting us to carry on their legacy.   Website: Sponsorship information  Interview submission

In this episode we are joined by Jessica Powell and we discuss mindset and physical health.Jessica is living out her dream as a life coach in Lexington, Kentucky with her husband and 2 kiddos. When she's not coaching she enjoys a good, nerdy show like Doctor Who or The Mandalorian and gets outside for a good run or bike ride whenever she can. As a life coach, her goal is to help as many women on their journeys achieve a fulfilling life in a way that feels attainable. She believes we all have what it takes to live a life we love, and we are worth the work it takes to get exactly what we want.Connect with Jessica: www.jessicapowellcoaching.comIG - @jess_powell_coachingFb Group - Unleashed Mama Coaching with Jessica Powell - https://www.facebook.com/groups/223712592631672/?ref=shareAbout Evelyn - The Fab Chieftess: I am a certified and accredited Transformation Mindset Life Coach. Mindset & Goal Setting Self-Development Women Empowerment EQ – Emotional Intelligence NLP – Neuro Linguistic Programming CBT - Cognitive Behavior Therapy REBT - Rational Behavior Therapy I help aspiring women with impostor syndrome, gain clarity and consistency, and overcome fear with my 4-step process in order to achieve their goals. Connect on social: Website: www.thefabchieftess.com Instagram: www.instagram.com/thefabchieftess Facebook: www.facebook.com/fab.chieftess Twitter: www.twitter.com/thefabchieftess Clubhouse: @thefabchieftess Shop Empowered Fashion: www.sheisfab.net Get freebies, join challenges, and subscribe for the newsletter: https://linktr.ee/thefabchieftess​ Featured on: CBS, NBC, and FOXSupport the show (https://www.paypal.me/thefabchieftess) Support the show (https://www.paypal.me/thefabchieftess) Hosted on Acast. See acast.com/privacy for more information.

In all the many conversations we've been having about what the future holds for the post-Covid church, there's been one common idea that we keep hearing: a sense that God is at work doing something new in His church through Covid and a deep desire to participate with Him in whatever that is. But how do we know what it is that He's asking us to participate in? In this episode, Jessica Powell sat down with Jon Thompson, Senior Pastor of Sanctus Church and author of the books Convergence and Deliverance to talk about the importance of asking God if He has something specific for us to do before we jump into making our plans and what that actually looks like in practice for us as church leaders who are trying to discern what to do in a post pandemic world. More from Jon Thompson: www.thrivewithconvergence Books: Convergence Deliverance JON THOMPSON Jon Thompson is the Senior Pastor of Sanctus Church, a multi-site church in the Greater Toronto Area where he has been on staff for more than 20 years. Under Jon's leadership, Sanctus is characterized by dynamic Biblical teaching, vibrant community groups, compelling media, and powerful times in worship. Jon has a Master of Theological Studies from Tyndale Seminary, Toronto and a Doctorate of Missiology from Fuller Seminary, California. Jon is husband to Joanna and father to three kids—Hannah, Emma, and Noah. Jon speaks and teaches globally on the convergence of spiritual gifts, spiritual practices, and spiritual experiences in the life of the believer and the local church.

Host, Dalia Jean speaks with life coach, Jessica Powell about the journey of overcoming the pressures of diet culture and fighting for what you really want.   Episode Topics:  Growing up in diet culture and Pressure that comes along with it Learning to love yourself where you are Not giving up without a fight Be kind to yourself Change takes time    About the Guest: Jessica Powell Jessica is living out her dream as a life coach in Lexington, Kentucky with her husband and 2 kiddos.  As a life coach, her goal is to help as many women on their journeys achieve a fulfilling life in a way that feels attainable.  She believes we all have what it takes to live a life we love, and we are worth the work it takes to get exactly what we want.   Find Jessica Online: Instagram: @jess_powell_coaching Website:  www.jessicapowellcoaching.com   About the Host: Dalia Jean Dalia is a mother, art educator, artist, author, and fearless DIY warrior, who chooses to view all parts of life as opportunities to learn. She has been a creative for 20 years, an educator for 10, and has used the pandemic as an opportunity to publish her first children's book, Be Still, Love Nature, pursue her Master's Degree, and start this podcast, while focusing on personal growth instead of the downsides to this crazy time in our lives.  Dalia currently lives just outside of Cleveland, Ohio with her partner Doug, her son and her three cats. She enjoys learning new things, being around the animals and people she loves most, and feels that laughter and being in nature are some of life's best medicines.    Find Dalia Online:  More about the show: floatonpodcast.com Website: www.daliajean.com/hello Instagram: www.instagram.com/floatonpodcast Facebook: www.facebook.com/floatonpodcast Twitter: https://twitter.com/floaton_podcast   Subscribe to the Podcast If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or your favorite podcast app.   Leave us an Apple Podcasts review Ratings and reviews from my lovely listeners are extremely valuable to me and greatly appreciated. They help my podcast rank higher on Apple Podcasts, which exposes my show to more awesome listeners like you. If you have a minute, please leave an honest loving review on Apple Podcasts.

In March 2020 we all found ourselves rapidly pivoting to online forms of ministry. At first it was just our church services, but as the pandemic stretched on, we saw more and more creativity in how churches found ways to run their ministries in digital ways. So what do we do now? As we get closer to the finish line of Covid, we find ourselves having to ask questions about what place these online platforms have going forward. We know that we can't really go back and that online ministry is here to stay in some form, but what does that actually look like? In this episode, Jessica Powell from our Church Management Solutions team spoke with Zach Yaciw, the Pastor of Village Online at Village Church. You'll get to hear him share his passion for engaging people in gospel-centered community, how they're finding ways to do that authentically online, and the ways in which online church has enabled them to reach people with the gospel all over the world in ways that never would have been possible before. For a list of resources mentioned, visit the episode page on our website. ZACH YACIW Zach Yaciw is the Pastor of Village Online at Village Church. Prior to starting this position, he completed the Immerse Program at Northwest Baptist Seminary. Zach was born and raised in Cloverdale, BC. He's passionate about seeing people have their lives transformed by the redemptive grace of Jesus. Zach and his wife, Lauren, have been part of Village Church since 2011.

Evangelism is one of those things that we know is important, but if we're honest, many of us still struggle with it both as individuals and as churches. If that's you, then you will really appreciate this conversation that Jessica Powell from our Church Management Solutions team had with Shaila Visser. Shaila is the National Director of Alpha Canada as well as the Global Senior Vice-President for Alpha International and she is passionate about introducing people to Jesus. You'll get to listen in as Shaila talks about what is most important in the way that we share our faith, how to deal with the inevitable fear that comes up when it's time to invite someone to church or to a program like Alpha, and why evangelism is actually one of the best tools to grow your own faith and that of your congregation. Find out more about Alpha: www.alphacanada.org www.instagram.com/alphacanadaorg www.facebook.com/alphacanada SHAILA VISSER Shaila Visser is the National Director of Alpha Canada and the Global Senior Vice-President for Alpha International. She is the Executive Producer of both The Alpha Youth Film Series (2013) and The Alpha Film Series (2016), and currently holds positions on the Board of the Damascus Road Foundation and on the Board of Regent College—an International Graduate School in Vancouver. Shaila has a heart for people coming to know Jesus and is passionate about helping the local church flourish. She is a gifted communicator who is known for her strategic leadership as well as her ability to bring people together. Shaila is recognized as one of the Top 100 Most Influential Christian Women in Canada. Shaila lives in Vancouver BC with her husband, Ryan Visser, a Vancouver Police Officer, and their four-legged family members, Talon and Benny. You can reach Shaila on Twitter or Instagram @shailavisser.

Jessica Powell met her ex at a silent meditation retreat. Before they'd even exchanged words, it was clear there was a magnetic connection and it was a blissful whirlwind but things never felt quite right. In the middle their 3 year on-again-off-again relationship Jess spent a year healing from Complex PTSD from childhood abuse and the more she healed the more she realized she was perpetuating her fathers abuse cycle, this time with a covert narcissist.

In this episode of Unleashed Unapologetically, Jessica Powell speaks about the struggles she went through after gaining over 50 pounds from her first pregnancy. That impacted her health, her relationship and her mental states. Jessica began her journey of letting go of what was holding her back after she attended a conference led by Tony Robbins. Since, Jessica made it her passion to help other women who too are feeling stuck. In her words, "My goal is to give women permission to get off the backburner and take care of themselves to live life with purpose." Take a Listen! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/uslayconfidence/message Support this podcast: https://anchor.fm/uslayconfidence/support

Arrests made the past week by the Jackson Police Department include: Michelle Etheredge, 40, arrested March 21, assault. Terrell Robinson, 25, arrested March 22, failure to appear (FTA). Keshia Creighton, 52, arrested March 23, shoplifting. Jaylan Bettis, 23, arrested March 23, assault, third. Jessica Powell, 38, arrested March 23, FTA. Lawanda Williams, 47, arrested March 23, FTA. Nathaniel Rivers, 24, arrested March 26, domestic violence. Antonio Ezell, 47, arrested March 26, FTA. Kaley Taite, 20, arrested March 27, FTA. Jason West, 18, arrested March 28, violation of protection order. Jararcus Taylor, 26, arrested March 28, domestic violence and possession of...Article Link

As followers of Jesus, we know we are called to love and serve our communities. But in a time when we are inundated with the sheer magnitude of need that exists around us, it can sometimes feel impossible to even begin to address any of it. But what if we asked for help? What if we embraced the idea that we can have a greater impact in our communities together than we can on our own? In today's episode of the Propel podcast, you get to hear a powerful story of how two Fellowship Pacific churches have “leveraged their collective strength” and combined resources in order to make a beautiful, God-honouring impact in the community of Whitehorse. Jessica Powell from our Church Management Solutions team sat down with Kaitlyn Korzan, Director of Global and Local Mission at Village Church, and Jeremy Norton, Lead Pastor of Mountainview Church in Whitehorse to hear about how their two churches connected to partner in a project to bring hope and light to people who are struggling in Whitehorse. KAITLYN KORZAN Kaitlyn is the Director for Global and Local Mission at Village Church. She's passionate about bridging the gap between the church and the community because she believes there's power when the Church is activated to seek the lost, fight for justice, care for the vulnerable, and bring peace to the city. Kaitlyn loves exploring new places, being immersed in different cultures, and tends to be an adrenaline junkie. JEREMY NORTON Jeremy began serving at Mountainview Church in 2013 as Associate Pastor of Community Life & Equipping and then transitioned to Lead Pastor in 2016. He's passionate about anything and everything to do with Leadership. He believes Outreach is a crucial component of the local church, seeing needs met with the goal of sharing the Gospel. In his off time, Jeremy enjoys blogging, social media, fishing, hunting, playing soccer, and spending time in the outdoors with his wife Nicole and their three boys.

In life, their will be challenges to confront and decisions that must be made. Now add in a spouse, two small kids, health issues, and a career change. My special guest, Jessica Powell is busy doing all of these things while trying to find a definition for balance that works for her family. As a budding Life Coach, Jessica understands that despite all the things on her plate, making time for her children and intentionally working on her marriage, brings a sense of love that she’s abundantly proud of. Listen to the podcast to hear how love keeps the Powell family committed to bringing their family goal to fruition. www.7daysoflove.com --- Send in a voice message: https://anchor.fm/coach-teia/message

Kansas City is where cfm Distributors, Inc. started back in 1969 and the HQ is located in the Historic West Bottoms. This city and it's amazing people have been a vital part of the success of this Employee Owned Wholesale HVACR Distributor. The culture of the city where everyone treats each other like family is what the company culture at cfm draws from. As we gear up for another Big Game win from our favorite hometown football team, we wanted to know something about the people of this city so we asked them! You will hear from the following Business leaders in Kansas City, Jessica Powell from Startup HustleJannae Gammage from The Market BaseSamantha Salem from Kansas City LifestyleBrandon Calloway from Kansas City GiftAsiyah Lites Rasheed from Brown Sugar Chicken and DonutsThey each tell us what they do and where they look when they have a need for your services! For more episodes please visit the HVAC resource center at cfmkc.com or give us a call at 816-842-5400.

In today’s episode I have an amazing guest on to talk all things startups! So much great information in this episode I know my founders, startup brands and leaders won’t be disappointed ! Thank you so much Jessica! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Jessica Powell is an author, communications expert and entrepreneur. She currently heads Audioshake, a startup that breaks down songs and isolates individual tracks, giving recording artists more avenues to innovate and record. Prior to that, Jessica served as the Vice President for Communications at Google, where she immersed herself in the world of tech. The post 625: How to Break Into Communications in Tech With Jessica Powell, AudioShake [Espresso Shots] appeared first on Time4Coffee.

Celebrating RESISTENCIA: Poems of Protest and Revolution with Mark Eisner, Tina Escaja, Romina Funes, Rebeca Lane, Jack Hirschman, and Jessica Powell. Co-presented by the Red Poppy Art House and Tin House Books. This event was originally broadcast live via Zoom. Carolina De Robertis, Resistencia translator, a writer of Uruguayan origins, is the author of four novels, most recently Cantoras, which received a Stonewall Book Award and a Reading Women Award. Mark Eisner, co-editor of Resistencia: In 2004 Mark was involved in the early stages of the Red Poppy Art House. Tina Escaja, co-editor of Resistencia, is a Spanish American author, digital artist, and Distinguished Professor at the University of Vermont. Romina Funes, poeta, was born in General San Martin, Buenos Aires, Argentina, in 1981. For the past decade, Romina has organized "Letras & Música.” Jack Hirschman, Resistencia translator, is Poet Laureate emeritus of San Francisco. Rebeca Lane, contributing poet/rapper, was born in Guatemala City. As a teenager she became involved with social movements. Jessica Powell, Resistencia translator, has published dozens of translations of literary works by a wide variety of Latin American writers.

There are many ways our churches have benefitted from digital technologies and online platforms, especially during this season of Covid. But there is another side to our digital age that we have to consider and take into account or we may just find that the tools we're using are taking us in a direction we never actually intended to go. In this episode, Jessica Powell from our Church Management Solutions team talks with Jay Kim, author of the book “Analog Church: Why we need real people, places, and things in the digital age.” They discuss the values of our digital culture and why we need to be cautious, thoughtful, and intentional about the ways in which we leverage the technology available to us. Resources mentioned in this episode: More from Jay Kim: Analog Church: Why we need real people, places, and things in a digital age www.jaykimthinks.com Other resources mentioned: Church Pulse Weekly podcast Canoeing the Mountains (Tod Bolsinger) JAY KIM Jay Y. Kim serves as lead pastor of teaching at WestGate Church in the Silicon Valley of California, and as a teacher-in-residence at Vintage Faith Church in Santa Cruz, California. He is the author of Analog Church (InterVarsity Press, 2020). Some of his written work has been featured in Christianity Today, The Gospel Coalition, Relevant Magazine, Outreach Magazine, Missio Alliance, and Pastor Resources. Jay lives in the Silicon Valley with his wife Jenny and their two young children.

The fact that burnout in ministry is an issue is not new information. One quick search is all it takes to see the disheartening statistics on this. And that was before Covid-19 changed everything about how we do ministry and life and family! In this episode, Jessica Powell has a conversation with Dr. Josh Kruse (Pastor of Counselling at Village Church and Registered Psychologist) about how burnout affects us in ministry work, especially when we find ourselves leading through a crisis like the one we're in now. You'll get to hear practical advice and invaluable wisdom for how we can fully live out our calling in ministry without falling into the trap of carrying what we were never meant to carry and burning ourselves out. Resources mentioned in this episode: Books + Podcasts Village Church Counselling Podcast Convergence (Jon Thompson) Emotionally Healthy Spirituality (Peter Scazzaro) Boundaries (Henry Cloud & John Townsend) Assessments Emotional and Spiritual Health Assessment (Peter Scazzaro) Emotion Wheel Dr. Josh Kruse Dr. Josh Kruse is the Pastor of Counselling at Village Church and a Registered Psychologist. He is passionate about helping people heal and grow to be more like Jesus in every area of their life. Dr. Josh has an M.A. and a Ph.D in Clinical Psychology from Biola University and an M.A. with an emphasis in Marriage and Family Therapy from Pepperdine University. Prior to working at Village Church, he was on full time faculty at Trinity Western University and worked as a Psychologist in private practice. He lives in Surrey, British Columbia with his wife Rachael, and their four children ages 17, 16, 11, and 9.

This week, Liberty and Patricia discuss Camp, Fairest, The Ship We Built, and more great books. This episode was sponsored by Book Riot Insiders, the digital hangout spot for the Book Riot community; W.W. Norton; and TBR, Book Riot's subscription service offering Tailored Book Recommendations for readers of all stripes. Pick up an All the Books! 200th episode commemorative item here. Subscribe to All the Books! using RSS, iTunes, or Spotify and never miss a beat book. Sign up for the weekly New Books! newsletter for even more new book news. BOOKS DISCUSSED ON THE SHOW: The Enigma Game by Elizabeth Wein (now scheduled for release November 3) Fairest: A Memoir by Meredith Talusan Camp by L. C. Rosen The Ship We Built by Lexie Bean Hollywood Park: A Memoir by Mikel Jollett This Is What America Looks Like: My Journey from Refugee to Congresswoman by Ilhan Omar Parachutes by Kelly Yang Out Now: Queer We Go Again! by Saundra Mitchell WHAT WE'RE READING: The Order of the Pure Moon Reflected in Water by Zen Cho The Once and Future Witches by Alix Harrow MORE BOOKS OUT THIS WEEK: Every Missing Piece by Melanie Conklin Breath: The New Science of a Lost Art by James Nestor Perfectly Confident: How to Calibrate Your Decisions Wisely by Don A. Moore The Long Fix: Solving America's Health Care Crisis with Strategies that Work for Everyone by Vivian Lee Hideaway: A Novel by Nora Roberts The Book of Eels: Our Enduring Fascination with the Most Mysterious Creature in the Natural World by Patrik Svensson The Nixie of the Mill-Pond and Other European Stories by Kel McDonald & Kate Ashwin The Black Flamingo by Dean Atta Nine Moons by Gabriela Wiener, Jessica Powell (translator) Sea Change by Nancy Kress Hair to Dye For: DIY Tutorials for Modern Mermaids, Creative Cosplay, and Everyday Glamour by Ash Fortis Everything, Vol. 1 by Christopher Cantwell and I.N.J. Culbard Galaxies: Inside the Universe’s Star Cities by David J. Eicher The Bone Thief (Bone Charmer) by Breeana Shields Beginning with Cannonballs: A Novel by Jill McCroskey Coupe How to Read Nonfiction Like a Professor: A Smart, Irreverent Guide to Biography, History, Journalism, Blogs, and Everything in Between by Thomas C Foster Love in the Blitz: The Long-Lost Letters of a Brilliant Young Woman to Her Beloved on the Front by Eileen Alexander Minor Detail by Adania Shibli, Elisabeth Jaquette (translator) Salient by Elizabeth T. Gray, Jr. Concordance by Susan Howe Nowhere on Earth by Nick Lake Feasting Wild: In Search of the Last Untamed Food by Gina Rae La Cerva Fair Warning by Michael Connelly Stay Gold by Tobly McSmith Strayed by Carlos Giffoni, Juan Doe The Bob Ross Cookbook: Happy Little Recipes for Family and Friends by Robb Pearlman Everything's Not Fine by Sarah Carlson The Stolen Daughter by ReShonda Tate Billingsley Recipe for Persuasion: A Novel by Sonali Dev The Jewel Thief by Jeannie Mobley The Archer At Dawn by Swati Teerdhala Wild City: A Brief History of New York City in 40 Animals by Thomas Hynes Out of Body by Jeffrey Ford Camp Murderface by Saundra Mitchell, Josh Berk Last Chance Summer by Shannon Klare East Coast Girls by Kerry Kletter The Prisoner's Wife by Maggie Brookes Yours, Jean by Lee Martin Something to Talk About by Meryl Wilsner Lifting Belly: An Erotic Poem (Counterpoints) by Gertrude Stein Girls of Summer: A Novel by Nancy Thayer The Paper Girl of Paris by Jordyn Taylor Hunting Whitey: The Inside Story of the Capture & Killing of America's Most Wanted Crime Boss by Casey Sherman and Dave Wedge Sister Dear by Hannah Mary McKinnon I Kissed Alice by Anna Birch Index Cards: Selected Essays by Moyra Davey Sunshield: A Novel by Emily B. Martin Red Dress in Black and White: A novel by Elliot Ackerman Worse Angels (An Isaiah Coleridge Novel) by Laird Barron The Jane Austen Society: A Novel by Natalie Jenner All My Mother's Lovers: A Novel by Ilana Masad Home Home by Lisa Allen-Agostini What You Don't See (A Chicago Mystery) by Tracy Clark Killer Chardonnay (A Colorado Wine Mystery #1) by Kate Lansing The Death of Jesus: A Novel by J. M. Coetzee This is a Book About Dumplings by Brendan Pang This Is One Way to Dance: Essays (Crux: The Georgia Series in Literary Nonfiction Ser.) by Sejal Shah The Fashion Book by Phaidon Editors The High Moments by Sara-Ella Ozbek The Last Hunt by Deon Meyer Of Mice and Minestrone: Hap and Leonard: The Early Years by Joe R. Lansdale Alligator and Other Stories by Dima Alzayat Inquire Within by In-Q The Darkling Halls of Ivy by Lawrence Block

Jessica Powell is an author, communications expert and entrepreneur. She currently heads Audioshake, a startup that breaks down songs and isolates individual tracks, giving recording artists more avenues to innovate and record. Prior to that, Jessica served as the Vice President for Global Communications and Public Affairs at Google, where she immersed herself in the world of tech. The post 429: How to be Strategic Launching New Products at Google w/ Jessica Powell, Audioshake [K-Cup DoubleShot] appeared first on Time4Coffee.

Jessica Powell is an author, communications expert and entrepreneur. She currently heads Audioshake, a startup that breaks down songs and isolates individual tracks, giving recording artists more avenues to innovate and record. Prior to that, Jessica served as the Vice President for Global Communications and Public Affairs at Google, where she immersed herself in the world of tech. The post 428: Why to Take Classes Outside Your Comfort Zone w/ Jessica Powell, Audioshake [K-Cup DoubleShot] appeared first on Time4Coffee.

Jessica Powell is an author, communications expert and entrepreneur. She currently heads Audioshake, a startup that breaks down songs and isolates individual tracks, giving recording artists more avenues to innovate and record. Prior to that, Jessica served as the Global Vice President for Communications and Public Affairs at Google, where she immersed herself in the world of tech. The post 427: What’s the Difference Between Marketing & Communications w/ Jessica Powell, Audioshake [K-Cup DoubleShot] appeared first on Time4Coffee.

Jessica Powell is an author, communications expert and entrepreneur. She currently heads Audioshake, a startup that breaks down songs and isolates individual tracks, giving recording artists more avenues to innovate and record. Prior to that, Jessica served as the Vice President for Communications at Google, where she immersed herself in the world of tech. In 2018, she penned The Big Disruption: A Totally Fictional but Essentially True Silicon Valley Story, a satirical critique of the tech industry. The post 425: What It’s Like to be Global VP of Communications at Google w/ Jessica Powell, Audioshake [Main T4C Episode] appeared first on Time4Coffee.

A discussion of Silvina Ocampo, focusing on the two new translations published by City Lights––"Forgotten Journey" & "The Promise"--with the books' translators: Suzanne Jill Levine, Katie Lateef-Jan and Jessica Powell. Opening statement by Elaine Katzenberger, publisher/executive director of City Lights Booksellers & Publishers, who also edited these two books. Silvina Ocampo was born in Buenos Aires, Argentina in 1903. A central figure of Argentine literary circles, Ocampo's accolades include Argentina's National Poetry Prize and a Guggenheim fellowship. She was an early contributor to Argentina's Sur magazine, where she worked closely with its founder, her sister Victoria Ocampo; Adolfo Bioy Casares, her husband; and Jorge Luis Borges. In 1937, Sur published Ocampo's first book, Viaje olvidado. She went on to publish thirteen volumes of fiction and poetry during a long and much-lauded career. Ocampo died in Buenos Aires in 1993. La promesa, her only novel, was posthumously published in 2011. Suzanne Jill Levine is the General Editor of Penguin's paperback classics of Jorge Luis Borges’ poetry and essays (2010) and a noted translator, since 1971, of Latin American prose and poetry by distinguished writers such as Guillermo Cabrera Infante, Julio Cortázar, Carlos Fuentes, Manuel Puig, Severo Sarduy, and Adolfo Bioy Casares. She has published over 40 booklength translations not to mention hundreds of poetry and prose translations in anthologies and journals such as the New Yorker (including one of Ocampo’s stories in their recent flash fiction issue). Levine has received many honors, among them PEN awards, several NEA and NEH grants, Guggenheim Foundation Fellowship, and more recently the PEN USA Translation prize for José Donoso’s posthumous novel The Lizard’s Tale. Founder of Translation Studies at UCSB, she has mentored students throughout her academic career (including Jessica Powell and Katie Lateef Jan). Levine is author of several books including the poetry chapbook Reckoning (2012); The Subversive Scribe: Translating Latin American Fiction (1991; 2009); Manuel Puig and the Spiderwoman: His Life and Fictions (FSG, 2000, 2002). Her most recent translation is Guadalupe Nettel’s Bezoar and Other Unsettling Stories (2020) for Seven Stories Press. Jessica Powell has published dozens of translations of literary works by a wide variety of Latin American writers. She was the recipient of a 2011 National Endowment for the Arts Translation Fellowship in support of her translation of Antonio Benítez Rojo's novel, Woman in Battle Dress(City Lights, 2015), which was a finalist for the PEN Center USA Literary Award for Translation. Her translation of Wicked Weeds by Pedro Cabiya (Mandel Vilar Press, 2016), was named a finalist for the 2017 Best Translated Book Award and made the longlist for the 2017 National Translation Award. Her translation of Pablo Neruda's book-length poem, venture of the infinite man, was published by City Lights Books in October 2017. Her most recent translation, of Edna Iturralde's award-winning book, Green Was My Forest, was published by Mandel Vilar Press in September, 2018. Katie Lateef-Jan is a PhD Candidate at the University of California, Santa Barbara in Comparative Literature with a doctoral emphasis in Translation Studies. Her research focuses on twentieth-century Latin American literature, specifically Argentine fantastic fiction. She is the co-editor with Suzanne Jill Levine of Untranslatability Goes Global: The Translator's Dilemma (2018). Her translations from the Spanish have appeared in Granta; Review: Literature and Arts of the Americas; and ZYZZYVA.

We talk to Jessica Powell, a writer and former VP of Communications for Google, about her new book The Big Disruption: A Totally Fictional but Essentially True Silicon Valley Story.

Jessica Powell is the former vice president of communications for Google and served on the company’s management team. She’s the co-founder and CEO of a music software startup, and her short fiction, humor and op-eds have appeared in the New York Times, TIME, Medium, and other publications. Her novel The Big Disruption is “a totally fictional but essentially true Silicon Valley story.” Technology journalist Kara Swisher said Powell is “an insider who has come outside, an insightful chronicler of the ridonkulous foibles of the digital overlords and a deft teller of tales.” This print interview has been edited, condensed, and annotated. The podcast is available on Apple Podcasts, Google Podcasts, Spotify, YouTube, and other platforms.

A discovery readers have been waiting for, more Silvina Ocampo finally translated into English: The Promise and Forgotten Journey.

Jessica Powell, the Executive Director of KC Collective joins Matt D. once again this time to discuss how startup founders can leverage their startup’s growth through collective collaboration.  KC Collective is a Kansas City-based organization built by startup founders for startup founders. They provide a collaborative community for startup founders in scaling their businesses. They provide them introductions to investors, mentorship, perks, partner discounts, ongoing education and resources to move their business forward. While running a business can be challenging, KC Collective makes it a little easier for the founders as they provide a thriving community to grow a startup ecosystem in KC.   Learn more about:   Full Scale: https://fullscale.io/   Stackify: https://stackify.com/   KC Collective https://kccollective.org/   GigaBook: https://gigabook.com   Follow us on Instagram: https://www.instagram.com/startuphustlepodcast/   Subscribe to our YouTube channel: https://www.youtube.com/channel/UCDXy14X95mzCpGSHyDvvoVg   Follow us on TikTok: https://www.tiktok.com/@startuphustle

Jessica Powell, former Google VP turned music software startup cofounder, author and writer, shares her journey at Google and in the tech industry. Her fictional novel, The Big Disruption, has a unique view of the Silicon Valley and its culture, with fresh insights and humour.Jessica attributes her career up the Google ladder to both serendipity and hard work. Or as she described humbly, luck and timing played a big part. Perhaps luck favours the bold when Jessica said YES to many projects when no one wanted to do them.In today's episode, Jessica also shares how she got started in London, as an American and how she has navigated her career and life through different challenges and opportunities.You can find Jessica Powell at:Website: https://www.jessicapowell.co/Twitter: https://twitter.com/themoko About 10X Vision:Host: Mina Fung, Founder of Pull Impact, Co-founder of wifaglobalMusic credit: Adventures by A HimitsuFor tips and lessons learned throughout the podcast, head over to https://www.pullimpact.com/podcast and subscribe to my monthly summary list exclusively delivered to your email box once a month. 

Join dave Nassaney, the caregiver's caregiver, as he and his lovely co-host, Adrienne Gruberg, founder of The Caregiver Space, interview Jessica Powell on The Power of Humor. The New Show Intro and Outro lyrics and Music was written by Singer/Songwriter, Steve Siler, "Music For the Soul," Nashville, TN.

Jessica Powell ran communications for Google, making her one of the most powerful voices in the PR industry – until she quit. This episode, hear a conversation about what it’s like to leave a job when you’re not sure what’s next. Plus, hear Jessica’s tips on how to decide a job is no longer working for you. 

On this episode of Speaking Statrtup, we will hear an interview with Jessica Powell of the Kansas City Startup Foundation. She's helping organize #Back2KC, an event that aims to bring top professionals with Kansas City roots back to the area. Then, we hear from we will hear a conversation reporter Rashi Shrivastava had with Naga Rayapati. Rayapati, who created GoGetter, a job matching marketplace for software contractors, says the gig economy is on the rise. Here's the rundown: • 3:00 - The latest headlines in startup news • 4:55 - Jessica Powell, Back2KC organizer • 10:48 - Naga Rayapati, GoGetter founder • 18:15 - Numbers in startup news and closing thought

Jessica Powell, author of The Big Disruption: A totally fictional but essentially true Silicon Valley story, sits down with Tonya Hall to talk about the positive impact that tech companies can have on the world. Follow ZDNet: Watch more ZDNet videos: http://zd.net/2Hzw9Zy Subscribe to ZDNet on YouTube: http://bit.ly/2HzQmyf Follow ZDNet on Twitter: https://twitter.com/ZDNet Follow ZDNet on Facebook: https://www.facebook.com/ZDNet Follow ZDNet on Instagram: https://www.instagram.com/ZDNet_CBSi Follow ZDNet on LinkedIn: https://www.linkedin.com/company/zdnet-com/ Follow ZDNet on Snapchat: https://www.snapchat.com/add/zdnet_cbsi Learn more about your ad choices. Visit megaphone.fm/adchoices

Iran accused of attacking oil tankers in the Persian Gulf, as the entire region goes on a war footing. Russian bombers flying aggressive missions close to Alaska, while Russian warships come close to ramming American destroyers. And North Korean ballistic missiles flying fast and furious. Security threats to the United States comes from all directions, and none of them is simple. Ash Carter, who was Secretary of Defense under President Obama, knows this better than most people. Former Defense Secretary Ash Carter, the author of a new book, is coming up on In Depth. This scenario is no longer difficult to imagine: a "deepfake" video posted on Facebook, purporting to show some political figure saying racist or inflammatory things, appearing to back up up conspiracy theories, sparks violent protests that spin out of control. It's the latest concern around the power of social media platforms, and it's what we're talking about on In Depth with Jessica Powell, the former vice president of Google. And.....43 years. That's how long it's going to take the average person living in Los Angeles to save up enough money to afford the down-payment on a median priced home here. See omnystudio.com/policies/listener for privacy information. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Chad and Tom are joined by Mark Haber from Brazos Bookstore and author of the forthcoming Reinhardt's Garden (October 1, Coffee House Press). They talk a bit about Translation Bread Loaf (two thumbs up) and about a special poster for anyone who buys the First 100 from Open Letter, before trying their best to breakdown a nonsensical metaphor that Chad heard at this weekend's The Ladder Literary Conference. They also talk about Reinhardt's Garden, Mark's influences, the voice of the main character, and Chad's "Five Tools for Authors" post. (Also: See the "Five Tools for Translators.") Then, they recommend a slew of books to check out: Hold Fast Your Crown by Yannick Haenel, trans. by Teresa Lavender Fagan Riots I Have Known by Ryan Chapman  The Remainder by Alia Trabucco Zerán, trans. by Sophie Hughes The Incompletes by Sergio Chejfec, trans. by Heather Cleary The Dreamed Part by Rodrigo Fresán, trans. by Will Vanderhyden Baron Wenckheim's Homecoming by László Krasznahorkai, trans. by Ottilie Mulzet "The Revised Boy Scout Manual" by William S. Burroughs  Time Is the Thing a Body Moves Through by T Fleischmann Axiomatic by Maria Tumarkin Banshee by Rachel DeWoskin Feeble Minded by Ariana Harwicz, trans. by Annie McDermott and Carolina Orloff The Man Who Saw Everything by Deborah Levy The Promise and Forgotten Journey by Silvina Ocampo, trans. by Suzanne Jill Levine, Jessica Powell, and Katie Lateef-Jan Monsterhuman by Kjersti Skomsvold, trans. by Becky Crook That Other World: Nabokov and the Puzzle of Exile by Azar Nafisi, trans. by Lotfali Khonji Nikolai Nikolaevich and Camouflage by Yuz Aleshkovsky, trans. by Duffield White Anatomy. Melancholy. by Edy Poppy The MVP Machine by Ben Lindbergh and Travis Sawchik  This week's intro music is "Scream" by Stef Chura, and the outro music is "Sweet Sweet Midnight" from the same album, but featuring Will Toledo of Car Seat Headrest.  As always, feel free to send any and all comments or questions to: threepercentpodcast@gmail.com. Also, if there are articles you’d like us to read and analyze (or just make fun of), send those along as well. And if you like the podcast, tell a friend and rate us or leave a review on iTunes! You can also follow Open Letter, Riffraff, and Chad and on Twitter and Instagram (OL, Riffraff, Chad) for book and baseball talk. If you don’t already subscribe to the Three Percent Podcast you can find us on iTunes, Stitcher, and other places. Or you can always subscribe by adding our feed directly into your favorite podcast app: http://threepercent.libsyn.com/rss

Kathryn interviews Former Google VP of Communications Jessica Powell, author of “The Big Disruption: A Totally Fictional But Essentially True Silicon Valley Story.” As a tech lover and loather who ran Google's global communications team, Jessica Powell sheds light on what it's like to be a woman working in the male-dominated Silicon Valley culture and why she decided to leave. Powell is the author of Literary Paris and has been published in The Guardian, The NY Times, WIRED, and Medium. Kathryn also interviews Founder of Grief Solutions Joanne Steen MS NCC, author of “WE REGRET TO INFORM YOU: A Survival Guide for Gold Star Parents and Those Who Support Them.” As a widow of a naval aviator, Steen's personal experience along with her training in crisis management enables her to effectively address many of the thorniest issues that confront Gold Star parents. Steen is a board-certified counselor and the founder of Grief Solutions, a training company on grief, loss and resilience.

Kathryn interviews Former Google VP of Communications Jessica Powell, author of “The Big Disruption: A Totally Fictional But Essentially True Silicon Valley Story.” As a tech lover and loather who ran Google's global communications team, Jessica Powell sheds light on what it's like to be a woman working in the male-dominated Silicon Valley culture and why she decided to leave. Powell is the author of Literary Paris and has been published in The Guardian, The NY Times, WIRED, and Medium. Kathryn also interviews Founder of Grief Solutions Joanne Steen MS NCC, author of “WE REGRET TO INFORM YOU: A Survival Guide for Gold Star Parents and Those Who Support Them.” As a widow of a naval aviator, Steen's personal experience along with her training in crisis management enables her to effectively address many of the thorniest issues that confront Gold Star parents. Steen is a board-certified counselor and the founder of Grief Solutions, a training company on grief, loss and resilience.

Kathryn interviews Former Google VP of Communications Jessica Powell, author of “The Big Disruption: A Totally Fictional But Essentially True Silicon Valley Story.” As a tech lover and loather who ran Google's global communications team, Jessica Powell sheds light on what it's like to be a woman working in the male-dominated Silicon Valley culture and why she decided to leave. Powell is the author of Literary Paris and has been published in The Guardian, The NY Times, WIRED, and Medium. Kathryn also interviews Founder of Grief Solutions Joanne Steen MS NCC, author of “WE REGRET TO INFORM YOU: A Survival Guide for Gold Star Parents and Those Who Support Them.” As a widow of a naval aviator, Steen's personal experience along with her training in crisis management enables her to effectively address many of the thorniest issues that confront Gold Star parents. Steen is a board-certified counselor and the founder of Grief Solutions, a training company on grief, loss and resilience.

Kathryn interviews Former Google VP of Communications Jessica Powell, author of “The Big Disruption: A Totally Fictional But Essentially True Silicon Valley Story.” As a tech lover and loather who ran Google's global communications team, Jessica Powell sheds light on what it's like to be a woman working in the male-dominated Silicon Valley culture and why she decided to leave. Powell is the author of Literary Paris and has been published in The Guardian, The NY Times, WIRED, and Medium. Kathryn also interviews Founder of Grief Solutions Joanne Steen MS NCC, author of “WE REGRET TO INFORM YOU: A Survival Guide for Gold Star Parents and Those Who Support Them.” As a widow of a naval aviator, Steen's personal experience along with her training in crisis management enables her to effectively address many of the thorniest issues that confront Gold Star parents. Steen is a board-certified counselor and the founder of Grief Solutions, a training company on grief, loss and resilience.

Megan Morrone speaks with Jessica Powell, Google's former VP of Communications and author of The Big Disruption: A Totally Fictional But Essentially True Silicon Valley Story. They discuss how she came about to writing this satirical novel about tech, becoming Medium's first print book, the impact of Silicon Valley's monoculture, and more. Buy 'The Big Disruption': https://amzn.to/2K4o1EW Host: Megan Morrone Guest: Jessica Powell Download or subscribe to this show at https://twit.tv/shows/triangulation.

Megan Morrone speaks with Jessica Powell, Google's former VP of Communications and author of The Big Disruption: A Totally Fictional But Essentially True Silicon Valley Story. They discuss how she came about to writing this satirical novel about tech, becoming Medium's first print book, the impact of Silicon Valley's monoculture, and more. Buy 'The Big Disruption': https://amzn.to/2K4o1EW Host: Megan Morrone Guest: Jessica Powell Download or subscribe to this show at https://twit.tv/shows/triangulation.

Megan Morrone speaks with Jessica Powell, Google's former VP of Communications and author of The Big Disruption: A Totally Fictional But Essentially True Silicon Valley Story. They discuss how she came about to writing this satirical novel about tech, becoming Medium's first print book, the impact of Silicon Valley's monoculture, and more. Buy 'The Big Disruption': https://amzn.to/2K4o1EW Host: Megan Morrone Guest: Jessica Powell Download or subscribe to this show at https://twit.tv/shows/triangulation.

Megan Morrone speaks with Jessica Powell, Google's former VP of Communications and author of The Big Disruption: A Totally Fictional But Essentially True Silicon Valley Story. They discuss how she came about to writing this satirical novel about tech, becoming Medium's first print book, the impact of Silicon Valley's monoculture, and more. Buy 'The Big Disruption': https://amzn.to/2K4o1EW Host: Megan Morrone Guest: Jessica Powell Download or subscribe to this show at https://twit.tv/shows/triangulation.

The Big Disruption, a satirical novel written by Jessica Powell, Google's former head of communications, is set inside the lush and bountiful Silicon Valley headquarters of Anahata, a massive 10-year-old tech giant in love its own mythology about open-door board meetings and profound yet “napkin-able” ideas.

Jessica Powell was the top communications executive at Google when she found herself Googling, in no uncertain search terms, how to quit her job at Google. She tried approximately 837 different tactics before she ended up taking the leap, and now she’s a startup founder, a contributor to Medium and The New York Times, and the author of The Big Disruption, a novel about a giant Silicon Valley tech company. The eventual burnout and dissatisfaction Powell experienced is not unique in Silicon Valley, she tells us on this week’s Gadget Lab podcast. But it can be difficult to acknowledge when you’re working in an industry filled with mission-driven companies and leaders who want to “change the world” (and in some cases–––they do). Powell also talks about the commercialization of International Women’s Day, and speaks candidly about Facebook’s latest manifesto around privacy. “Facebook is in such a bad place that I feel like if they cough, people say, ‘That cough is just a way to get more data!’” Powell tells the Gadget Lab hosts. “There are so many conspiracy theories, and sometimes you just have to realize a cough is just a cough. But, I also don’t think that’s the case with this announcement.” Show notes: You can read WIRED editor-in-chief Nick Thompson’s interview with Facebook’s Mark Zuckerberg here, as well as a follow up story from Thompson and Issie Lapowsky. Read Klint Finley’s story about a possible return to Obama-era net neutrality rules here. For some of Powell’s recent writing, check out her Medium page. Recommendations: Jessica Powell recommends putting vegetable puree into buttermilk-free biscuits to trick your kids into eating their greens. She also recommends the book The Radiance of the King, by Camara Laye. Arielle recommends this WIRED guide to TikTok, and also, TikTok. Mike recommends the Beastie Boys Book audiobook, which is narrated by an all-star cast of characters. Lauren recommends Workin’ Moms, the CBC show that’s now on Netflix. If you have feedback for us, please, leave us a review! Or you can send the Gadget Lab hosts feedback on their personal Twitter feeds. Arielle Pardes can be found at @pardesoteric. Lauren Goode is @laurengoode. Michael Calore can be found at @snackfight. Bling the main hotline at @GadgetLab. Our theme song is by Solar Keys. How to Listen You can always listen to this week’s podcast through the audio player on this page, but if you want to subscribe for free to get every episode, here’s how: If you’re on an iPhone or iPad, open the app called Podcasts, or just Learn more about your ad choices. Visit megaphone.fm/adchoices

Jessica Powell ran communications at Google. She's now a bestselling author. We asked Jessica - who has seen her fair share of PR crises over the years - how she would handle communications issues facing some of the top tech companies in the world. You might be surprised where she stands on various issues plaguing some of technology's top players. We asked her about Jack Dorsey's now infamous 'tweetstorm' about his meditation retreat to Myanmar and her reaction to it. We examined the broad spectrum of reactions that played out on social media. We dig into Jessica's journey to San Francisco, which started in sunny So Cal, and the 'fake' Los Angeles San Francisco rivalry. Jessica dishes on some of her favorite athletes and sports teams. As a communications exec, we had the opportunity to ask Jessica how she would handle PR crises at Facebook. And what was inherently different about Facebook and Google culture. We also asked Jessica about where change needs to occur at these companies - whether regulation will work, or how lasting change will really take place. Jessica talks about why she began writing satire, and how people reacted to it. She talks about her recent interview on Fox News with Tucker Carlson and what that experience was like. Enjoy this broad, amazing interview with one of tech's top marketing execs!

TheThe Sunday Times’ tech correspondent Danny Fortson brings on Jessica Powell, former Google communications chief, to talk about her new satire of Silicon Valley, The Big Disruption (2:35), how at her old job she called a hookup site a “meeting platform” (5:55), when noone was interested in a Silicon Valley satire (8:00), the lack of nuance in the industry’s perception (9:20), the growing number of critics (12:40), problem of the tech industry’s ‘sameness’ (14:30), how living in London made her look differently at the industry (20:45), the great oatmeal revolt (24:30), what made her leave and publish the book (26:00), the risk in criticising her own industry (29:55), the most urgent changes required (31:40), the value of diversity (34:15), how free speech is vaunted but devalued (37:25), and her most quintessential Silicon Valley moment (40:40). See acast.com/privacy for privacy and opt-out information.

Jessica Powell, Google's former vice president of communications, talks with Recode's Kara Swisher about her new novel, "The Big Disruption: A Totally Fictional but Essentially True Silicon Valley Story." In this episode: (02:05) Excerpt #1: Arsyen's introduction; (05:21) Powell's background; (08:17) The Google interview; (11:45) Google's early days in Europe; (13:51) Why she started writing the book; (19:54) Excerpt #2: The management meeting; (22:31) Taking over comms at Google; (27:33) The goal of writing "The Big Disruption"; (35:31) Excerpt #3: Fake news; (37:18) The power of tech companies; (39:12) Why publish the whole book on Medium?; (40:42) Disrupting the world without thinking about the consequences; (46:17) How will the tech community react?; (50:25) Is Silicon Valley a good place? Learn more about your ad choices. Visit megaphone.fm/adchoices

One in a special series of equity in education stories. Guests Dr. Jessica Powell of Southern Connecticut State University, and teachers Tai Olasanoye and Rebecca Harmon discuss anti-racism teacher education as a foundation for equitable classrooms, recruiting teachers of color, the importance of culturally relevant curriculum, and more. Guests share their personal stories about race in schools and talk about the efforts at SCSU to transform teacher education to better address student needs and racial equity in schools.